# Followspot aiming tips



## change1211 (Oct 13, 2006)

At the theare where I work we just picked up two smallish (750W) followspots. I'm just wondering if anyone here uses a special tool or setup to help with aiming.

Much appreciated


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## Van (Oct 13, 2006)

Ok here's one that I used to use at an outdoor theatre I used to work at. We had a couple of Carbon arc Super Troupers. _yes i'm old now stop laughing and I'll finish my suggestion._ On the back end there was a label plate that was held in with 3 screws, this was also an access hole for getting to the back of the reflector. Well we would remove 1 screw then aim the spot at one of our pick up points. We would then place a smallish peice of tape on the back wall of the spot bay with the cue # on it, mine were color coded to even help remind me of color, size,shot,focus. To prep for the cue you'd just put the dot of light on the tape then look down the spot for the pick up. Now days it's really much more like hip firing a rifle I can hit a head shot on a kid from 300 feet away < not really, but almost. > but I've got over 1200 hrs on the carbon arc and that trick sure did help get the cues down real quick. I can only guess that today you could rig a laser pointer to do the same thing or perhaps rig it to shoot straight down at the floor and put your cue points right there under the spot itself, if it's not in a bay. Good luck, Hope that helps. Can't wait to see what other suggestions you get.


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## SHARYNF (Oct 14, 2006)

I've use the laser pointer on the floor with great success especially for people starting out
Sharyn


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## Footer (Oct 14, 2006)

The marking the room thing works very well in my experience. If you have a small space and a small throw odds are you will be able to get the feeling of the light after a bit. Also, two gaff "sights" can help. I personaly dont like the laser pointer idea. http://www.balancedtech.com.au/bullseye/sights.htm

If you have some money to burn those things are very nice and easy to use.


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## ship (Oct 14, 2006)

Van said:


> Ok here's one that I used to use at an outdoor theatre I used to work at. We had a couple of Carbon arc Super Troupers. _yes i'm old now stop laughing and I'll finish my suggestion._ On the back end there was a label plate that was held in with 3 screws, this was also an access hole for getting to the back of the reflector. Well we would remove 1 screw then aim the spot at one of our pick up points. We would then place a smallish peice of tape on the back wall of the spot bay with the cue # on it, mine were color coded to even help remind me of color, size,shot,focus. To prep for the cue you'd just put the dot of light on the tape then look down the spot for the pick up. Now days it's really much more like hip firing a rifle I can hit a head shot on a kid from 300 feet away < not really, but almost. > but I've got over 1200 hrs on the carbon arc and that trick sure did help get the cues down real quick. I can only guess that today you could rig a laser pointer to do the same thing or perhaps rig it to shoot straight down at the floor and put your cue points right there under the spot itself, if it's not in a bay. Good luck, Hope that helps. Can't wait to see what other suggestions you get.



Nope not so old - though I have never once used one - he he he. Just different places worked, not that I’m that old perhaps but been around a bit. The current community theater I help at when I have time uses a carbon arc over their Altman 1000 for their 50' throw - no idea why given I could very possibly soup up their 1K FEL fixture to a 1.2Kw internal reflector in the lamp spot (given the lamp is still available), ventillation for the carbon arc spot would help also. - One of the things they will get around to... At some point I should find some time and tinker with the thing. Saw three like 10' long follow spots come back with a show once a few months back, a crew chief made a deal with a theater getting rid of them. Them’s spots, glad I didn’t have to lug them down the stairs. The shop manager once he saw them went into great remembrances of many years spent at the rear of such contraptions. Been around them but never had to use one for good or bad - probably for bad or was that good. I do on the other hand personally own a 3Kw incandescent Kliegl Dynabeam with working lamp and original gel. I’m absolutely itching to plug It in and see what the beam of light looks like. 

