From the team that brought you ROGUE, MAVERICK is a series of moving head fixtures designed to exceed your expectations at every turn. Launching at the Pro Light and Sound show in Frankfurt on April 5th, 2016, these lights are targeted at the touring industry. Check out the teaser video!
The future of the lighting industry is in our hands. That seems like a big responsibility, and it is, but together, we can make sure that the next generation of lighting professionals is ready to face the challenges of entertainment lighting as we move evermore forward into the digital age of lighting.
For those of us in the 40+ portion of the industry, we all remember the world before DMX. A lot more cable, clunky control systems, and dimmer racks that went on for miles. With the advent of LED and the Windows based lighting controllers, that all changed. Now, when I hear someone say that they can focus a par can rig in no time flat, I have to think to myself, “Yea, that’s great, but when is the last time you saw an all par can rig?” The truth is that the skill of being able to focus a par can rig is now almost part of our history. That is like saying “I know how to use a telephone style patch board”. Many lighting professionals today have never seen one of those old 2 scene preset consoles that we used to use that had those old systems. Again, it’s all history. BUT HISTORY IS IMPORTANT!!! and by mentoring the people coming up in the industry, we can make a positive impact on the future, so when we retire, we know we have left it in good hands.
I am not suggesting that we should force people coming up in the business to learn how to use a Kliegl Brothers 2 Scene Preset lighting system. The amount of asbestos in those old systems alone would be deemed an environmental hazard. I am suggesting that it is important to talk about them because the idea of how they ran is still relevant.
Let’s take patching for example. Now patching is almost always done one to one. This is to say, that there is one channel per circuit, or one channel of a fixture personality to one channel of DMX. It’s all done virtually on the console now. It used to be done physically on the side of the stage. Someone physically assigned pin (output circuit) 23 to dimmer (channel) 6. If this was the only channel assigned to dimmer 6, that was dimmer per circuit. However, most people used multiple circuits on a single dimmer so that they could maximize the amount of lights that would be controlled by a single dimmer. This meant that no matter what, when I raise up channel 6 on the console, dimmer 6 would bring up whatever lights were plugged into it. Why is knowing this important? It is important because if you can visualize the physical track that your channels take when you set up a system, it can help in system design and trouble shooting. Learning how patching works from someone who has physically patched fixtures will show you the value of understanding how your system layout actually works.
Now, back to the par can guy. Why is it important to be able to focus par cans quickly? The same reason it is important to focus anything quickly. Time is money. Learning how to focus lights from someone who has done it for a long time can be a big advantage. They know the tricks on how to find your best light, even during a daytime outdoor focus call quickly and effectively. Trust me, that is a great skill to have.
So, OLD GUYS, the next time someone asks you for your help or advice, don’t just throw them the line “I learned it the hard way, welcome to the game!” take a moment and actually help the person out. And by the same token, YOUNG GUYS, listen to what the experienced guys are telling you. They have a ton of life experiences that you don’t. Let the lessons they learned the hard way make your life a little easier. Trust me, you will have to learn enough things the hard way yourself. This is a collaborative business and there is room for everyone!
CHAUVET Professional has the pleasure of attending many industry trade shows around the world. This is where we get to meet with several of our customers and exchange new ideas on how our lights are used by… well, for lack of a better word, users. The NAMM show in Anaheim, California is no different. While we do have a smaller presence at this show than our friends on the DJ side of CHAUVET, we make sure to fill that space up with some cool lighting, atmosphere, and application. Thanks to everyone who stopped out to see what we were up to. For those of you who missed it, here are some photos from the show floor.
Our corner of the booth with a few of our friends from Erickson Pro, our distributor in Canada. The PVP X6 IP video panels made a perfect banner for the booth.
Using the WELL FIT to up-light a break-up structure.
showing off the Ovation E-910 FC
Mike and Lucciano mugging for the camera
And here is our video that we shot on the floor –
The stage is set for another exciting NAMM show in Anaheim California! CHAUVET Professional is very exited to partner up with CHAUVET DJ to bring you another fantastic trade show experience. This year, we plan on making all of our noise with the colors of light. All of the products that we are going to be showing at this show are ready to impress. Before you come to the show tomorrow, here are some of our fixtures that we know will knock your socks off.
