A new panel light for the cinematic industry launch by ETC

Since 2016, a dedicated research team was formed at ETC to work on future technology and product to improve fixture specialised in light for use on camera. The findings from this study on color perception come together in the family of fos/4 panel lights, now available from ETC.

Each of the three panel sizes (small, medium, and large) deliver brightness in two array options. The Lustr X8 array incorporate a deep red LED to its mix that enrich the spectrum by enhancing skin tones and giving new depth to blues, greens, and ambers.

The Daylight HDR is a tunable white light array that, using a calculated selection of LEDs from the X8 color system, produce a natural warmth when rendering skin tones and is optimized for output in cooler temperatures. These soft lights offer a shocking level of brightness, and selectable CCT between 1,900 – 10,450 K. All without compromising on color quality.

The full-color screen and tactile encoders on the user interface were designed with the cinematic workflow in mind. fos/4 gives nuanced color control from the full-spectrum color picker within the UI, letting you choose how you mix each color. Use the Tune function to choose brightest, best spectral, or a hybrid of the two. Save your customized color palette to one of the many programmable presets.

The industrial design of the fos/4 panel is ergonomic. Features include the Griprail, a bracket that acts as a mounting location for the fixture as well as for the numerous accessories found on a shoot. Handles that double as safety cable locations, rounded corners, and an industrial gray finish add to the visual appeal without compromising functionality.
Additional features include NFC configuration from your mobile device, Multiverse Wireless control from your console using City Theatrical’s Multiverse transmitter, and a suite of effects that you’d come to expect from a fixture of this caliber including emergency lights, beacon, camera flash, and party. And like all ETC products, fos/4 Panels are made in the United States, come with an impressive fixture warranty and a customer support promise.

More about fos/4 and how it’s changing the way you light for camera at Studio ETC Connect
3 live events are going to happen around the world in early February 2020. Register here to see the product closely.

L-Acoustics Updates Best-selling Kara with Flexible Directivity

L-Acoustics announces the new Kara II modular line source, with the addition of Panflex, giving Kara four-in-one directivity: one box handily covers any audience geometry. L-Acoustics will make available a kit to upgrade existing Kara with Panflex.

For three decades, L-Acoustics has consistently developed pragmatic audio solutions that enable audio professionals and artists to elevate the audience experience. For a decade, the Kara line source has been the star of countless live performances and permanent installs the globe over.
Kara II morphs to fit any design, offering consistent coverage and SPL distribution with precise focus in four different directivity patterns: 70° or 110° symmetrical and 90° asymmetrical, steering to either the left or right. In its 70° configuration, Kara II packs a full 2 dB more than in 110°.

The success of Kara has never ceased to increase, more than 45k Kara sold worldwide, earning the loudspeaker best-seller status at L-Acoustics and in the professional audio industry. Last year saw record-breaking sales for the lightweight, elegant enclosure.
In a nod to the wide audience of Kara owners around the globe, L-Acoustics will make available a kit to upgrade existing Kara with Panflex.

Florent Bernard

Florent Bernard, Executive Director of Application Design at L-Acoustics explains, “Kara has been a perpetual best-seller for a reason. Its lightweight, diminutive form factor and strong, consistent SPL distribution make it the perfect tool for a plethora of events or permanent installs.

9 Kara II topped by 3 SB18. Look closely the first 6 Kara II. They are set at 70° and take advantage of a better reach and SPL whilst the bottom 3 are wide open.

When we introduced Panflex to the industry, our clients told us this was the only thing missing from Kara. We listened, and the new Kara II brings our medium-format line array into a new era of added directivity and improved polar stability.”

Kara II is a powerhouse enclosure, meeting the needs of any audience geometry and morphing to fit any design, offering consistent coverage and SPL distribution with laser focus.

As with all L-Acoustics K Series line arrays, Kara benefits from decades of research and development into quick and safe rigging, making it the reference in the market for rapid and optimized deployment.

Kara II for rental ships in March 2020, and can be seen at NAMM in L-Acoustics meeting room 17208. Kara II for install will ship later in 2020.

