Skip to main content

    Tech Talk: Don’t Ignore Preventative Maintenance

    Mike Graham looking pensive in front of MVP panels.

    Written by Mike Graham, product manager for CHAUVET Professional

    Keeping your equipment running is critical in this day and age. No one can afford to have a broken fixture just sitting there collecting more dust than if it were in the rig. Scheduling preventative maintenance protects your investments and brings more money in the long run. Depending on your environment and on how much you are using your lights, you should plan for a preventative maintenance usually once a quarter. If your lights perform in a particularly harsh environment, then it would make sense to do it twice or more a quarter.

    1. Exterior inspection. This is the easiest to do, and to be quite honest, should actually happen every time you pack for a show. Watch for these steps when conducting the inspection:
    A. Cable and connection check: check that all of the connections are tight and that the power connector holds the power cable correctly. If it is not locking properly, or is falling out, then it may be time for a new connector. Make sure your DMX connections are sung, but don’t let the cables hang up when you are trying to release them. If you have tails coming from the light, inspect the cable strain relief to make sure it is not cracked. Also, verify that the wire and the connections are in good condition.

    B. Fan vent inspection: if your lights have fans, then there are fan vents. If the fan vents look like the lint trap on your dryer after you run a load of towels, then it is time for a cleaning! This can be done with a rag slightly moistened with glass cleaner.
    CAUTION! Never spray any kind of cleaner directly onto a fixture. Always spray it on a towel or rag, and then rub the fixture clean. NEVER use an air hose or caned air to blow into the fan vents. Spinning the fans may sound cool, but can create a positive voltage feedback into the main PCB and will for sure damage the bearings on the fan itself.

    C. Optics inspection: take a look at the lens and make sure it is free of garbage. Again, a little glass cleaner goes along way. Do not use anything abrasive to clean glass. It will scratch and you will cry.  While you are looking into the optics, check and make sure that there is no apparent heat damage on anything under the glass.

    2. Internal inspection. On any product that has a fan, internal inspections are important. For IP outdoor rated products, this is completely not necessary. Keep in mind that only qualified personnel should open IP products. Opening up a COLORado 1 IP is easy. Getting it back together and maintaining the IP rating is tricky. Also, opening up an IP rated fixture will void the warranty.

    A. Cable and connection check: visually assess the inside of the light to make sure that all of the connections are attached properly. You can give them a little wiggle—not a tug—to verify that they are not falling off. Make sure that no cables are pinched and that they are still flexible.

    B. Fan cleaning: always clean fans before you clean your optics. Once the head covers are off, you will see that you have a rat’s nest of hair, dust, dead skin cells, haze or fog fluid, and other nasty stuff stuck to your fans and heat sinks. To get this off, first put on a mask. You do not want to breath in the dust bunnies that you are about to blow out of here. If you are working on a fixture with an exposed lamp, such as a typical 250-watt or 575-watt moving head fixture, you may want to remove the lamp to avoid having dust stick to it. It’s not so much that the dust will start on fire when you turn the lamp back on, but it will stink as it burns off. So, to make it simple, just follow these steps:
    Step 1: make sure your fan is not going to spin freely. Use a screwdriver to put threw the blades to hold the fan in place.
    Step 2: put on your mask!
    Step 3: using an air compressor, blow the fans clean. Once the fans are clean, blow out the rest of the fixture head with the compressor. Check to see if there are clumps of gunk stuck to anything, especially to the optical path.

    C. Optics clean: make sure that your optics are clean. A little dirt and dust can go a long way to dropping your output. If you are using foggers and hazers, then you will want to pay close attention to this. For the glass gobos, fortunately for you, all CHAUVET glass gobos are on slot and lock gobo holders. Remove the gobo, clean it with a cotton cloth and a little glass cleaner, dry and replace. You can use a cotton swab to get the grime out of the outer edges. If you notice specs of black in the outside of the image when looking at a projected gobo after it has been cleaned, then you are dealing with gunk, which you can only remove with a swab. I like the ones with the long wooden stick like they have in the doctor’s office. For the color wheel, do not remove it. Just do your best to get it clean. Again, I like swabs for this too. Takes a little longer, but looks much better. Repeat process on the prism and other optics as needed.