The Epix Tour Series consists of three products. The Epix Stip Tour, Epix Bar Tour, and Epix Drive 900. Épix Strip Tour is a pixel-mapping 1-meter LED strip, featuring 50 LEDs in a row and a 125-degree viewing angle..For added versatility and more creative options, a dome accessory is available to widen the viewing angle to up to 180 degrees. Epix Bar Tour is a pixel-mapping 1-meter LED bar, featuring 150 LEDs in three rows and a 125 degrees viewing angle. Épix Drive 900 hosts the processing and power supply for the Épix Tour system. It supports either18 Épix Strip Tours or 6 Épix Bar Tours, or any combination of the two, with a total capacity of 900 LEDs. Épix Drive 900 supports Art-Net, Kling-Net, and sACN, giving you a variety of control options. Thanks to an integrated web server, you can remotely diagnose, troubleshoot, and change settings as needed without having to directly access the Épix lights.
The COLORado 1 Solo builds on the pedigree of our COLORado line of fixtures with new all-environment performance and advanced optics. This powerful RGBW LED wash projects an even, fully homogenized beam through fast and smooth zooming optics. Utilizing new IP rated power and data connectors and full convection cooling allows this fixture to perform anywhere from a silent main stage theater to an outdoor summer music festival.
The COLORdash S-Par 1 is the first of the next generation of COLORdash family of products which appear to have a single light source. Using a new high-power RGBA LED engine and homogenizing optic, COLORdash S-Par 1 is poised to become the workhorse of the Event lighting industry. The RGBA LEDs produce a beautifully blended color palette with a subtle soft edge. Fully convection cooled and using IP rated power and data connectors allows the fixture to be used indoors or out. An innovative touch display and rugged split yoke make this fixture perfect for any event.
Ovation E-910FC is fully featured color mixing ERS-style fixture. It features full RGBA-Lime color mixing with output rivaling an incandescent fixture. Sacrifice nothing when it comes to control options with modes providing full 16-bit dimming (per color and master), selectable PWM, RDM and on-board dimming curve selection. Also accessible is our Virtual Color Wheel which matches popular gel colors when projected by a tungsten source, in addition we have added color temperature presets from 2800 to 6500 K that match a tungsten source to perfection.
STRIKE 4 is CHAUVET Professional’s answer to your multi-format LED warm-white wash needs! STRIKE 4 features four independently focusable 100W chip-on-board LEDs that provide incredible output and coverage for a wide gamut of production genres. STRIKE 4 features smooth 16-bit dimming control for those incandescent-style fades, a series of automated strobe effects for using the STRIKE 4 as an audience blinder, individual manual pan control of each LED pod and adjustable PWM for using the STRIKE 4 in film and studio locations. STRIKE 4 comes standard with basic and advanced control personalities for flexibility in programming, and an easy-to-read OLED display for quick onboard adjustments.
Ovation Min-E-10CW complements Ovation Min-E-10WW in a cool white LED version with zooming optics. This ultra-discreet ellipsoidal is perfect for punchy gobo projections in a multitude of applications. It features a four-blade shutter system to efficiently and cleanly crop light from unwanted areas with nice crisp edges. The 19° to 36° zooming optic provides the flexibility to precisely adjust your projection size. Ovation Min-E-10CW is easily dimmed using traditional dimmer packs.
WELL Fit is a must for event lighting. A discrete, high powered LED up-lighter, this small battery powered wash light comes in a reflective chrome housing designed to blend into any décor. WELL Fit can be controlled wirelessly either by W-DMX or by an included IR remote; alternatively, it can be controlled manually from the OLED display on the fixture. All of these features combined make the WELL Fit a perfect solution for quick setup and distinguished accent lighting.
