Mega Bar 50 RGB

I would like to know this also.

Just typing before really doing the research:

I have 8 of the 64 LED Pros and like them a lot, but I need something brighter, so I'm looking at some Elation lights.

Now, the 64 LED Pro and any ParCan-type light needs some room to throw. With the bar-type lights, such as the Mega Bar 50, you don't need the throw distance, which means you can put it right up on shallow stages and light up performers, or stick them right next to a wall and aim it up to wash a wall. I also think their spread over distance diminishes much fasterthan the ParCans because of the wider angle of dispersion.

I've been looking at these lights too and for the same reason, but I'd rather go with the bigger ones because I typically have larger areas to cover. But the smaller Mega Bar 50 would be a lot more convenient to truss or stand mount based on the smaller size.

The Mega fixtures to me seem best suited where you need a big spread over a sizable area with minimumal distance between light and target.

Right, the points you make seem valid. The reason I'm attracted to the Mega Bar 50 is because of its low price. I know an Elation unit will have higher output, but they cost substantially more. After looking in to and experimenting with LEDs in the past, I've always ended up going with conventional or moving lights over LED simply because I feel I get more for my money.

Larger LED Pars are (in my opinion) not cost effective yet. Once the price comes down a bit, then maybe they will be. I'm sure most readers are already familiar with the pros and cons of LED, but I can get a used (and in fine condition) HES Studio Color 575 for the same price as an Elation Design LED 108IP, and the Studio Color is much brighter, and a mover. Not necessarily comparing apples to apples there, but I think I get more bang to buck with a Studio Color.

I'm also still not 100% confident in LED technology. I've seen too many demo units at Sam Ash glitching out. That's the reason I started this thread, is that I'm interested in the Mega Bar 50 because of its affordable price and wide application (especially at my smaller jobs), but I want to make sure it's a quality unit, won't break, and has little or no flicker when dimming.

The biggest problem is there are so many good choices available, it can take a lot of effort to weed down what you really do in fact want or need. This makes the forums more critical to pre-quality lights.

You're right about the not fair comparisons. Of course, some movers can be used as spots or wash lights as well, serving multiple purposes. I've seen shows where they were using all intels and all movers, which worked good because the band was basically fixed in position.

We recently had a complainer come off a Sam Ash purchase. I think the reason we are seeing so many refurb/demo/used units is that some people didn't like what they saw with the LED fixtures the purchased. I like my 64 LED Pros, they work great, I have no problems with them, but I flat out do need a brighter fixture. You do get what you pay for, and the jump to Elation is also a price jump AND performance jump up from ADJ.

But, like you're inferring, you don't necessarily need to spend that much. For smaller jobs, the Mega bar 50 should be fine and work good for you. IN my experiences, the LEDs transition SMOOTHLY unless you want to make rough transitions. Quality should be fine, you're going with ADJ, that has a good reputation for quality. As far as flicker, I can't comment. My ADJ 64 LED Pros don't appear to MY eyes to flicker, and they look OK on video too. The Elation stuff claims to not flicker, so no doubt they are using better transformers to convert that AC into even DC current.

I think your main concern is spread or coverage. The price on the Mega Bar 50 is attractive and it would be a fairly safe purchase. My only concern would be "Am I buying enough of these". But, perhaps at the price, you can try them out, and worse case is you need some more and you get those later.

For small jobs, I don't really see how you could go wrong. Wash a wall in a ground mount position. Wash an area from a ground mount, stand or truss mount position. I think the one thing I'd worry about is up-shadows as a footlight type fixture without something lighting from above as well.

What are you planning to use to control these?

Yes, there are definitely a lot of suitable choices available to a buyer. I've read the thread I think you're referring to. I can think of several others on this forum too that are along the lines of 'why won't my new light do this, this, and this?' It seems to show that a lot of people buy lights without doing the research, seeing the demos (in person), and asking the questions, so hence they end up with something they're not happy with.

That's exactly what I'm thinking though - I'll buy a pair, try them out, and if I like them but need more I'll buy more as my gigs require it. They'd be getting used for many things as I find them quite versatile, but I'd still rather use my conventionals to light faces. I'd want to use the Mega Bar 50s as accent lighting, up lighting on walls other than the stage, stage or curtain warmers, and such, as I'm sure my Par64s will easily wash these out.