I also chat much with our lead crew chief on followspot stuff so as to supervise how it’s done with repairing the gear or how it’s useful to set up I prepping it while he is on the road. I otherwise when not under advice do common sense repairs but don’t have a feel for especially arc source spots like he does. Used xenon and HID types but not much. Also read the “getting the most from your followspot” IA manual also. (Not much in it that’s useful in my opinion.)

Removing a screw is by far less destructive than the method he at one point expressed by the above crew chief, or was it the IA guys at the Chicago Theater in method. I chatted with at length once with them in noting marks on the ceiling during a rental of some Lycian 1290's. Only time in that theater, (don’t qualify to work there) I was there to install the fixtures and lamps but had to be locked out of the booth given my non-IA status, that is unless a lamp failed where they would make an exception in me changing the lamp for them. - Forget which source, perhaps both and lots of people in my area that do the same. One or the other hand, perhaps lots I have talked to used to take a scratch awl and punch a hole in the top of the light fixture in doing the same thing you did or do except for that pickup point, you would have a mark on the back wall and they would have one straight up on the ceiling often in pencil. I think the one on the ceiling is much easier to look for and closer to the fixture but also tends to put a hole in the top of the fixture. Not a good thing for rental gear much less smokey carbon arcs.

Since it was bright enough in the booth to see the colors you used for pickup points, I’m sure the back wall was bright enough to be useful. Most booths I have been in during shows are dark under running lights and colored tape would not work so well. Still removing the screw somewhere seems a common thing.

A caution about this or these methods: First a arc source fixture is the only one that such a method would best be employed with. Incandescent/halogen sources often have far too large of filaments to provide a pin prick of light dot to locate with. Second or more important, removing screws and or poking holes in gear is not and I mean not an acceptable thing to be doing without specific permission by those on paper and officially (teacher or staff TD’s) to be responsible for the gear. Third, if the fixture has a reflector that is pre-mounted on the lamp such as a fixture using a projector lamp or a MR-16 based 360w/82v FLE Lamp with it, you won’t get much light able to come out of the fixture.

For me, last time I ran a spot for a production (about ten years ago at least) it was not in the booth and I couldn’t do the as it were “indirect fire” method. Just had to get good at what I did by way of knowing my theater space by way of lots of practice, and a trick I did with the iris as if laser pointer. Given I already by way of “hip shoot” as it were, could about put my spot on target, I normally when given the stand by opened the gate with a iris down beam of light that searched for the talent to appear. This allowed me a pinprick of light waiting or homing in on the location the talent would appear from. At that point it was just a question of quickly opening the iris to the dia. needed and following thru the scene. 

Last time I did spots it was the ballet “Gizelle” (sp) and the debate between me and follow spot #2 we never really answered was for the various jumps if you should keep the beam dia. and bounce with the dancer during their leaps or iris out to cover it. Bouncing is good but on the other hand they also tend to extend some thus parts of them go out of the light during the jump. Difficult to do both at once thus the debate.

Seen laser pointers in use, seen gun sights in use, seen just wire tied about the spot to focus with. Laser dot is distracting and I don’t think very useful in having a beam large enough to see which the audience can also see. Gunsights don’t work so well if attempting to do a pickup during blackout. Various spot handles also in use. One IA spot op at one point contacted me in attempting to get back her spot handle. Seems she left it behind and while home made, she was very attached to it in being useful for her own control of the fixture.

Or perahps you do a tube of some sort say perpendicular to the follow spot and just taped to it’s top so it doesn’t move and you make marks on a board or wall adjacent to you. Just a 1/4" tube taped to the follow spot you could aim with according to marks on the wall.

With all these types of methods, it’s a question of how much time you have to place the spot in the in-direct fire method, lock it into place so it doesn’t move while you re-adjust your eyes and focus on the stage in picking up and following the talent. In my case it was easy, the crew chief wold give directions in aiming to the gunner and A’ gunner so as to hit the target. The follow spot operator doesn’t get this help thus must be able to transition quickly between hitting a pre-assigned cue or pickup point and turning to watch and follow the action on stage.