Rogue R1 Wash distinguishes itself by offering a combination of performance features unique to its price class. Powered by seven RGBW 15W quad-LEDs, this bright and versatile moving wash zoom fixture features a unique “bubble” lens design for excellent color rendering and stunning visual effects. Other standout features include an industry standard setting 11° to 48° beam angle, incredibly fast and smooth pan and tilt movements, simple and complex DMX channel profiles, plus 3-pin and 5-pin DMX connectors. Versatility, value and performance make this fixture a welcome addition to any touring rig or permanent installation.
Rogue R2 Wash makes a valuable addition to rental and production inventories. Durable and dependable, this moving wash workhorse produces a bright, powerful light and offers five zones of LED control to pixel map its 19 (15 W) RGBW quad-LEDs. An industry leading zoom range of 12-49° gives the Rogue R2 Wash the spread to cover even the largest areas. Smooth color mixing, simple and complex DMX channel profiles and powerCON in and out are just some of the other features that make this fixture a standout performer in any setting.
Rogue RH1 Hybrid pushes the performance boundaries for automated moving fixtures to new heights. This hybrid beam and spot possesses an unrivaled optical system with 8-facet and 6-facet prism sets that are completely layerable and controllable. Powered by a 330W Osram Sirius lamp, Rogue RH1 Hybrid delivers an ultra-intense output of 111,000 LUX @ 15m with tight beam angles of 1-4.5° in Beam Mode and a zoom range of 5-19° in Spot Mode. Indexing and static scrolling gobo wheels and a 13-hue color wheel add to the stunning visual effects that this amazing tool can create
Rogue R1 Spot brings innovation and creativity with a rotating 3-facet prism for stunning aerial effects, a motorized iris and focus for beam shaping, as well as two gobo wheels, one of which rotates and has 7 interchangeable gobos for custom looks. Rogue R1 Spot shines brightly with a 16.5° beam angle for crisp gobo projections in a range of eight beautiful colors.
With all of that and a few more at the show, this is bound to be an exciting one for everyone! Stop by and say hi, we can’t wait to see you!
Sometimes we have to step aside and recognize things for what they are. David Bowie was a visionary, an inventor, and a humanitarian. He was also a major influence to pop, glam, and modern rock music. He was an artist in the truest sense of the word. David did leave us with some amazing music that is sure to transcend time, and hopefully, for David, space as well. Thank you David for all that you gave to us.
Here are a few tracks from David, which includes Under Pressure with Queen.
Whenever I pick up my gig bag, I always think to myself, “I need to pack less stuff”. The truth is, over the years, I think I have done a pretty good job of making sure that I only take what I need.
Depending on the gig, I make sure to pack well, but not over pack. Having too much gear can be as much of a pain as not having enough gear. Too much gear means that there are items you have to account for that you did not even use.
Indoor gig –
Essential Tools – These are all tools that I know I can’t live without on a job site. These are all things that everyone should have in their bag.
Crescent wrench
Razor knife
#2 long handle Philips head screw driver
Flathead screw driver
Flashlight
Side cutters
Small multi meter
Dental picks
3 – 5 pin turn around DMX cables
Allen Keys
Tape Measure
Sharpies
Pen / pad
DMX tester
Show paperwork (plot, patch, gear list, ect.)
Optional Tools – These are tools you might want to take just so that you know you have them.
Truss tools – I say optional because they should be provided by the gear supplier, but if you have your own, that is never a bad thing. Just make sure that they have your name engraved on them.
Triple tap – When you get to the FOH, you might need to plug in more stuff than you have outlets for and this will save you having to go look for one.
Essential electronics – In order to do my job, I know I have to have some blinky lights and gadgets. Here are the ones I can’t live without.
laptop, I pad or Surface style computer – I like the Surface because it has a USB port built in and I can easily plug in any of my USB control platforms into it if I have to. It is also really lightweight and small.
Thumbdrive with your show file on it – Sorry, but this is a must have. Always try to have your patch done before you get onsite. This will save you massive amounts of load in time.
Charging plugs – Laptop, Phone, ect. You will need them.
Phone – goes without saying, but throw it on your checklist anyway.
Single universe lighting controller – many lighting control companies have single universe dongles that are relatively inexpensive and can run a universe of DMX, or more depending on the controller. This is a good way to have some backup to your show.