Regarding what I use to run my shows, I use a cheapo Behringer LC2412 to control my strobes and conventionals, and I use a tablet based MagicQ to run my movers. I'm really happy with how the two work together. If I only get a pair of Mega Bars I'd probably run them on the Behringer, as I've got a few channels to spare on it, and I'm really liking how the Mega Bars have 1,2,3,4,5,6, or 7 channel control. MagicQ has several features to make controlling LEDs easier, plus I can write far more complex programs on the MaicQ, so I'll have to try both and see which I like better.

One of the biggest problems is people not understanding the learning curve. Not just awareness of how things work together, but the never-ending pursuit of knowing what fixture does what. Newbies are just absolutely hopeless in this area no matter how hard they try. They just have to acquire the experience to REALLY know what they want or need. Hopefully, they just don't end up wasting too much money learning.

These forums help a lot, but there is only so much that can be done at this level. After a while, the questions get better as people start to understand what they need. In my case, I'm lucky that I'm involved in events that have specific needs, but these specific needs aren't anything out of the ordinary. These situations force purchases that are well rounded and an assett to my inventory.

The MegaBar 50 is one of those lights where I don't see how this fits into my overall scheme of things. On one hand, I need this type of a fixture. Or rather, I see the need for it. But the Mega Bar 50 or maybe something else but along the same lines. This is an area where frankly, there are too many choices, and too many GOOD choices. This is a nice change from the norm, which is usually "there is this ONE and that's what it costs, take it or leave it".

Thank goodness even with limited budgets, there are options these days.

Just throwing this out there. I know i am fortunate enough to have started my interest in lighting JUST as LED's Were starting there way into this field. I first started my interests right when ADJ released the p36 and p64 cans. i even still have one of the P36 led can's too. Still runs good for what it does.
Sincerely,

We all have preferences based on different things.

I'm really supporting the LED movement even if it means I have to wait for things I really want. My motivation is strictly that small venues(where I typically work these days) have no clue about how to handle an event, despite being a venue for performances. Going LED lets me run way more lights using way less power. I figure if I keep buying smart, I can reduce my power requirements down to maybe 40 amps or so. My hazer, my ground fogger and a future fog machine(I think the AccuFog 1000) will be the big draw items, while the rest would reside on a single 15-amp breaker.

Watching MORE live performances and even buying performance DVD's and BluRay, I study these and get ideas. I look at what other people are sharing and get ideas. I read what other people are saying and get ideas.

One thing I notice a lot of with comedy is that often the entire front of the stage is covered with footlights. But, I don't see this being a comedy-specfic feature, easily incorporating into many events. For this, I am looking at the Mega Bar-type lights. But, even so, those lights can serve as back-wash lighting as well as rear lighting.

I like the conventional stuff. It's rather inexpensive compared to the LED stuff, and it works great too. But, power draw.... A concern.

If I get those 8 new Elation LED cans, I'm looknig at a 75-watt draw per fixture, or 600 total draw, which isn't bad. My existing 64 LED Pros are under 250 watts at full draw for the 8. My Mega Panels together draw aroudn 70 watts. That leave me with my conventional movers, and still plenty of left-over power to spare for future additions, which will include Mega Bar-type lighting in the near future.

Now I can run my mains off a single 15 amp circuit. I can run my backline and stage off another 15-amp(usually), and my FOH off another 15 amp. Power draw is now much more controllable.

Where we jump in can affect where we develop preferences. Let's face it, the LED stuff is good stuff. I also don't see anyone cutting off all their conventionals any time soon though, because that's well proven technology.

There's a place for all the lights. This is why there are so many to choose from. For me, LED fixtures have been a a saviour, and will continue to be so as I buy more to address specific needs.

Thanks to MyDMX and LED fixtures, as much as I'm still not really into lighting, it's at least enjoyable and pleasant. I don't dread lighting as much as I used to.

LEDs simply have some flaws in them that will cause them to never fully replace conventionals. Also keep in mind that conventionals are getting better and better. Look at the new Platinum 5R lamp from Philips and new plasma source lamps from Luxim and Ceravision. Lower power consumption, more light output, longer lamp life. Just like how the HPL was also a huge step forward in 1992, put out more light with less power and longer life versions were possible.

