Front lighting:
The lights are IN FRONT of the performer's line, often ABOVE them and angled DOWN into the performers. That's what I mean by front lighting. In a show I do, due to the nature of it, I am aiming the lights from a lower height, which ends up shining them right into the actors' faces. No choice as I have to maintain LOW angles.
Front lighting can be in front of the mains, behind the mains or inline with the mains(I'm talking lines, not necessarily physically). It could be on T-Bars, it could be on trussing on medium to heavy duty stands or it could even be flown from trussing. I guess the correct term could be downlighting since they will point down. I don't know. I'm trying to get myself clear on the terms. I recently was confused between uplighting and footlighting.
Footlighting: A light in front of and aimed up at the performers. Mounting? well, you can tape them down for a gig, unless you have some items you can mount them to and stick on the ground. But, if you're in areas with LOW stages or people getting on the stage who aren't supposed to be, or your performers love to rush the edge, then this might not be a good idea. It's used a lot, but cans are more popular.
Why no cans to start off with in your case? Let me comoare 2 lights I own and like:
The Mega Panel vs the 64 LED Pro. I have 4 Mega Panels and 8 64 LED Pros. You can get a wider wash with less throw using the Mega Panel as opposed to the 64 LED Pro. Since you're most likely gonna get jammed up on a stage, you'll need to have some compromise, and this is a good one. The Mega Panel costs more, but also has a lot more features, which can be utilized as well. Mega Panels are flat, so take little space in the van/truck/whatever. The bad thing is that because they are wider, you can't put 4 on a T-bar unless you use the bolts and do 2 up and 2 below, but that looks too bulky from an audience perspective.
The funny thing is that both make round washes! Go figure.
Sure, ParCans are conventional. Even the LED Cans give the conventional appearance with the advantage that coms with the LED fixture's functionality. But, not to sound like a jerk, but I could care less what the PEOPLE expect. It's not their money and they ain't doing the job. In the end, can you get the job done with what you've got? that's all that matters. Most people only care about end results anyways.
I'm a SOUND and lighting company. I don't do lights without sound, and was unable to get a contract as a result. I basically said that without doing sound, it's not worth my time to do lights, and that's how my policy will remain.
Now, if you're into being a lighting company, then to appease the masses, you might need to get some cans. Those in the know will check out what you got and make some decisions based on that. Those not in the know will want to go with someone who has Par Cans because that's what they expect. Still a useful fixture.
The main concern is how do you use what you've got.
Nothing against cans. I'm planning to get 16 more this year, 8 each of 2 different Elation models. I'm also planning on getting 4 Pixel panels.
Now, about your laptop as a lighting controller:
Software solutions are really a combination of software and hardware. The hardware provides an interface to the DMX chain, typically through the usage of a small metal box that connects to the USB port. The software talks to the USB device, which then sends DMX-512 down the DMX cabling. They all work this way or in some variation of that. If you want to go cheap, there are some free DMX lighting packages that you can couple with inexpensive DMX interfaces. However, I prefer the comfort that goes with a commercial product, because after all, I'm using these products to make money.
I don't want to slam the MyDMX product. I saw one of these free sofware/cheap interface solutions produce an impressive light show.
Still, there are advantages in going with a commercial product. 1: I don't have to spend MY time researching it and then trying it out from the many ones available, often with poor to no documentation. Then 2: I've got to figure out everything. 3: With little to no support, what support I do get takes too long and I just don't have time for that.
Do keep in mind that software ranges in prices, and even within the ADJ and Elation lines, you DO get what you pay for. Even so, the MyDMX product is a fantastic value for the money offering a TON in a super low priced package.
In regards to ROI, it really depends on your business model and how well you're able to gig and pull in the funds. The only way I stay working is to be a "sponsor" for events: I give a low rate as sponsorship and they advertise for me(albeit poorly in most cases). Right now, I'm spending more than I'm earning trying to enable more options. I need MORE and better lights. I need a digital console to remain competitive with the BIG companies(that I have my eye at). I'm not worried about competing with the bottom-feeders. I drove a lot out of business, and now the rest are scared of me. They keep talking crap about me, then get jobs, screw them up and somehow still drag my name through the mud as if it's my fault.
HOWEVER, despite this, one show I work as a sponsor with gives me a fair amount of artistic satisfaction, despite the crappy pay. This guy does 2, now 3 different shows(I just signed on for his latest one). I like working with the guy, so I figure, I'll stick things out and help him. It's his shows that are forcing my knowledge of lighting to improve. Right now I'm not so concerned about ROI. I'm more concerned with survival and pushing forward because in the meantime, I'm making NEW contacts and connections and impressing the right people.
Going back to your guitar/amp/pedal analogy. I was working in this one venue where there were tehse HORRIFIC guitar players(as in, they sucked, and even that is a compliment) and now they are "tone chasers". Get some skills, then get into tone chasing. Since they were using Marshall tube amps, I bought a pair of Marshall Power Brakes(most sucky bands had 2 sucky guitarists, to go with the sucky bassist, sucky drummer and crapt-tastical growler vocalist) to get some control, and then that place stopped using me. Oh well. I still got the Power Brakes!
Whatever you do, KEEP asking questions.