Most I would think just get good at dead reconing. What worked for me was the iris closed and for if a second or so using a little white laser from the spot to search for the talent. On the guns, I used in-direct fire as much more efficient than attempting to aim them at something down range.

Also of note from the military is what machine gun placements use - safe fire zones. Stakes placed where you are allowed to fire. Perhaps for a follow spot and especially if pointing at a window, but even if only a railing in front of you, you could tape off the limits of travel to your spot light so as to better reference how close to the edge or where your pickup is. Say downstage drape is right near the bottom edge of the whitness mark. Second leg is off at about a 30 degree angle from it 1/4 of the way up. Etc. you by windowing and plotting out your space now get locations to pick up from and zone in on.


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## SHARYNF (Oct 14, 2006)

So instead of punching a hole in instrument, or painting the talent with a laser, getting a cheap laser pointer, attaching it to the follow spot, can be aiming up to ceiling, down to the floor or on the back wall, it gives you a point that you can mark.

I find that looking down works well, is easier on the neck than up or back, and you can easily put tape marks on the floor.

Sharyn


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## zac850 (Oct 14, 2006)

I think that the best way to learn how to use a follow spot is to go up when no one is on stage, and just practice pickups. Say to yourself "I am going to get the light on that chair" and then try. Then try that flat, or that whatever.

You will begin to get a sense of how much you move the spot for it to work. The up-side of this is if/when you go into another space (for instance a theater that will pay you) you have a basic muscle understanding of how to use the follow spot.

I've run spot in spaces from a 50' throw to a 200' throw, and while there are several differences (how much you move your hand, angles, etc.) the basic concepts and muscle memory are still the same. 

Practice Practice Practice.


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## avkid (Oct 14, 2006)

http://www.toolsforstagecraft.com/followspottools-spotdot2000.htm


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## BillESC (Oct 14, 2006)

Anyone remember the Genarco followspot? We had them in a theatre throwing from a booth through a window. We drilled holes in the lamp house that cast a beam of light on the wall just above the window.

Bits of tape made pickups a snap for the rookies.


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## jonhirsh (Oct 14, 2006)

I cant speak to pick ups but for the skill of following people i attached a rope with a ball attached to the bottom, to the fly's. Add a buddy to swing it as i followed it with the spot and you have a great traning decice.

JH


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## ship (Oct 15, 2006)

jonhirsh said:


> I cant speak to pick ups but for the skill of following people i attached a rope with a ball attached to the bottom, to the fly's. Add a buddy to swing it as i followed it with the spot and you have a great traning decice.
> JH



There is an interesting idea, helps one get a certain rythm also with the smoothness. So is following your buddy in playing chase. Granted this method is frouned upon due to the amount of those attempting to escape the light falling into the pit.

"Genarco followspot" Nope on my part, define please and what lamp or stick did it take?


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## Footer (Oct 15, 2006)

There is always the put the crew on stage with a frisby method of training...


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## BillESC (Oct 15, 2006)

Its probably been 25 years since I ran a Genarco and I can't remember the rod size but I can tell you they were about 3/8" diameter and at least 16" long. You could usually get 1:50 minutes on a trim which certainly was an advantage over the Super Trooper at around 50 minutes.


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## wakkoroti (Oct 19, 2006)

change1211 said:


> At the theare where I work we just picked up two smallish (750W) followspots. I'm just wondering if anyone here uses a special tool or setup to help with aiming.
> Much appreciated



At one show we used cuttings from a clothes hanger bent out straight except for the little end where you made a tiny loop. Make two of those and (in the case of a super trooper) tape one on each side of the boomerang and align them by looking through the two little loops as sort of a poor mans sight.


