Follow spotlights, if you need them, should not be placed at shallow angles to the stage. You description of using them from mid-house presents many issues:
- Shallow angle blinds the performers.
- Shallow angle casts shadows of the performers on upstage scenery / drops.
- Most follow spotlights have fans and/or power supplies that are to noisy to be near the audience.
- The mid-house cross-aisle is typically a Fire Egress Route, so you cannot block this area. If you put them off to the side, then they are probably blocking the egress from the side aisles. It doesn't matter if no one is seated behind the follow spotlight - you still can't block a fire egress route.
- Unless the spotlight is up on a platform, you will likely be blasting light into the back of anybody in the audience that stands-up. A spotlight platform must be VERY robust to keep the spotlight from wiggling, and the platform(s) must have guardrails to keep the operator(s) from inadvertently stepping off of it and being injured.
- Mid-house spotlight positions block sight-lines for anyone seated behind them.
Using follow spotlights from the beam lighting catwalk can sometimes be too steep of an angle as you may not be able to reach performers that are upstage (this depends upon the geometry of the theatre). Spotlights take-up a lot of space to move freely and not be blocked by railings, so carefully review your available space on the catwalk if this is your intention. If you are considering removing any railings on the catwalk to facilitate the light path from the follow spotlight, then it is necessary to have your workers wear fall protection harnesses and anchor them to the building in a way that they cannot fall from the catwalk. This involves a lot of training, rules, and regulations - you shouldn't just buy a fall protection harness and blindly use it - this can get people killed.
Having follow spotlight decks retrofitted into an existing theatre is possible if you get the proper guidance.
Major follow spotlight manufacturers are Strong, Lycian, and Robert Juliat. Most of the smaller units you may see by other vendors will not cast much light from the distance you describe. Your best bet is to rent some follow spotlights of different makes and models to find ones that work for you. If you just need them a few times a year, it is probably less expensive to rent them than to own them. Renting is a good way to KNOW the light will work for you in your situation. Some suppliers are smart enough to loan you a demo unit to let you try it out before you invest a pile of money. When you select the acceptable models to suit your needs, be clear about the make, model number, and accessories list when you put the request for pricing out for bid. Don't be vague about anything - it just confuses the bidding process.
As to the Intercom Beltpacks and Headsets - buy professional gear - the cheap stuff never lasts long. Stick with ClearCom, Telex, Eartec, GreenGo, or Pro Intercom. You mentioned 'walkie talkies' - you need to carefully evaluate where you really need WIRELESS intercom verses where you can get by with WIRED intercom. Wireless is VERY expensive and generally less reliable than a wired connection. With careful planning and installation a WIRED intercom system can satisfy 99% of your needs - the most common reason someone might need a truly wireless station is if the Stage Manager has to be extremely mobile. Just about everyone else is stationary or can re-plug their intercom when they move to a new location. If your House Manager needs to be mobile, they can usually use a conventional radio (Panasonic, Motorola, etc.) and interface one unit to the wired intercom system (they have interface products to specifically do this).
If you get a wired intercom system, see that it has conduit and boxes to protect the cable and receptacles anywhere that they are subject to physical abuse - mangled cables and wire strung-out willy-nilly around the theatre is what leads to dysfunctional intercom systems.
In places where a bit of movement is helpful, consider suspending the beltpack cable from the ceiling with a cable strain relief so the worker isn't tripping over their cable. This is helpful on Fly Galleries and around (Assistant) Stage Manager's work areas.
Intercom SYSYTEMS should be designed and installed as a SYSTEM and not just be a bunch of parts thrown-together - it never ends well this way.
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Erich Friend
Theatre Consultant
Teqniqal Systems
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Original Message:
Sent: 09-10-2015 07:31
From: Patricia Giles
Subject: Tech Equipment Advice
Hello Everyone,
I recently was given a grant and I would like to buy really important equipment for my poverty stricken theatre program. It's very important that I make wise decisions.
1) I have a very large space and I would like to purchase two quality followspots that can be placed relatively far away from the stage (in the middle of a 1400 seat auditorium). I would like for them to have gels. Do followspots have dimmers?
2) 6 Crew headsets (walkie talkies) that are VERY durable. (I have purchased them at Radio Shack and usually are not operational within a couple of years.)
Any suggestions for what and where to buy the above items is greatly appreciated.
Thank you!
Patricia Giles
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Patricia Giles
Theatre Director
Columbus GA
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