When I was teaching the summer interns for the American Dance Festival in the early 1990s, I was still working with ellipsoidals built by Altman Lighting, mixing standard incandescent and tungsten light sources, and I was as likely to get to use a computer board as I was a multi-scene preset board. Source 4 lighting instruments had just been introduced and we were still trying to figure out why the gel frame was smaller – didn’t they realize we would have to stock yet another size frame and an additional stock of cut color? The issues with soft edges and uneven focus across a gobo were not yet solved and the unit was stilled viewed with skepticism. The Source 4 represented “changing technologies” ...
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