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## derekleffew (Oct 6, 2007)

avkid said:


> http://www.toolsforstagecraft.com/followspottools-spotdot2000.htm


The above is what I use every time I run a light. My building owns 4 sights known as "Telrad" which are available to those who wish to borrow them. Telrads are adequate and less expensive, but I prefer the SpotDot2000. As long as I'm on the subject, I'd like to put to rest forever those who say "A good operator doesn't need a sight" or words to that effect. At the end of one concert I did, the LD told us to put our gelframes and headsets on the backpacks, and don't forget the sights either. I questioned him while looking in the backpack, as I wasn't going to put MY sight in HIS packpack, and saw that each backpack contained a Telrad. It is common for someone to install color and headsets in the afternoon, and the operators arrive at half-hour.

A SpotOp with a sight will always be better than one without a sight. If you want to have fun with an Op who uses the tape on the wall trick, just move his fixture 2" to the right and see how well he does that night!


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## derekleffew (Oct 6, 2007)

Footer4321 said:


> There is always the put the crew on stage with a frisby method of training...


What a great idea! Once while running an ice show, after a rehearsal the LD asked if we had any problems or questions, it was going to be nationally televised, an Op other than me asked "Can you have them skate slower?" Touche.


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## lamphead (Oct 6, 2007)

Running a followspot is as much an art as it anything else. All the fancy sights in the world will not help a person who does not have FEEL for the job. For a number of years I ran a super trooper in a local concert venue (way back in the mid 70's ). We had two lamps and and it was always myself and the same operator on the other lamp. Time after time the LD's from the shows would tell us how great a job we did. Practice, practice,practice.
"Luke feel the force"


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## derekleffew (Oct 6, 2007)

lamphead said:


> ...I ran a super trooper...


You ran an exceptional member of your state's highway patrol? I believe you meant to type Super *Trouper*. 

Totally agree with the gist of what you're saying. Back when I was working a Celebrity Room, we had the same household name acts over and over. LDs loved coming because they barely had to call the show and we'd even offer suggestions to enhance the lighting. We perpetuated the "bone out." "Overlays" in just about every slow song. LDs would tell us they were happy other places if the SpotOps could keep the star's face lit. 

I believe you used what is referred to as the Zen method, according to this website:
http://blogidaho.biz/earthlink/spotlite.htm
"Become one with the light."

Spotfully yours,


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## Radman (Oct 6, 2007)

derekleffew said:


> You ran an exceptional member of your state's highway patrol? I believe you meant to type Super *Trouper*.
> 
> Totally agree with the gist of what you're saying. Back when I was working a Celebrity Room, we had the same household name acts over and over. LDs loved coming because they barely had to call the show and we'd even offer suggestions to enhance the lighting. We perpetuated the "bone out." "Overlays" in just about every slow song. LDs would tell us they were happy other places if the SpotOps could keep the star's face lit.
> 
> ...


He said mid-seventies, I wouldn't expect him to remember perfectly.


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## jmcclint (Oct 7, 2007)

In my experience the TelRad is hands-down the best device. No repositioning until it's right (like spot dot), doesn't fall off (shotgun sights, hangers, coke can tabs), doesn't interfere with the show (the laser pointer suggestion) and you don't have to take your eyes off the subject for a moment. Two double a batteies and you're golden. It works great when using a conventional as a spot for super short-throws too. Get the base so you don't have to change your positioning when replacing batteries.


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## avkid (Oct 7, 2007)

On occasion I have been known to do it "old school" sighting down the hinge on Altman Comets.


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## Charc (Oct 7, 2007)

jmcclint said:


> In my experience the TelRad is hands-down the best device. No repositioning until it's right (like spot dot), doesn't fall off (shotgun sights, hangers, coke can tabs), doesn't interfere with the show (the laser pointer suggestion) and you don't have to take your eyes off the subject for a moment. Two double a batteies and you're golden. It works great when using a conventional as a spot for super short-throws too. Get the base so you don't have to change your positioning when replacing batteries.



I'm not sure if I understand your complaint about the Spot Dot. What do you mean no repositioning?


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## derekleffew (Oct 7, 2007)

avkid said:


> On occasion I have been known to do it "old school" sighting down the hinge on Altman Comets.