Just look at the new DS LED Pro and the PS 5R as examples. The DS LED Pro has a 90w LED to match a 250w discharge. The PS 5R has a 160w lamp to almost match a 575w discharge. To make it easy, call it a 500w discharge. The DS LED Pro would in theory need a 180w LED to match the 160w 5R.

Now, in the life of the DS LED Pro, you would replace the lamp 25 times. With estimated cost of $150 for the lamp, that is $3,750 in lamps. However, a DS LED Pro with 180w would most likely cost closer to $5,000 list price, making the difference only about $1,550 over the life of the LED. Keep in mind that running 24 hours a day, 365.25 days a year, it would take 5.7 years for you to actually reach that limit. Basically, the 5R works out to be a much better buy for the money. And if Philips gets the 5R to 3000 hours like they want to, the cost difference then becomes a mere $300 between a 5R and a 180w DS LED Pro.

I haven't been hot on the LED revolution myself. I have simply gotten some because of client demand, power issues, and flexibility in certain situations. I prefer subtractive color mixing vs additive. With subtractive, you can always go darker. With additive, you can't. Likewise, subtractive you have a powerful source to start. Additive, you need to add more to get the strength. So if I like a shade of blue but need more output, with additive I am out of luck because I need to add more light which will change the shade. Subtractive, I can re-lamp in some cases.

That had always bothered me too when trying to match colors on CMY and LED fixtures. But i will say this the DLED PRO is a nice fixture Very fun to play with. you can see them in action on the elation LDI video.
Sincerely,

I have no doubt it is and certainly has its place. I just simply prefer the benefits and negatives of convetionals vs the benefits and negatives of LEDs.

Some will take LEDs and others will go my way. Some will to a little of a) and a little of b).

Major reasons for me liking convetionals over LEDs in no order:
Color Temperature
Color Subtractive (See above)
Easy to replace lamps
Not as heat sensitive
Much better CRI (Color Rating Index)
Much nicer white without having to add extra LEDs
Easier to color and/or fixture match
Dimmer curves are the same fixture to fixture
CTO or CTB as needed
No Pulse Width Modulation for dimming

There are others, but not coming to me right now.

now we all just have to learn all that. haha.
Sincerely,

Lol, that's easy enough.

CRI is how well a light source shows a color. For example, if I shine a light on a blue costume, how much is that costume going to look like the same shade of blue if it were in sunlight. the sun has a CRI of 100 and it doesn't go any higher.

CTO/CTB. Color Temperature Orange and Color Temperature Blue. Used to correct color temperatures of fixtures, mainly used for film since cameras are very sensitive to color temperature. For example, I have a 3200k source and a 7500k source. I can use CTB to make the 3200k look 7500k or CTO to make the 7500k look 3200k. This is great in many movers, because a lot have CTO and/or CTB and some even have variable along with more color wheels or CMY. Make the temperature the same and change the color with the other wheel or CMY. You can also use more then one sheet of gel on convetionals.

Pulse Width Modulation is how LEDs dim. Basically, instead of physically dimming, they strobe really fast so that human eyes can't see it. This is the reason why some LEDs flicker on camera, because of the higher shutter speed of the camera vs the human eye. Technically all LEDs are flicker, its just they flicker so fast a camera or human eye can't see it. The problem with this I have found is that it gives some people (myself included) headaches when working with them as the only source of light/looking into them for long periods of time (like using LEDs as front light). This most likely has to do with the fact that they use PWM to dim. The eyes can't see it, but they are trying to keep up with it. Like being under constant strobe for too long.

Any other terms I need to define?
J/k, all good

ahhhhh. ok cool thanks. don't know why my bosses don't teach me that. They just go "just know the software" but i need more lighting training. Thanks. P.s. how you like the new Sig.?
Sincerely,

Each has their place.

Right now, the lower draw/high output conventionals are more "bleeding edge" technology, despite using known technology, just in a slightly new venue: entertainment production lighting. My biggest problem with these newer technologies is one thing only: price.