Personal stuff – This is all creature comfort stuff that I have in my bag to keep me comfortable during the day. I know that at some point I am going to need all of this stuff. Not having to go and find this stuff when you are on site will save you time and stress.
Aleve – Not just for the headache you might get, but for the body ache you know you’re going to get
Ear plugs – to help you avoid the headache you might get, also, because hearing is important and does not get better with age.
Gold Bond – no explanation necessary
Spare Socks – this is an absolute must for me. If I forget every other personal item, spare socks is one that I refuse to live without. Dry feet are essential. After load in, I change my socks. Foot comfort is one of those things that you forget about until your feet hurt.
Spare t-shirt – If I have to work FOH during the show, I never wear the same shirt I had on during load in. I know it will smell and most likely be dirty. I am representing not only myself, but the person who hired me to do the job. I need to look presentable.
Deodorant – see the above
Cash – not all roach coaches take credit cards.
That pretty much covers the indoor gig. With this gear in your backpack, you have a pretty solid gig bag to get you through your day as a lighting guy. We all have the things we can’t live without, and this is my list. When it comes to outdoor shows, the only things that change are some additions personal items that I bring with me:
Toilet Paper – With the combination of the roach coach and the porta potty, having your own will save your….
Wet wipes – see the above.
Sunglasses – due to the fact that everyone in our industry is part vampire, they are essential.
Sunscreen – see above
Bug spray – did a gig over the weekend and wished I had some. I had to borrow from the sound guy. Borrowing from the sound guy is embarrassing.
Full change of clothes – and even an additional extra pair of socks. The reason for all of this is because if it rains, you need a change of clothes. Sitting in wet clothes is the worst way to spend a day.
Towel – you never know.
Also, make sure that the company that you are working for is providing a tent for front of house. There are a few reasons for this. The biggest is that it will protect you from the sun or rain depending on the day. Also, it is impossible to see the screens on your lighting controller in direct sunlight. You need some kind of shade to make that possible.
HAPPY NEW YEAR!
2016 is a brand new year and it is ours to design and create as we see fit. CHAUVET Professional is looking forward to another great year with all of you. We would like to take this opportunity to thank you all for traveling this road with us. Many of you have been there since the beginnings and have not only seen us, but have helped us to grow to where we are now. We are proud of what we have accomplished together and look forward to an amazing year! So, with that CHEERS TO 2016 and we look forward to seeing all of you at our various events over the next year.
Congratulations to our CHAUVET Professional video team for hitting the top 10 most viewed videos on Live Design’s website. Way to go team!. The Rogue RH1 Prism Power video made waves in the industry and helped us launch a product that offered something different to the lighting world. Check it out one more time!
A not so long time ago in the galaxy of which you live in, the entertainment lighting world was dominated by two types of light sources – halogen and arc-source lamps.
These two types of sources were used for broad range of lighting fixtures and for the majority of the industry; our fixtures were defined by the light source that was in them. Almost all moving head fixtures were lamped with arc-source lamps, and static wash lights were lamped with halogen lamps. There were some exceptions to this rule, especially in film and television, but for our discussion today, we are going to leave it as arc-source for movers, and halogen for statics. This further helped us define our lights for specification. For example, we knew that a 750W Ellipsoidal was perfect for onstage and front of house lighting situations for theatre and that a 250W moving head spot was the ideal nightclub fixture based on its 250W arc-source lamp. We also knew exactly what the quality of white light was going to come out of these fixtures.
Halogen lamps are always warm in color temperature. For example, the most popular lamp in the 750W Ellipsoidal range is the HPL 750W lamp.
It comes from a variety of manufacturers, but the spec is pretty much the same. It has a CRI of 100 and a color temperature of 3250K. The HPL 575 lamp is also pretty common. The color temperature is a little warmer at 3050K, and the CRI is still 100. The typical range of Halogen lamps is between 2800K and 3200K.
