<div dir="ltr">Dear Alf,<div>There is no combination of Phosphors that can cover all of a CIE color chart. There isn't even a Pantone color, or color combination, that can cover the whole chart, despite attempts at subtractive and additive mixing since the CIE chart was developed in 1931.</div><div>/s/ Richard</div><div>_________ </div></div><div class="gmail_extra"><br><div class="gmail_quote">On Sun, Jan 14, 2018 at 6:56 PM, Richard Niederberg <span dir="ltr"><<a href="mailto:ladesigners@gmail.com" target="_blank">ladesigners@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="ltr">Dear Jon,<div>In regards to shootouts: no photo-chemical (film dye) or electronic (video, digital origination) device can exactly replicate the color of sunlight reflecting off a fresh Rose. You can do shoot-out with your best camera at your local Botanical Garden, if you need convincing.<div>/s/ Ricrard</div><div>________</div></div></div><div class="gmail_extra"><div><div class="h5"><br><div class="gmail_quote">On Sun, Jan 14, 2018 at 6:01 PM, Alf Sauve' via Stagecraft <span dir="ltr"><<a href="mailto:stagecraft@theatrical.net" target="_blank">stagecraft@theatrical.net</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
<div text="#000000" bgcolor="#FFFFFF">
<p>In re-outfitting a "gym" venue, I decided to ditch all the
incandescent; 27 PAR64s and one Spot. Half needed base/cord
replacement and the EDI rack is gradually going south anyway. I
got 14 ColorSource PARs and 8 Spots. <br>
</p>
<p><br>
</p>
<p>Plenty of light to cover the 32'w x 16'd stage. Plenty of
light. I wouldn't worry about the amount of light and wouldn't
hesitate to replace them 1-for-1 for the Colortrans and S4s I have
in the other venues.<br>
</p>
<p><br>
</p>
<p>The problem is, and it's the first time I've done all LED lights,
getting the colors right on stage. I've done LEDs on scenery,
cycs and back drops, but have always had incandescent for the
acting space. With all LEDs you have to color them carefully.
It's so easy to get too much, way too much color. Probably
because it's so easy. You also, if you're using 5600k fixtures,
have to be careful about it being too white. Got to have some
tint in it. But these are good problems to have.</p>
<p><br>
</p>
<p>I also went with the wireless CS Relay's. Great invention.
They've worked well. The beauty of them is running power through
them. When they loose wireless signal, after a delay, they shut
power to the fixtures off. It made installation a breeze. And I
don't have to worry about energy savings.<br>
</p>
<p><br>
</p>
<p><br>
</p>
<br>
<div class="m_3565567441116504339m_294112753005724886moz-cite-prefix">On 1/8/2018 3:49 PM, Matthew Breton via
Stagecraft wrote:<br>
</div>
<blockquote type="cite">
<div id="m_3565567441116504339m_294112753005724886divtagdefaultwrapper" style="font-size:12pt;color:#000000;font-family:Calibri,Helvetica,sans-serif" dir="ltr">
<p style="margin-top:0;margin-bottom:0">Unfortunately, there are
a lot of numbers to compare -- 575 or 750W conventional,
versus exactly which version of a Lustr or ColorSource?</p>
<p style="margin-top:0;margin-bottom:0"><br>
</p>
<p style="margin-top:0;margin-bottom:0">From personal
experience, I can tell you that the Series 2 Lustrs do quite
well when comparing full intensity in open white to a 575w
conventional. Their numerous side benefits (color mixing,
built-in dimmer, never needing gel or color media again)
really do outweigh their drawbacks. There are a few colors
that no LED fixture I've seen yet seems to be able to hit, but
overall I think the benefit is very strongly toward the LEDs.</p>
<p style="margin-top:0;margin-bottom:0"><br>
</p>
<p style="margin-top:0;margin-bottom:0">You could always go to a
rental shop, or work renting on or two into a budget to
arrange for a shoot-out.</p>
<p style="margin-top:0;margin-bottom:0"><br>
</p>
<p style="margin-top:0;margin-bottom:0"><br>
</p>
<div id="m_3565567441116504339m_294112753005724886Signature">Matthew Breton <br>
Design for Theater and Dance </div>
</div>
<hr style="display:inline-block;width:98%">
<div id="m_3565567441116504339m_294112753005724886divRplyFwdMsg" dir="ltr"><font style="font-size:11pt" face="Calibri, sans-serif" color="#000000"><b>From:</b>
Stagecraft <a class="m_3565567441116504339m_294112753005724886moz-txt-link-rfc2396E" href="mailto:stagecraft-bounces@theatrical.net" target="_blank"><stagecraft-bounces@theatrical<wbr>.net></a> on behalf
of Jon Ares via Stagecraft <a class="m_3565567441116504339m_294112753005724886moz-txt-link-rfc2396E" href="mailto:stagecraft@theatrical.net" target="_blank"><stagecraft@theatrical.net></a><br>
<b>Sent:</b> Monday, January 8, 2018 3:41:14 PM<br>
<b>To:</b> Stagecraft Mailing List<br>
<b>Cc:</b> Jon Ares<br>
<b>Subject:</b> [SML] Colorsource Spot vs incandescent S4</font>
<div> </div>
</div>
<div class="m_3565567441116504339m_294112753005724886BodyFragment"><font size="2"><span style="font-size:11pt">
<div class="m_3565567441116504339m_294112753005724886PlainText">So I was looking at a spreadsheet
someone built, comparing the various<br>
flavors of Source Fours (Lustres, Colorsource,
incandescent), plus<br>
other LED goodies from ETC, and just looking at some
sample numbers<br>
(all emitters on, 3200K, 5600K whites) it looks like both
the latest<br>
Lustres and the Colorsources seem to be around 1/2 the
footcandles of<br>
the old-skool incandescent Source Fours? Really?<br>
<br>
Anyone have any experiences from a side-by-side shoot-out?<br>
<br>
-- <br>
Jon Ares<br>
<a href="http://www.arescreative.com" target="_blank">www.arescreative.com</a><br>
<br>
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</font></span></div>
</blockquote></div><br><br clear="all"><div><br></div>-- <br><div class="gmail_signature" data-smartmail="gmail_signature">/s/ Richard<br>_________</div>
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