_Nothing_ wrong whatsoever with old school! I don't even mind classic or retro. 

(I did just about deck a "kid" who picked up a gray painted ETC C-clamp and said "wow, old school" however.)

However, Altman's specs say 51 FC @ 125' and I bet you weren't even shooting that. Longer ThrowDistance=Greater Chance for Error=Greater Need for Precision. Which is why I encourage my House SpotOps to use sights, but leave my TrussOps alone. That, plus I don't want TrussOps dropping a sight, or anything else, on the star. Personally, I think most climbers should wear nothing except their harnesses, but I don't want to give Van anymore ammunition.


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## gafftapegreenia (Oct 8, 2007)

Just throwing in my 2 Cents:

For the production of She Loves Me I'm currently working on I am using a Bullseye Sight on a Lycian Midget HP.

Best. Thing. Ever. 

Old school C-clamps? Those would be the old Kliegl brand c-clamps in the electrics shop that are no longer useful because the spacer and bolt are long gone. 

Even more old school? 2 pin ungrounded composite stagepin connectors with seperate wire entries.

Or maybe some 2 prong twistlock? Would that be better?

All this is more currently wasting space in the electrics shop that has recently come under my supervision. People laugh when I say I'm cleaning and organizing it, they'll see.

Ok, hijack over, I love that Bullseye Sight.


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## derekleffew (Oct 8, 2007)

Point taken, 18-year-old Gafftapegreenia. Sometimes there are things wrong with "old school." However, at the time, when the things you mentioned were "current school," they were as industry-standard state-of-the-art as the Source4 36° EDLT is today!

Please expound more on this "bullseye sight." I don't believe I've seen or heard of it.


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## gafftapegreenia (Oct 8, 2007)

derekleffew said:


> Point taken, 18-year-old Gafftapegreenia. Sometimes there are things wrong with "old school." However, at the time, when the things you mentioned were "current school," they were as industry-standard state-of-the-art as the Source4 36° EDLT is today!



Which is precisely why I find history so interesting. Of course, some of that old-school stuff is still very functional, I'll use those c-clamps if I find the parts. However, other stuff belongs on ship's "wall of shame". As I was typing that response I was thinking of what was "old school" at that time of the items I mentioned. 

The bullseye spot was mentioned already. 

http://www.balancedtech.com.au/bullseye/sights.htm

Mine is simply gaffed to the spot. I focuse it by putting the spot in a tight iris and using the small knobs on the sight to move the bullseye. Works like a charm every night.


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## Charc (Oct 8, 2007)

derekleffew said:


> Point taken, 18-year-old Gafftapegreenia. Sometimes there are things wrong with "old school." However, at the time, when the things you mentioned were "current school," they were as industry-standard state-of-the-art as the Source4 36° EDLT is today!
> Please expound more on this "bullseye sight." I don't believe I've seen or heard of it.



Bullseye is a.k.a. Telrad.

Gafftapegreenia, please elaborate, as I was going to place a ToolsForStagecraft order tonight for the Spot Dot 2000, until I saw your post.


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## gafftapegreenia (Oct 8, 2007)

Telrad! That's what that thing is called! The reason I like it is because you have a "field" with which to sight. This field makes it easier to place your pool of light on the stage. For example, say the LD wants a waist-high spot. Well, with a Telrad, you can actually "cover" the performer with your beam before you turn it on. Also, the central ring of the Telrad is actually the diameter of my spot with the iris all the way in. I'm not exactly sure how to word it, but the bullseye of the Telrad makes it easier to find your field of coverage.

However, the spotdot is a fine instrument as well, it just becomes a matter of preferance and "spot op ego".


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## derekleffew (Oct 8, 2007)

Thanks, Charc for the clarification. I followed the link but as it says 
Finally, _Australian_ [italics mine] followspot operators have access to the sight that ensures your pick ups are always accurate,...

I'm not certain it would work for American Spotlight Operators. Wouldn't everything be upside down or something? 