The other issue is one that COULD be more academic, or at least resolvable via the manual and online descriptions: Comparing current draw and comparable output to a regular conventional.

Your arguments for your preferences are certainly valid. It makes sense. When my lighting requirements get to the point where I need the higher end stuff, then at that point in time, I'll hire a consultant and buy accordingly.

Again, there are TONS of good choices. Right now, I'll take my chances with my limited knowledge after inquiring on the forums. I've gotten tons of good advice here.

Just got my Mega Panels. Smaller than I expected, but in a good way.

I'm available to consult.

I'l let you know when I get to that level! If things go well after my next round of big purchases, I'm hoping things take off for audio next year so I can get that new digital console, then that should in turn re-drive lighting.

Never ending cycle!!

Someone has been spending a lot of time in the 3D visualizer lol. Looks good though.

Yea, with what you are doing you are really becoming more of a designer and master electrician then just support.

Master electrician? Explain. lol. And that didn't take me that long to build. Once you got the vision in your head it just flows.

Now you are getting it.

Master Electrician is basically a system tech/second to the lighting designer. The lighting designer designs the show, its the ME's job to hang it and make it work. Its a theatre term technically.

I have someone who I have been working with for a few years now who basically takes my plots and hangs my shows for me. He is also the one who gets up in the lifts/catwalks and on ladders and does the focus while I am on stage. Likewise, I will put him behind the console from time to time so I can set with the production team in the audience and tell him instructions via com or two-ways. Its nice, because he knows what I want and what I don't want, and I can focus without having to talk to him at all via hand signals now. Great for when the sound guys are doing sound checks. I can also send him on shows without me having to be there and he takes over for me in my place. Any issues and/or concerns, he simply calls me for. Because of this, my crew jokes now because I spend most of my time behind a console vs hanging and moving gear around. I will sometimes even simply focus from my desk vs going up to the stage.

Best way to describe the ME, right hand man to the LD.

sorry for the double post the size of my .gif is on the fritz. lol checking size now.

Still kinda huge but idc. A M.E. huh? They make good money? lol

right hand man sounds good and all but i love programming and playing back.

Lol, not as good as an LD unfortunately. However, some shows, once the show is on the road and designed, you never see the LD again. Its the ME that runs the lighting aspect of the show then. Thus, they get paid more in the long run because of the length of the show. LD's are also often on fixed pay scale vs ME's who are hourly. Some shows I do, I get paid a fixed rate no matter how much time I put into it.

On shows where the LD goes away, the ME often runs playback. A lot of times, LD's won't program at all, simply tell ME's/programmers what they want, how they want it. My guy, like I said, often programs for me when I am in the house with the production team.

oh ok sweet. i know what i wanna be when i grow up now! haha

Growing up and this industry are almost mutually exclusive terms. While it's a grown-up job, it's not for people who are "grown up" a lot of the time in regards to all aspects.

While I agree to some extend of what Serra Ava says, it's nice to be able to rely on other people. For me, it's more a matter of I know I'm gonna get screwed, it's just a matter of when will it happen precisely. Where I live, there's too much back stabbing and trash talking. I try to avoid that. I know of many bad companies in the area, but for some reason they get work, while I'm competitive on rates, better gear, and I don't get complaints, but the other guys have complaints that you could compile into an encyclopedia. But they can market, and I'm just a technician/engineer.

It's just a matter of time before my current crew sticks it to me. But I can't change who I am. I just know the countdown clock is running, that's all I know for sure. I just refuse to run my company the way the others do. Nobody ever gave me chances or opportunities, and what I got, I had to fight, claw, scratch, bite and MUCH MUCH more to get even a damn nibble, and even then now it came time to play favorites and give it to the incompetent butt-kisser who showed no motivation rather than the guy who busted his hump and made the event take place.

Oh wel.

I've always gotten along with the film/video crews and lighting crews, the truck drivers and beyond.

Lighting, as much as audio, is an art form. While there is a technical aspect, having the technical alone is not sufficient to get the job done. It takes stuff beyond those trained skills to really get the job done properly.