More on L-Acoustics website

Kara II general specifications

Type: 2-way active WST enclosure
Bandwidth (-10 dB): 55 Hz – 20 kHz ([KARA II_70])
Maximum SPL: 142 dB ([KARA II_70])
Coverage angle: 70° / 110° symmetric or 90° asymmetric (35°/55°)
Weight: 26 kg / 57 lb

Ayrton at the forefront with the Karif-LT and the Shamal-LT

Ayrton, superstar in the USA, introduces the Karif-LT and the Shamal-LT back home in Paris at JTSE. Rewarded with huge orders in the United States, Ayrton continues to rewrite lighting standards with two Wash-Beam hybrid moving heads dedicated to long throw (LT).

The Karif-LT Beam expresses its power in the Parisian sky during a night premiere on a Roof top.

The Karif-LT and the Shamal-LT combine the power of the most recent LED engines available with its French optical know-how, and effects never seen before.
Thus, the Karif-LT gets the full advantage of 300 Watts of 7,500K white LED, delivering 15,000 lumens through a 168 mm lens and a 15:1 zoom, ranging from 3 ° to 45 °.

The Karif-LT : a compact format and a very large output lens.

As a Beam-type projector, its powerful condensed beam plays with an incredible spiral wheel of 39 gobos and 4 different prisms.

Equipped with an infinite PAN motor, the Karif also knows how to do in full subtlety with this recognized Ayrton color mixing system, this time supported by a color wheel with variable CTO integrated directly on the disc.
First launched as a prototype at Plasa in London, it was introduced to JTSE visitors in an even improved version.

The Shamal-LT, having made a sensational opening at Las Vegas LDI, is a huge WashBeam which releases a brand new LED engine of almost 1000 Watts, and delivers a record light output of 50,000 lumens. Its 225 mm lens and its 3° to 36° zoom ratio allow it to fly over the biggest stages or events by far.

The first deliveries of the Karif-LT are scheduled for beginning of 2020, before those of the Shamal-LT.

More information on Ayrton Website


Peter Pan takes off with Robe lighting fixtures

One of the most exciting and high-profile presentations for this pantomime season in the UK was Productions’ Peter Pan at Blackpool Grand Theatre, directed by Anthony Williams and lit by Andy Webb.

Andy this year specified all-Robe LED fixtures with the T1 Profile at the core of his lighting scheme. The design also included Spiider wash-beams, ParFect 100s and 150s, DL4S Profiles, LEDWash 300s and CycFX 8s. Andy has a long of experience in lighting the trippy, hallucinogenic world of pantos, which requires some classic theatre treatments, but also leaving room for experimentalism and fun.
He tells us how he wanted to light Peter Pan differently from a standard panto as the storyline “had the latitude for us to be much more ‘musical’ in approach”. His idea was to emphasise and build up the characters and locational compositions rather than relying just on the slapstick – which was there, but more understated and thoughtful that you’d expect!

Consequently, lighting went along, detailed by many multi-layered cues, depth and texturing than might be found in traditional panto. Also, being Peter Pan, there was the great dramatic vehicle of flying to add excitement to the performance!

Three Foy flying tracks over the stage and one in the auditorium above the audience additionally affected how Andy was able to light. Making the wires invisible was a priority so the characters convincingly looked like they were really flying.

Robe T1s were employed to add some texturing and scenic gobo work like creating window frames and shimmering magic effects thanks to the animation wheels. “Almost every scene had some sort of movement effect – subtle or obvious – from the T1s, and it’s been great being able to use their functionality to assist this process,” he stated.

The show featured a couple of audience interactive parts, several iconic rock ‘n’ roll moments in the second half, and one of the jokes was even related to lighting as Captain Hook air guitared with a PAR can during the “One Vision” Queen medley.
The core rig was built around 12 x Robe T1 Profiles for the hard-edged lights, ten over the stage on LX Bars 1, 2 and 3, with two either side of the pros arch, crossing to light the stage apron.