I must say I prefer a SpotDot vs. Telrad(Bullseye) thread to a PC vs. Mac thread, but "girls, you're both pretty."

I have used both, on the same fixture, but for different shows, and I prefer the SpotDot. YMMV.


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## derekleffew (Oct 8, 2007)

gafftapegreenia said:


> For example, say the LD wants a waist-high spot.


If an LD over headset told me he wanted what you said, I would make a 3' circle from the floor to the performer's belt line. Which I would refer to as a "waist shot on the knees" which I've never heard of. 

Did you mean to simply say "waist shot." meaning from the belt line to just above the head?

Now no one go and get all semantical on me and say that the belt line is not necessarily the waist, for example if we're doing _My Fair Lady_ and Eliza is wearing an Empire-period gown at the ball. "Tight waist" and "loose waist" exist for just those sorts of possibilities.


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## gafftapegreenia (Oct 8, 2007)

Ok, yes, that's what I meant. I should have gone and checked my terms before posting for surely I should have know you would come along and find the fault in my words. Then again, it's ok, because its very rare I'll make that mistake again. 

Telrad, Spotdot, its all good.


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## Redking (Sep 12, 2008)

I have been using a Telrad star finder sight for years now, after messing around with;
A) Bent coat hangers held with gaff tape (stone knife anyone?)
B) Laser sight dot (alarmed more than a few performers)
C) High powered rifle sight held in place on a home built mount strapped to the spot (alarmed a few security people and audience members when I was running from a plain-sight open platform)
D) Spot Dot (which I hated 8 minutes into it's brief two months of use)

The Telrad cost me $48.00 new. It uses a mirror and "hud" display on glass in the viewfinder to produce three concentric red rings. I attach it's mounting base to the spot front end with a small 8' long ratchet strap (OSH and Home Depot, $4.99, made by Keeper), mount the finder and slip it's lanyard (added by me) under the strap and ratchet it snugly. Then I set the smallest brightest spot I can make and aim at a point across the arena or at the extreme upstage corners of a stage. The three adjusters on the Telrad let me set the smallest inner ring so the spot fills it. I usually check on two more points, downstage and as close as the performers might get to me to verify and "fine tune" my sight. The whole process takes thee to four minutes. If there are audience about, I can do it under half intensity, but it takes longer.

I have been running Strong GladiatorII follow spots in both indoor arenas and outdoor amphitheatres, typically with 150' or more throws, and I can say that the only reason I ever missed a pickup was because I went to the wrong place to start(gr) "Spot one, pick up the guitar player.....Spot one, that's the bass player..." ooops. 

I can bend my head a bit and look directly through the TelRad if I am working at low intensity, which can make it hard to track by watching your edge. I can even pre-set a pickup point in blackouts, as the red rings don't screw up my night vision. 

While I was running spot recently for Ringling Brothers, it made the 65 cues easy even when tracking a thrown hat, a prop attached under a truss across the arena and behind video walls and other lighting truss, and a guy on a wire-mounted motorcycle who only wanted 50% intensity. And a running dog.... it even made it possible to make a completely blind pickup, with the help of a bit of black gaff tape (yay gaff tape!). 

I had to make a tight pickup in a tight full body circle from 120 feet. Problem being I was aiming across the full-on beam of the follow spot 6 feet to my right, into an area in full blackout. That spot would go out, and I was supposed to immediately hit the Ringmaster, but there was no way my eyes could recover fast enough. After having to ghost and sweep to him opening night, for the next show I put a little tab of gaff on the safety cable in front of us, where the center ring of the Telrad hit. Bingo. Seven more shows, perfect pickup every time ( he always stood in exactly the same place, which I admit helped...thanks Richard Waggoner!). 

Oh. So get a Telrad. I mean, if I wasn't clear on how much I like mine....


