![]() Now we’re cooking with gas! 2 -Do a Nice, Soft FadeĬhases are cool, and we covered them well in #1.īut sometimes, a chase is just a little much. Or yellow to magenta.Īnd then think about changing up the groups like we did with the intensity above.Īnd then think about creating chases that only go from 50% to 100%, or just 0% to 50% – you don’t have to use the full intensity range that the light has to create a nice movement!Īnd then, while you’re doing a color chase, think about doing an intensity chase at the same time. Think about what if your whole rig was chasing from red to white. Think for a second about how that would effect the mood on stage. Whether you’ve got LED fixtures or old-school par cans with gels, you can create chases that only use 1 or 2 colors. When your chases are getting boring – change up which lights you chase, and how you chase them! Remember that you don’t always have to use every light in every scene or chase.Īnd then, when you’ve exhausted your intensity chases, you can begin to chase with colors. You could then chase the par’s intensity against the DJ effect lights in a 2-step chase – how cool would that be? Let’s say some of your lights are LED pars, and some are DJ effect lights. Or maybe you’ve got 2 different types of lights. You can even do a chase that’s the 2 halves of your lighting chasing against each other – this can be very powerful looking! You can chase them in groups – like 2, 4, or 6 lights at at time. You can chase them around in a random order. While you may start with chases by just creating a simple left-to-right chase, there are almost infinite possibilities to how you can chase your lights around. When you create a hard chase, you move peoples eyes around the stage, creating the look of movement. Of course not! Here are 5 things you can do to add movement to your lighting without moving lights: 1 – “Chase” Around Like CrazyĬhases are the best way to get some movement going across your lighting rig – without having moving lights!Ī chase is when you turn the lights in your rig on and off in a pattern.ĭepending on how your specific lighting console works, you’ll either be creating an effect, a chase, or mashing your fingers around on the bump buttons – but the outcome is the same! So what’s a person to do if they don’t have moving lights at their disposal? Just sit in boredom with their conventional and LED lights and do nothing? Adding to that, if you want to really make interesting looks out of your moving lights, you need a minimum of 4 heads. ![]() And a lot of fun to play with.īut the fact is, moving lights aren’t in everybody’s budget. If you don't find any other less-compromise-again-news-parts solution, like getting really trained, then perfect! Otherwise you could just sacrifice an extension cord and have some try to see if it's actually make life easier.There’s no doubt that moving lights are cool. in last video it's seems that Martin really had hard time to get in sync. ![]() In this case I would rather not use a reflecting method like turntable, but more a rotary shutter that you directly stare through, with a diffusor and one (or several for greater output) lamp behind it. Yes, for the electronic part I understand, I was concern as well as I wrote this post.The thing is, in vinyl record turntable, there is no "electronic" for the flickering lamp, it's just a Neon lamp (not to confuse with neon sign, for example you get Neon lamp in power stripe, the red light on the switch).Neon lamps naturally flick at the grid frequency (either 50 or 60 Hz), it's why I mentioned a mechanical BPM reading adjustment.My argument would be: I don't see any mechanical metronome anyway, and compromise )įor the problem of too much light, this one I didn't though about it.
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