What do you use to get the most even wash on a backdrop?

If a drop is all the way up-stage, I can light it with the row of SkyCycs that are already hung for the cyclorama, and I get a nice even wash. But if the drop is mid-stage or down-stage, then all I have are the old 14" 1K Altman scoops that I generally use for worklight. Even with Rosco's directional diffusion gel in them, I just don't get the best even wash, especially across the top edge.

As an example, here is an otherwise nice Grosh drop in a middle school production of "Birdie". You will notice the unevenness of the light across the top in this photo. Although strangely enough, it did not look nearly as bad in person during the show. I guess the human eyes blend the intensities more than a digital camera does!

Birdie Depot Drop

In this case, my electric had to be set at a trim height which was pretty close to the batten holding that drop, (because my backlight lekos on that electric needed to stay clear of the downstage teaser), so I was not able to get much spread with the scoops. Even with diffusion gel in them, they still looked really disappointing.

For other shows I've added specials into some cues that I call, "drop fillers". These are lekos mounted on the balcony rail that shoot staight at the top of drops to blend out those choppy scoop shadows. However, such low angle lekos can cause a "dear in the headlights" problem for actors...so I try to avoid them.

Then for a middle school "Beauty and the Beast" production, I was able to get a little better mix on this great Kenmark interior drop, because I had the electric flown out a little higher this time. But the problem here is that the scoops spilled onto the black velour border over the drop! Notice the five telltale "dashes" across the border at top of this photo.

Beast Tavern Drop


For "Les Miserables School Edition" last week, I ran out of time to do all of my fine-focusing on the drops, (because I spent too darn much time on the set instead!) As opening night rapidly approached, I ended up having to light this Kenmark Paris drop with 36 degree Source4's at a steep angle, with diffusion gels over amber.

Les Mis Paris Drop

I was really annoyed by that particular stage-left leko. Because to me, it read as "a leko"! Maybe nobody else noticed...but it irked me so much that before the second performance I installed some bigger 50 degree lenses and defocused the edges a lot better. The point is, lekos are just not the best thing for lighting backdrops either.


What do you use for drops? Roundell striplights are a thing of the past...and I can't afford the new LED strips! Do you use broad cyc floods downstage, or what?

I have lots of drops, (up, middle, and down-stage), to light for "Grease" in February, so I would appreciate any and all suggestions you have. Thanks, Dana

The best way to light a drop, in my opinion, is still striplights. Look at the Altman ZS series MR16 ministrips. They need to be a little downstage of the drop to work best, but you will get the smoothest coverage of the drop that way. I still prefer them to LEDs. The color rendition of LEDs is still far from what it should be, particularly when you are lighting the rest of the stage with conventional instruments. MR16 strips are not cheap though. Certainly less than the LEDs, but still a major investment.