    All of the above should be followed about once every four months. If you are in a higher usage area, more frequent maintenance might be necessary. Planning a routine like this will keep your rig working for you, and not you working for it.

    CHAUVET Professional Shines at Prolight + Sound 2012

    At this year’s Prolight+Sound event, we showcased our versatile and easy to configure MVP modular video panels built in three resolutions and our innovative pixel-mapping moving yoke wash light Legend 412. MVP 12, MVP 18 and MVP 37.5 modular video panels are lightweight, bright and capable of endless configurations for stage displays or events. Also, new models were added to our popular COLORado series of powerful wash fixtures and to the Q-Series of brilliant moving yoke wash and spot lights. Furthermore, CHAUVET Professional introduced to the European market the Iluminarc brand of LED-fitted fixtures created for the architainment industry.

     

     

     

     

     

     

     

    First Day at Prolight + Sound 2012

    CHAUVET Professional welcomes visitors during the first day at Prolight + Sound 2012 in Frankfurt. Showcased are the MVP Series of modular video panels, Legend 412 pixel-mapping moving yokes, and more, in Hall 11.0, Stand B31, in the Messe Frankfurt complex. All are LED-fitted fixtures with multiple applications for multiple settings.

     

     

     

     

     

     

    Colombia Trip: Medellin

    CHAUVET Business Development Manager for Latin America Paula Ortiz traveled to Colombia to visit and train local CHAUVET distributors. Her first stop was distributor Luces Para Discoteca (Disco Lights), in Medellin, which carries a variety of CHAUVET  lights.



    Paula Ortiz at the amazingly beautiful Tequempita Watefall

    Zen and the Art of Entertainment Lighting, Part 2

    Mike Graham looking pensive in front of MVP panels.

    Written by Mike Graham, product manager for CHAUVET Professional

    Question: How many grains of sand are in the desert?
    Answer: Not one more than there has to be.

    When you are working on your design of your light plot, it is important to not throw every single light you have at the stage…unless it absolutely calls for it. Once the set design is finished, your job is to make it look amazing. The key here is not to go over the top. Too often designers make the error of throwing the kitchen sink at a rig just to have more. This is not the way of Zen. Zen dictates that the design does not have to be stark, but the choices have to make sense.

    Plot with Care, Grasshopper.
    It is really easy to stray away from the plan during the plotting stage. Firstly, using software like WISYWIG, MSD, or Vector Works makes dropping in lights really easy. So easy in fact, that the temptation to go overboard is strong. For anyone who doubts this, check out the CHAUVET LDI 2009, 2010, and 2011 rigs. If there is an open square foot of truss, I am dropping a light in. For a trade show, this is important as the point of the rig is to show what the lights do and how they work together. That is the story line for a trade show, however, this is rarely the case in everyday life.

    Consider the Performance.
    When you are working on the plot, consider the act. Are you working with a smoky blues singer, or are you working on a Fortune 500 gala event. If you are working the blues singer, then having a few down lights, a little front light, and some back light are really effective and will look really cool. If you are working the gala event, then a much bigger rig may or may not be called for. It really depends on the event. Even if you are working on a straight play (a play with no music), there must be a balance. Classic front, side, and back lighting will work perfectly. Cover your acting areas evenly is the key. There is no need for any kind of excessive lighting in these situations.

    Get Practical.
    So let’s say I am plotting a show that will have a few practicals. A practical is a light on a set that would be seen in day-to-day life, like a table lamp or a wall sconce. It can either be controlled by an actor (bad idea) or by the lighting operator (good idea). Let’s say I have four wall sconces and two table lamps, I also have to light around them with theatrical light. This means that I have to take into account what kind of light the practical will put out in relation to what the design intent is when I place my theatrical lights.

    For example, in your house, a table lamp gives off enough light to read by, but not enough to light the whole room. A wall sconce will give off enough light to fill in the places that the table lamp does not. I would use my theatrical lights called specials.