I've come across touring engineers wiht better gear all the time. Repeatedly, I'd smoke them with my "crap". Now that I've got better gear, others are looking to take me down. I get offers all the time to "partner" with me,which has without fail been used as a conduit into my marketplace and screwing me out of jobs, while excluding me from new marketplaces by being trash-talked about. How is this benefitting me? It's not. And if I refuse, then I get trashed talked about. If I politely decline, I'm trash talked about. If I don't answer, I get trash talked about. If I accept, I get trash talked about. I can't win.

I'm done with the touring stuff for the most part, I got a wife and kids and a mortgage. I'll keep it local. I'll do nationals when they come through and give me the call.(which happens a lot) I'll build off my past experiences and whatever funding I can scrape together. Nobody helped or supported me then, nobody is going to now, and nobody will in the future. That's the reality around here. I'm a small fish in the BIG pond with the two real big. I'm not swimming in a puddle with the bottom-feeders anymore.

I work harder AND smarter now. I'm making LESS money, but having MORE fun. This only sucks because gear costs so much! And let's face it, I'm a gear slut.

I'll just stick with my current repeat clients, which suits me fine. I'll get the small jobs here and there. People who want someone who cares about good quality sound will find me. I hae the word out there.

As my lighting improves, I'll get more calls. I have several events where things like Mega Bars will help drive calls. After all, this IS a business.

oh by the way. if you all liked the .gif. check out the video.
http://www.youtube.com/watch?v=iuTOUoO5Rbg

You should check out the video. I saw it last night, it was pretty cool.

I have an animatic I produced using Sony Vegas using video captured from MyDMX using Snagit(will try FRAPs soon as Snagit has expired!). I get "similar results". The whole 97 minute presentation took 14 hours to render!

There was the photo layer, which was a still image captured through MyDMX and imported. Then, there was the Chromakey process, and then inserting a video into that area. No doubt this dragged things down.

Then there was the SNAGIT capture, which I turned the dimming in MyDMX to ZILCH so all I would see are the light beams and glow. I then had to chromakey the black so as to let the other layers show through.

I have shorter previews avialable online for those who want to see it.

Actually chris that is a different video. So you should check it out. Way better looks and chases.

I'll check it out after my three-day SacAnime event.

Anyone interested, just google "SacAnime" and you'll find it.

ProLightD,

Just thought I would throw my 2 cents in. I have 2 of the Mega Bar 50's and they have worked great for me. I have been using them for about 8 months now and have not noticed any flicker at all. They put out quite a bit of light for their size and have surprised me. I do have a Mega Bar pro and 8 64B pros along with 6 punch pros. I do recommend them however my favorite is the puch pro. In my opinion, the punch pro puts out the best light of all the fixtures I listed. Anyway, I hope that helps.

Jingles, great 3D visualizer. I wish I had a quarter of all those fixtures you have programmed in that one! Keep up the good work.

Ric

Thanks.

Thanks for the reply nightraven!

I just bought and have used 2 of the Mega Panels. My only complaint: I want 2 more of them! Or maybe I go Punch Pro perhaps. Variety can be a good thing.

But, now I'm looking at the Mega Bar lights. Not sure what variety yet. I may have to break it up. Mega Bar or Mega Bar 50, plus the Mega Pixel.... I may have to get 4 of 1 type, then 2 of 2 other types.

Too may choices!! I want to use the Mega Bar-type fixtures for front footlighting as well as some back ground-based washing.(more out than up).

All I am going to say is that this is gonna not be a cheap jump!

No, unfortunately most quality LED units are not cheap, hence I don't own any yet. From reading this forum I'll probably buy a pair of the Mega Bar 50s sometime in the near future as my needs require.

That's a true statement on many levels. There's a reason why things cost a certain amount.

I recently picked up a mic that was on sale for $50, regularly on sale for $150. Know what? It sounds like a $50 mic, but with a tiny bit more feedback. Bought another mic for $150(same day, same store, same time), and it sounds better. The better mic is a Blue Encore 200. The other one, let's just say I'll use it on growler metal guys.

The problem that keeps the price higher is in part due to the cost of materials. Instead of a single bulb in a can(in the case of a Par64), now I've got a fixture with over 100 LED's and a big circuit board and intelligent electronics, DMX I/O. Other cost-raising factors include the optional digital panel for programming/configuration. The circuit is merely complicated by having R,G & B LED's and circuitry to control them.