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## stagehand354 (Apr 8, 2009)

For several years now, most US traveling shows require absolutely precise pickups, oftentimes happening in complete blackouts or with minimal ambient stage lighting. Because of this, most LDs have little to no tolerance for botched pickups and, as a result, most of the IA guys I know (including myself) operate with the "Telrad" sight, which was originally designed as a telescope sighting device. If you aren't familiar with this great little tool, click here for more info. 

One of the nicest features is the fact that the reticle can be "dimmed" with an integral control, which permits fine adjustments for various levels of stage lighting. I have also found that by adding a piece of Lee 198 filter to the glass on the stage side of the Telrad, it’s much easier to discern my spot on the stage when the ambient lighting is at its brightest.

I know some purists will argue that a spot sight is an unnecessary crutch but having now run follow spots for almost 50 years, there’s nothing wrong with making the show look better. As many of you know, no one will ever notice a decent follow spot op but everyone in the audience will take note if he or screws up even once! Now that the Telrad has become somewhat standard, most shows now travel with their own inventory and will require a spot op to use theirs if he or she doesn’t have one of their won.


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## iLightTheStage (Apr 9, 2009)

I do lots of "one-offs" for different shows, and have a Telrad Sight for when I am a followspot operator. I highly recommend it! 

Some people argue that a real spot op doesn't need it, but when all of a sudden the performers/band/talking-head wants to acknowledge someone in the crowd, you can INSTANTLY pick up a dead shot on that person. 

And for shows where you can't see where your spot is landing because of the bright stage or the designer having written in a moving light position that is right at you, the sight is also a lifesaver.

And the Telrad only costs $40, so it isn't a bank-buster.


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## PDSaccman (Feb 23, 2012)

At our theatre we use Source Fours as our followspots, so this is for anyone who uses that kind of light. I have found that if you keep the gel clip up you can use it as a sight.


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## sfojuicer (Mar 2, 2013)

I've used spot dots, Telrads, wire rings, light leaks from an empty screwhole on the lamp housing, and even lasers mounted to the top of the spotlight (aimed at marks over the spot booth window of course.....never at the stage) and for my money the Telrad works best. The middle ring is exactly the right size to frame a full body shot at 150', and the small ring is about the same as the smallest usable iris. The only drawback is, since it was designed for telescopes and viewing night skies, it often isn't bright enough, particularly if you have a brightly lit red colored stage. I have devised a Telrad modification using a brighter, bi-color (red/green) LED and a color select switch to remedy this issue. I've also been installing coaxial power jacks (which leave the batteries working if no power supply is plugged into it) so that you can run it off of a 3vdc external power supply. Contact me "[email protected]" if you're interested in a diagram and instructions on how to do this modification, or even if you'd like to send your Telrad to me to have it modified.


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## chausman (Mar 3, 2013)

Both Super Troupers I've used have had home-brew sights made specifically for it. I believe it is actually a coat hanger bent and taped to the unit. It works, until the tape gets too hot, but along with practice, it did really well. We all knew how to "offset" for the tape pulling up. Granted, we never had any head shots.


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## DuckJordan (Mar 3, 2013)

Telrads, we've got two of them for our three super troopers they are really inexpensive and can be used on just about any spot.


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## PeteEngel (Mar 4, 2013)