    Stay Special.
    Specials are names for fixtures that are used to accent a specific thing. In this case, the special is used to give the impression that the practical is brighter than it is. A special is a functional light source, not an area light source. As I select my specials, I would choose soft, diffused edges and try to get the color temperature to come in around 3400 K so that it is a little cooler than the practicals will be. This will allow the practicals to be seen and function, but will allow the theatrical lights to give off enough output to let the action be seen. Combined with the basics of front, side, back, and down light, this will give the action the correct amount of light and will not overpower the light itself.

    The plot is set…Let’s start programming.

    Read Zen and the Art of Entertainment Lighting, Part 3
    Read Zen and the Art of Entertainment Lighting, Part 1

    LD Profile: Walter Aleman

    Six questions with Walter Aleman, lighting designer for Off the Hookah chain of Mediterranean-style restaurant/lounges in South Florida.

    1. How did you get into this field?
    I was introduced to lighting by visiting one of my best friends Mike Littlefield (DJ SWERVE r.i.p.) that was DJing the grand opening of the new Seminole Hard Rock Hotel & Casino in Hollywood, Fla., about eight years ago. Since I was always good with computers in college, he suggested that I play with the lighting computer and see if I could control them. Mike Corby, who currently works with CHAUVET, helped me learn all the functions and all the technical aspects of how lighting works and how to run the programming. From there I went on and did my own research and found that lighting was my new niche. I learned more and more from some of the top lighting engineers in South Florida, and I am very thankful for having Mr. Corby, Jorge Lobo, Rolando Aspuro, JP Sanchez and Luis Goenaga by my side when it comes to lighting.

    2. What do you think is the next big thing in the lighting industry?
    LEDs have come so far – there will always be a need for lighting no matter where you are on this planet. There’s going to be a time real soon that we will no longer need light bulbs – from large casinos, hotels and high-rises to nightclubs and special events. Sorry Mr. Edison, there is always going to be a need for beautiful lighting!

    3. Do you have a favorite fixture (and why)?
    My favorite fixture is definitely Q-Spot 260-LED. This fixture has a 60-watt white LED, which is the equivalent of a 250-watt light bulb that will last about 50,000 hours. That’s pretty much saying I can leave it on and running for five years without it going out on me. It moves quickly, smoothly and is very silent. Q-Spot 260-LED has what you need for endless color and great texture combinations, as well.

    4. What has been your favorite design/project?
    So far Off the Hookah in Bayside Miami has been my favorite project. Because of its design and interior lighting, the whole location was a great experience for me. [Click here for Off the Hookah story]

    5. What was the biggest unforeseen obstacle that you’ve faced in one of your designs, and how did you overcome it?
    One of the biggest unforeseen problems I had was when we had a big show to do, and it started to rain and the water began leaking through the roof of this venue and unfortunately damaged one of my CHAUVET COLORstrip linear wash light and the DMX signal throughout all my lights. Luckily I went one-by-one until I found out where the problem was; took out both DMX cables from the broken fixture and made a new line by soldering them. I regained my signal and show – thank God.

    6. Complete this thought: A show without light is like…
    …the Earth without the Sun. Dark, dull and boring! Plus no vitamin D.


    CHAUVET Professional at PLASA Focus: Austin 2012

    CHAUVET Professional showcased INfectious products at this year’s PLASA Focus: Austin 2012. Visitors of booth 206 had the opportunity to experience our MVP 12 modular video panel, Legend 412 moving yoke, COLORado 2 Zoom Tour and COLORado Zoom Tour static wash lights, as well as Q-Wash 560Z-LED moving head. Also featured was the practical wireless event LED luminaire WELL, and PowerStream 4, an INgenious splitter for powerCON connections. The versatile and bright COLORado 2 Zoom Tour and Legend 412, capable of amazing pixel-mapping effects, both received special attention from attendees.

    Dwight Slamp holding MVP 12 video panel for guests.

    Legend 412 pixel-mapping moving yoke.

    COLORado 2 Zoom Tour wash light.



    WELL fixture wirelessly uplights banner on the right as well as in images below.