In comparison, the P64 LED UV uses 1 type of LED and a DIP switch panel.

I've been seeing some very cheap in cost RGB LED can lights by a competing brand. While the pricing is attractive, I have to wonder what I lose out on that price. A lesser warranty as well.

I could save money by going with the P64 LED, which has MANY of the features I want at a price that is good. I do have needs that the 64 LED Pros address, making the LED 64 Pro a much better fixture, and with a price that is inline with the features added.

As I have found I'm sort of made a "bad decision" with the 64 LED Pros for where my events are going, it's time to move onto higher end lights, and with that means more cost. Don't get me wrong, I really like the 64 LED Pros, they'll be with me a good long time and be actively used. But I need something brighter, especially since I need further throw.

My needs are always evolving. I have to see what my needs are and then find what addresses those needs. Since I don't do lighting full time, I am definately NOT a lighting expert, nor do I pretend to be. It takes me a bit to find the proper solution and I have to rely on the advice of others to get there.

Case and point: Some lights I bought that appeared to address the need I had at the time, well, they never really worked out. Not to rip them further, but they aren't ADJ, so who cares, right?

Some lights work well in pairs or multiples. The pricing on the Mega Bar 50's allow you to buy a couple now, buy a couple later. I'd rather spend a bit more for a better quality product. That's why I am sticking with ADJ and Elation products. Oh, and Antari too now that I have some of their atmospheric units.

I find that its better to spend more money and get less product which does what you need it to do vs more product with less money and end up with the product not doing what you need it to do.

For example, I needed to get some smaller in physical size, less power hungry fixtures. I was leaning towards the DS 250 Pro. My only problem was the 250w arc lamp. A lot of what I do, I need a 575w or more arc lamp. So while it fit with regards to smaller and less power, it didn't with regards to output. I was going to pull the trigger on 4 in December, but figured I would wait till after LDI to see what new products would be coming out.

Sure enough, Elation didn't disappoint me. Plantinum Spot 5R is smaller then even the DS 250 Pro, uses less power then a DS 250 Pro, and has an output closer to that of a 575w lamp then a 300w lamp. Fit the bill prefectly. 4 PS 5Rs cost me more then 4 DS 250 Pros, but it has the key factor I need, more output.

It is one of the big reasons I stay away from the 300w movers. The cost difference between the DS 300 and the DS 575, I am much better off paying more for the DS 575 with what I do. More output, 2 rotating gobo wheels, and a zoom. Granted, I can get the DS 300 Pro that has a zoom as well, but the cost difference then becomes even less giving me more justification for the jump up.

And along those lines of thinking, I am by no means getting rid of my DS 575s. They have way more features then the PS 5Rs do. If Elation comes out with something that does all the stuff a DS 575 does with a 5R lamp and similar cost, then I will cross that bridge and re-evaluate the structure. I can say, however, that because of the 5R lamp, I won't be looking to pick up any more DS 575s anytime soon just for that reason, till after next LDI most likely.

Now if only Elation made it so the DS1200s can run off of 120v like the Mac 2Ks and VL3000s. That would be my next purchase but I can't do it since I can't always get 240v. Ballroom power a lot of times is 120v and that's it.

I agree with spending MORE to get "less quantity of product" every time.

I don't know where your budget is coming from, but thats not my concern. My budget is what is in my bank account so any purchases are a financial hit. Trying t get over that hump to get me evenly competing with the big boys around here is no easy task. Plus, I have to compete with the bottom-feeders who only offer "cheap" for "cheap" with gear that is "cheap" for work that is "cheap" and then people don't care because they get "loud" and "cheap". Quality is a distant secondary concern.

My budget isses aren't anything new, most of the people on this forum are doing the same thing, but at a lower level than I am. Nothing wrong with any of that.

A similar issue to your example is what I'm going through right now. I have 8 of the 64 LED Pros, which I really like, bt they aren't bright enough for my application. Based on your observations, I'm examinning certain Elation fixtures based on your recommendations. INthe end, I will end up with 8 new can-type LED fixtures.