The Pro of the Telrad (the best of the electronic sighting instruments) and all of the other units of that type are that it is easy to make a pick up. No questions, it is the best way for someone to walk up to a light and use it. 
What I've found to be the Cons of this type of system is...focusing too much on sighting after the pick up leaves an operator not easily capable of responding to actions of their target on stage in real time. Quick movements are filtered through the sighting device and an actor/singer/animal is out of the pool of light in an instant. A sighting device's (all of them) accuracy is dependent upon it not being banged or otherwised moved (it happens). A failure of an item during a show leaves an operator dangling. (sure it is always the rule that you check your batteries before using...) Taping any device to your fixture is bad juju. Heat can cause the adhesive in your tape to slip, knocking your device out of alignment. One word, Magnets. One phrase, safety your device. 
Good followspot operation is a combination of hand/eye coordination and either a learned or inherent feel for movement of an acrobat (or skater), drunk actor or horse (drunk or not). Angles, flight characteristics and gravity, combined with the relative response capabilities of the followspot (whether it is 1 finger pan and tilt or you have to throw your back out to move the head an inch) and your actual throw distance all combine with other factors including fixture position, operator attentiveness, cue calling capabilities (we have all run into bad cue callers), cue speed and a whole list of other things to cold operate a followspot. 
Please note, If you use a targeting device, once you have picked up your target, look up at the stage or you WILL lose your target. It is called Target Fixation and it affects your Situational Awareness.
I prefer a swizel stick from the local bar attached to the front of the light. They don't need batteries, come in a variety of shapes and sizes and you have a good time obtaining them (as long as you are 21). That said, if I had to choose a sighting device, the Telrad would be the preferred sight. It is easier to sight and still see the stage. The Spotdots I've used in the past are less forgiving with your head position and the operator is more prone to target fixation using that item. 
Just my 2 cents worth.


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## derekleffew (Mar 4, 2013)

Pete, I agree with everything you said. However, there are times (more and more lately) when looking through the sight is the only way to tell whether or not one is on one's target. Even a 3k Gladiator at 200' can't compete with VL3k washes at 25'. And there are 20 Sharpy floodlights pointing directly in my eyes. The camera can tell whether or not I'm on the star, but I sure as heck can't, not without continuously referencing the sight. When the performer is in motion, there's a good deal of hope and prayer and dumb luck involved.


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## sfojuicer (Mar 4, 2013)

I'm with you 100% about not depending on tape for mounting your Telrad or other positioning device. It will fail. Magnets will also eventually let you down because the device will get bumped and the magnets will allow movement. Ratchet straps can be quite useful, but ultimately it's nicest to install something permanant. At the opera house where I used to work, we installed aluminum wings atop the booth Super Troopers (if you pull off the chrome trim rail on top it leaves holes that you can bolt through without having to drill anything) and on the Robert Juliat spots in the ceiling cove we installed angle iron rails with some trick little custom aluminum plates that clamp onto the angle iron and give you a solidly bolted, yet completely adjustable, Telrad mount. Because the angle iron runs the length of the spotlight, you can also position your Telrad anywhere along it, and it also gave us a convenient place to clamp weights near the front that, because of the steepness of our downshot, adjusted the balance point correctly. Fixed weights work a lot better than swinging weights from a steadiness perspective. In many opera and ballets we ran the follow spots at relatively low intensity levels, and also with frost, which made it nearly impossible to see your beam. I found that the Telrads middle circle was exactly the right size to frame my human target in a full body shot, and by keeping them inside that circle, I was assured that my light always had them covered. Pete...are you still with Robert Juliat? I've retired from SF Opera and Ballet since you and I worked together.


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## PeteEngel (Mar 5, 2013)

Jim, Still here at RJ! Yeah, the mounting options are quite varied and what works for an permanent install isn't appropriate for a one off, rental or other. Your sighting solution at SFO was really trick! And as you and Derek mention followspot lighting can be subtle and sublime, either due to artistic direction or simple stage light overpowering the followspot. I always had an issue working Ice Shows, where the pool of light would kind of penetrate the ice and when a few lights combined I would sometimes lose which one was mine. The Telrad is the easiest device I've used that allows you to see where you should be and still keep your show awareness in those occasions. (not a corporate endorsement, personal experience) If "required" by a show or situation I would use a device, but it was never my "go to" followspot situation. It was just more junk to have to tote around.
Jim, still riding? Give me a call when you have some time to chat!


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## derekleffew (Mar 5, 2013)

Nothing worse than running a light for an ice show, seeing a followspot that's totally lost, then realizing it's YOU!

Another word on magnets: some lights, notably Strong Glad IV and Altman Explorer, don't have ferrous metal in any appropriate place for which to mount a sight.


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