Arc Source lamps are always cooler in color. Usually ranging from 5600K up to 8000K, these lamps are used in moving head fixtures because of their ability to create a lot of light in a small space and have a good working distance to allow for a bunch of effects to be installed in the fixture. A good example is the 250W MSR lamp. Coming in at 6000K and having a CRI of 90, this lamp was extremely popular in moving heads in night clubs. The cooler color temperature made the apparent brightness of the fixture higher and the high CRI allowed objects being lit to appear vibrantly colored. We still use arc source lamps in most beam fixtures, as well as higher powered spot fixtures. Both Philips with their R series and Osram with their Sirius lamps are providing lower powered and higher output lamps that continue to brighten our stages.
So, what does this have to do with the color of white and how we use it in today’s world? We still have the options provided by halogen and arc-sourced lamps, but now we have more options and it’s all about choice. With the addition of high power white LEDs, we have more and more flexibility in the range of color temperatures that white LEDs are available in. Also, with the fact that we can combine these LEDs together in one light engine, it gives us the ability to create the ultimate hybrid of white – variable white. Variable white is great because now we do not need multiple fixtures to range our color temperatures on stages. Because of this, we can lower our fixture count and create the exact color temperature that we are looking for. No longer are we trapped at 2800K, 3200K, or 5600K, we can now dial in at 4000K by adding or subtracting the amount of output produced by either the warm or cool LEDs. Beyond white LEDs, we also have color mixing LEDs with Red, Green, Blue, Amber, White and Lime colors on board. This means that you not only have the ability to mix amazing colors, but have the ability to achieve a wider range of color temperatures with a higher CRI than ever before with LEDs. Because of this, our stages have never looked as vibrant and alive as they do right now. By using a combination of all of these sources, we can create any look and color we desire. We can even create plaid if we want to.
But let’s get back to white. Why with all of these colors out there do we always come back to white? It is because that is what our eyes really want to see. Our eyes are not designed to be saturated in one particular color, but to see the entire spectrum. So, picture this….you are standing on a hilltop in the countryside of Western NY in the early fall. You can look down onto an apple orchard.
Your eye is designed to pick out greens, but is sensitive to the red contrast that the apples produce. Or even better, picture the leaves changing colors with all of the warm amber, oranges and reds.
This works because the sun produces white light and the colors you see are the result of full spectrum light being absorbed, reflected, and refracted off the orchard rather than a limited color wavelength being projected onto the same scene. If we had the same above scene with a single color, like blue, you would not see all of the contrasting colors. You would only see different shades of blue and black, which would not look that great at all. Your eyes want to see the natural contrast of colors created by the natural light. This is why white light is still important, even with all of these color projecting fixtures out there, we still need white light. In fact, our brains crave it. Single color light, over time, can be exhausting to our eyes. Saturate colors have their place, but white light is extremely important to your show.
I have noticed a trend recently in adding in warm white back into live performances. Not with halogen lamps, but with LEDs. Halogen lamps create heat and require outboard dimming. LEDs create much less heat and don’t require as much back end support. As the efficiency of warm white LEDs increases, the more and more I expect to see this trend increase. Warm whites are perfect for lighting people and creating candle light type moods. They also make excellent blinders and have a nice warm glow.
Cool white LEDs have been around for a lot longer in the entertainment world. They have been used in moving head spots for years now and have more recently been finding their way onto larger tours which used to be primarily arc-source fixtures. Cooler whites are commonly used for spotlighting people in performances to help them to stand out from the rest of the stage. They are also great for projecting gobos in haze and fog to create aerial effects and cut through the rest of the lights on stage to highlight something specific on stage.
However you choose to create your white light, make sure that your intentions are clear. Remember that natural sunlight is around 5800K and moonlight is around 4000K. HOWEVER, often when we light stages, we tend to make sunlight warmer (around 3200K to 4000K) and night time cooler (around 6000K to 8000K) as this is a convention of theatre. There are scales out there that can help you dial in the right color temperature for your needs. An example is the one below:
As we always say, the best way to find out which white works best for you is to experiment with different color temperature combinations.
We recently caught up with Victor Zeiser Of Squeek Lights to talk about his most recent touring design project with Silverstein and Senses Fail. In the video, Michael Graham sits down with Victor to talk about some of the high points as well as the challenges of designing for two bands with different needs and one lighting package.