My other issue is that the lights I ideally want are far outside my budget. Many times, it's also coupled with current draw issues. Right now, LED is a bit more affordable for me. Then again I may be ignoring other low draw/high output options because I don't know what the different technologies are. I do know that LED gives me decent output(fixture dependent) with low draw. House power sucks and is limited so every litle bit I can save helps.

By my breaking up bar-type fixtures into pairs, I amy end up with 4 different fixtures that can work together. It really depends on how I do my lighting design how well they work together.

Ultimately, users have to choose price vs performance whhen determinate suitability for an application. Finding the right type of light can be difficult enough because both Elation and ADJ are offering lots of choices. So, then it comes down to what is affordable.

In my case, I have to think not only outside the box, but inside many different boxes. I have to see a bigger picture of "well, these can work here and there" and then see how they all fit in together, especially when mixing and matching similar yet different fixtures.

I see my future purchases addressing many concerns I've been fighting. Lighting is still a weak area. Now I can work on it. I want ot be able to light up a stage really good. Now that I don't work in certain event-types(say, weddings), I can focus on larger events. I definately see Mega Bars in my future.

One issue the ADJ videos don't show is the light in full context. Overly dark environments or not showing the fixture in relation to what it's lighting up, or if so done in a way where it's easily relatable to potential buyers. This is always something that can be redone.

While I agree that it's usually better to buy fewer of the better product instead of more of a cheap product, that's not always practical in the lighting world. For instance I could go buy 1 Mac2K, or, say 4 Elation DS300s. Sure, the Mac2K has higher output, more features..., but you can't (or shouldn't) light a concert with one light, whereas you could get away with 4 (and probably a few other conventionals). For most of us (like me) that are on a budget, I can't afford to buy a large quantity of higher end units. If I absolutely need them I rent them.

As I mentioned higher up in this thread, the nice LED pars are $500 - $1000+, each! And again, I'm not not going to get just one! Depending on the event, I would probably want no less than 8, so that's over $5000 right there! Unless power consumption is a huge problem, I personally can't justify spending that much money for something $50 Par 64s can basically do. The reason I'm so attracted to the cheaper ADJ units is because I can afford to get several units, and I can see using them for many applications in various different styles of events. Yes, I know that you get what you pay for, and hence I'm avoiding the ebay LED units. Considering that the street price for the Mega Bar 50 is $150, I can get 7 for just over $1000, whereas for the same price I MIGHT be able to get a pair of nicer LED Pars. I guess it really just comes down to needs and applications, as well as budget.

Again, its all situation dependent and what you are looking to do. If you throw distance is say, 50 feet, 300w arc lamps will be useless. So all the sudden that single Mac 2k looks a lot better. Say your height drops to 30'. Then I would look at maybe 2 PS700s or a couple of DS575s and some DS250s hung lower/on truss towers on the deck. At 20' or less, DS300s would be great and that single Mac 2k pointless. When I saw Avenue Q on Broadway, they had a single Mac 2k hung in the middle of the FoH pipe that didn't move the whole show. I sat there and stared at it wondering what it was for. Then all the sudden it came on when they are at the top of the tower. It was for this really dark, blue/purple hue that anything less then a 1200w source what have taken a lot more fixtures and there was simply no more room on the FoH pipe. Again, what do you need to do?

Likewise, saying a $50 P64 will basically do what a $1000 LED unit will do is very short sighted. Elation now has the DLED Zoom which not only will out shine a P64, but also has a DMX zoom to get just as tight as a narrow P64 and bigger then a wide P64 or anywhere in between without having to get up from the desk. It will also produce 16.7 million colors, and no, that's not a typo. Even a P64 with a color scroller won't come anywhere near that number. This LED, while doing all this, will consume about a tenth of the power, won't need a dimmer behind it, and won't have to replace its lamp, ever.

There have also been nomberous things that I have done the simply wouldn't be possible without LEDs. The biggest examples I can give are color blazes. See below:



Both those shows would not have turned out anywhere near that without LEDs. And I had to fight for the budget tooth and nail on the top one to make look like that. And after it happened, my boss thanked me for fighting basically with him for that money, because it would not have been that same. Once again, what do you need to do? Just make sure you don't get less then what you need to do was my point, otherwise you will be kicking yourself later.