[Dennis Size]

You can find instructions on how to build one in any good Scenic Design and Construction textbook.

DS

[Dennis Size]

Yep…that’s not uncommon.
As a matter of fact our company just relit MARTHA STEWART, and there was a some concern about using the open face units on the 30 Chimeras we put in the studio.

Several years ago (9 to be precise) ARRI actually recalled those units as there were several instances were they actually burst into flames …twice in front of me …. once LIVE on ABC-TV’s ELECTION NIGHT SPECIAL with Peter Jennings (Bush/Gore coverage). After a long day of coverage, at about 2 in the morning (remember how late results were for that electrion?), one of the chimeras actually burst into flames along with the light…causing the unflappable and debonaire Jennings to calmly tell the world that one of his lights was on fire. My electrician ran out to the studio floor with an extinguisher and put out the fire while cameras documented the event (the most lively thing to happen for hours) for millions of people.
Another time, while I was standing on the set for GOOD MORNING AMERICA talking with Diane Sawyer, balls of fire-engulfed-plastic plummeted between us setting the carpet on fire. I looked up to see an ARRI 1kw open face in flames.
Any compact fixture that is enclosed in a lightbank would be prone to overheating, this particular unit however, was the only one I’ve seen actually react so adversely.

DS

[Dennis Size]

Durablity.
Reliablity.
Quality of construction.
Better ventilation.
Better sound absorption (less transmision).
Better optics.

Just compare the theatrical versus television fixtures sold by companies such as ALTMAN, STRAND, and ARRI. The differences are obvious. Rent a few television fixtures and conduct your own study.

Bear in mind however (other than a lesser quality) most fixtures designed for theatre application do provide nice light output, and that’s the ultimate goal …. and are better than some of the television fixtures on the market. For example a 1000w theatrical fresnel is still better than a Lowell 1000w fixture.

One question, a 2000w television/film fresnel is a “beefy” amount of illumination (unless you’re putting chimera lightbanks on them). How high is the grid in the studio you’re equipping?
DS

DS

[Dennis Size]

Surprisingly (because you shoot in a hospital) you own a lot of inefficient, heat-producing, instrumentation. I would suggest you buy a few LED Lite-panels and a Kino Flo Diva 400 and 200 ….. plus the necessary grip gak and accessories.

DS

[Dennis Size]

The Chimera frame is cetainly a great idea …as is the foam fabric …which is also available at Rosebrand. The spandex fabric Bob recommended from Rosebrand may be your best bet however. I’ve brutalized that stuff and it bounces back with nary a wrinkle — It’s much thinner than the foam backed version too.

DS

[Dennis Size]

When in Pittsburgh I usually use Vincent Lighting.
Check them out:
https://www.vincentlighting.com/about/contact.php

DS

[Dennis Size]

By the way, a good diffusion to use would be Roscolux Hamburg Frost #114 (between the barn doors and the lens).
Roscolux #119, “Light Hamburg Frost”, might be better for the medium lens fixtures. It depends on your throw distances.

DS

[Dennis Size]

You’ve got it.
The closer area lights should be medium lens fixtures at 750w, the middle areas should be narrow lens fixtures at 575w, and the far area fixtures would be very narrow lens fixtures (which should also be mounted on the top of the truss to help maintain a consistent beam angle).
I’ll attach a sample arena boxing light plot I did for an event. It may help you to understand the layout.

DS

[Dennis Size]

It sounds like you had the perfect equipment complement of gear.
Glad your shoot went well. Thanks for letting us know. Any pictures?

DS

[Dennis Size]

your instincts are correct…and you’re being quite ambitious.
Your Mac 250’s won’t be powerful enough. You’ll need AT LEAST a MAC 500 or 600. (I normally use a MAC 2kw… the ideal would be a VL 3000).
Hang one square truss all around the ring approximately 20% bigger than your ring.
Here’s a quick and easy way to light your fight. Divide your ring into 9 circular areas. Pretend each area is a clock face. Hang a source 4 PAR from the 12, 3, 6, and 9 o’clock positions of each circle. Be sure to use the correct lens to create an equally intense beam with the same diameter coverage from the distance you’re hanging at. Barn doors and light diffusion will be VERRYYY useful. You’ll now be evenly lit all around the ring for every camera angle. You should also add specials into each boxer’s corner. Be sure to keep the truss high so you don’t blind the fighters …or you’ll be in deep trouble.

DS