hadyn.williams Posted February 3, 2012 Share Posted February 3, 2012 I'm surprised that no one has suggested Lee 269 yet ;) Joking aside, I do love a just a nice bit of straight up Tungsten. I think the most interesting thing for me is what can be achieved my playing with how the colour changes whilst dimming tungsten due to the shift in Colour temperature. One colour can go from looking horrible at full to perfect for the scene at 30%. Link to comment Share on other sites More sharing options...
rossmck Posted February 4, 2012 Share Posted February 4, 2012 A while ago I read this piece about an American LD who came to the Edinburgh Fringe and his experience thereof, and in it he commented that all the Brit LDs must get together and agree what FOH colors they were going to use, 'cos everyone used the same thing. Certainly at the fringe most of the smaller venues have a fairly fixed rig (you can rig a few specials, or re-gel some lanterns in some spaces) and as such seem to be quite similar... 117 / 103 anyone ? Link to comment Share on other sites More sharing options...
PDD Posted February 4, 2012 Share Posted February 4, 2012 I seem to have used Lee 744 (Dirty White) and 777 (Rust) in a few recent designs, after being introduced to them by a visiting touring production. 156 used to be a favourite but now find it a bit peachy perhaps. Having said that, still using it on a current show, along with the standard 366 Cornflower. Link to comment Share on other sites More sharing options...
cameroncoats Posted February 4, 2012 Share Posted February 4, 2012 Is L201 used often?Just lit a school production with exactly 2 colours: white and white. (Open and 201-style cold white :P ) Link to comment Share on other sites More sharing options...
rossmck Posted February 4, 2012 Share Posted February 4, 2012 Just lit a school production with exactly 2 colours: white and white. Brecht ? ;) Link to comment Share on other sites More sharing options...
Genus Posted February 4, 2012 Share Posted February 4, 2012 I'm currently designing Sweeney Todd. Which gives me a good opportunity to check out the Red area of my swatch-book (so often overlooked). I'm using L182. I'm a big fan of surprise pink (L194). Also L199 and L701 have their uses. (Not all in the same show...) My go to front light is generally L201, with either L013 or L194. Link to comment Share on other sites More sharing options...
Young Johnstone Posted February 4, 2012 Share Posted February 4, 2012 On thing I was taught by a great LD (mr Trenell) a few years ago, was always use two complementing colours! Now this mainly applied to live events, but can also be relied on in theatre occasionally!The reason I'm saying this now is the amount of gigs I see with 8 different colours looking like a carnival! Link to comment Share on other sites More sharing options...
cameroncoats Posted February 5, 2012 Share Posted February 5, 2012 Just lit a school production with exactly 2 colours: white and white. Brecht ? ;)No actually. Or at least, not intentionally. It was 'Of Mice and Men', in the round, with a tiny LX budget. Hired in 24 par cans, 6 per side of the stage, 3 open white and 3 with L201 CTB in them (per side). Open white from a par can actually looks really warm and yellow when compared to one with 201 in it, so we had open white for indoor scenes, and L201 for outdoor scenes. It was pretty effective IMO. Link to comment Share on other sites More sharing options...
LXbydesign Posted February 5, 2012 Share Posted February 5, 2012 For a musical, review or the like - a bit of Rosco Broadway Pink does it for me every time. :) Ive also starting to use Wheat a lot as well. Find it quite complimenting on asian and black skintone. Most dark blues are good except 'good ole' 132 which I find a bit to greeny. Tokyo blue is a favorite of mine at the mo. Link to comment Share on other sites More sharing options...
J Pearce Posted February 5, 2012 Share Posted February 5, 2012 I rediscovered 002 the other day whilst hunting through the gel store for something more interesting than 106 and 079 for a rock gig.A pleasing warm wash that isn't orangey. I also unearthed 738, having rigourously avoided green for a year or two. It is a green that doesn't look too sickly on skin, works nice in backlight too. Link to comment Share on other sites More sharing options...
kerry davies Posted February 5, 2012 Share Posted February 5, 2012 they all use for example, the same blue to represent night. Or they all use the same filter for a nice day light effect on the skin. This makes me so sad. It is an outright admission that they haven't an artistic bone in their bodies (heads?) and aren't even trying. The very idea that one colour serves to cover all front light or another serves all night scenes is appalling. Nothing is right and nothing is wrong in creative arts. Why someone should jump to the confusion that because it is all in open white it has to be Brecht is symptomatic of rigidity and lack of imagination in their learning process. Like Haydn I have often used higher power fixtures and changed tone with the dimmer and that is the key. Gels work differently on different objects at differing levels of intensity and to use a standard colour gel for each 'standard' scene risks pale redheads looking jaundiced or black people turning an interesting shade of purple. And with that, over to you, Hippy! Link to comment Share on other sites More sharing options...
jexjexjex Posted February 5, 2012 Share Posted February 5, 2012 Lee 793 - Described once by an aquaintence of mine as implying "...romantic with just enough hint of p0rn to be interesting..." You can draw your own conclusions on that one ;) Oh, and one of the local am-drams have a roll of some unnumbered/unbranded gel that they call "Gaslight Green", which seems to add exactly that effect - Must get an offcut and do a swatch book comparison on that one! Link to comment Share on other sites More sharing options...
mark_s Posted February 6, 2012 Share Posted February 6, 2012 Oh, and one of the local am-drams have a roll of some unnumbered/unbranded gel that they call "Gaslight Green", which seems to add exactly that effect - Must get an offcut and do a swatch book comparison on that one! Rosco have a 'Gaslight Green' in their range (388), which is advertised as doing exactly what it suggests. A personal favourite of mine is 711 for anywhere a stark white is needed. It does everything from cold moonlight to dramatic backlight, and is good for beam specials in music too. It also dims nicely - not getting too warm at lower intensities. I also tend to use 713 quite a lot as a deep, 'pure' blue. Link to comment Share on other sites More sharing options...
Just Some Bloke Posted February 6, 2012 Share Posted February 6, 2012 Is L201 used often? Yes. :) Nothing is right and nothing is wrong in creative arts. Why someone should jump to the confusion that because it is all in open white it has to be Brecht is symptomatic of rigidity and lack of imagination in their learning process. Like Haydn I have often used higher power fixtures and changed tone with the dimmer and that is the key. Indeed. I once went for a job and was asked, in the interview, "what colour would you use for a play that required candlelight?". I think most people must have been looking for the perfect Lee colour to quote but my answer was "it would depend on a lot of things but I think I'd probably start with open white on check - the most important thing would be to involve a low angle with the light pointing upwards". I got the job. Sometimes the most simple way is the best! Link to comment Share on other sites More sharing options...
Andrew C Posted February 6, 2012 Share Posted February 6, 2012 I like the UV effect you get when you use lots of 181 Congo. ;) Link to comment Share on other sites More sharing options...
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