This was the first time Andy’s used this particular fixture on one of his own shows. “The flexibility of the T1s definitely allowed me to push the envelope further,” he enthused.
Andy and everyone else on the production team plus the house crew were impressed by the proper silent running of the T1. Apart from that, he “loves” the colour mixing and that this gave the scope to mix in plenty of pastel and more understated colours that are often absent from panto – known for its psychedelic spectrum of primaries!

Twelve Spiiders were distributed equally across LX bars 1, 2 and 3 for a nice even stage wash. “They work perfectly in tandem with the T1s,” Andy commented.
Six ParFect 150s on LX3 were rigged either side of centre creating two 3-finger ACL-style fans – particularly effective for scenes where there is a set centrepiece like the treehouse in the Lost Boys camp scene, and they are also good for more minimalist effects like sunlight shooting across the tree branches.
Twenty ParFect 100s were scattered around the rig, mainly on the side booms and ladders, with a pair on the end of each LX bar for illuminating the set borders and legs, with six on the FOH bars to light the production’s false pros.
Two DL4S Profiles were rigged in the upper balcony positions, used for texturing the front cloths and for projected and animated effects like clouds onto the skyline for the city scenes.
A pair of LEDWash 300s positioned on the front pros bar at head height offer more quality front cross light.
Two CycFX 8 moving LED battens were utilised to up-light the house pros arch and they also flipped out into the audience when needed as blinders, while a pair of ParFect S1 2.7K (warm) and 6.0K (cold) whites cut in from the downstage booms, replacing what would traditionally have been a fresnel position, chosen for their high-quality even LED wash characteristics.

In addition to the 50 or so moving and ‘intelligent’ Robe lights which all worked extremely hard and were supplied by Cambridge based rental company CEG, Andy hooked into a selection of Blackpool Grand’s house rig generics – Source Four Profiles, PARs and fresnels.

Over 300 lighting cues were programmed onto the Avolites Tiger Touch II console operated by the house crew for the run of shows which ended on January 5th 2020. Andy’s biggest challenge this year was the small amount of time (17 hours) for programming on site, with no previews and straight into opening night.

Knowing the kit and the venue with the optimum positions etc., all helped enormously to deliver a show to the standards required. “As a panto lighting designer, you must be able to react quickly, think on your feet and often totally out-of-the-box and beyond normal comfort zones. Having an adaptable lighting rig like this to hand is essential to delivering a show to the best standards,” he commented.
The most difficult element to light was the auditorium flying … with 90% of the rig being concentrated onstage, so the two FOH T1s and the DL4S profiles combined worked flat-out during these scenes. Serious time was spent programming multiple cues to follow Peter Pan around, and with the T1’s zooming out so wide, Andy was also able to use some of the fixtures on LX1 without blinding the audience!

Andy recalls his delight on opening night hearing one young audience member declare “OMG he’s flying!” fully believing the optical magic as Peter Pan zipped out into the house for the first time! “That’s what we do it for! One comment like that makes all the hard work, stress, long hours – not to mention some great teamwork and camaraderie – so worthwhile!”

For more product and general info, check the Robe website

Back to the sources with the Sharpy Plus Aqua for Claypaky

After the generous flow of new products unveiled by Claypaky in the spring, this fall sees the Italian brand muster new energy and keep good track of its lighting fixtures, in particular the Xtylos whose laser source continues to amaze.

The Xtylos, on top of the Claypaky « Black Box » booth at JTSE ehibition in Paris, attracting all attention indeed.

After a slight refurbishing of the download part of their website _you will now find all the technical documents on the Claypaky technical support site here, the Italians also took advantage of this year-end to release two complementary products to their range, a waterproof version of the Sharpy Plus and a motorized mirror.

Claypaky Sales Director, Emilio Cornelli, tells us more, all in fluent French per piecere ! But we added subtitles in English for you, dear international readers.

Sharpy Plus Aqua

Also giving in to the fashion of waterproof lyres, Claypaky boxed its famous Spot-Beam Sharpy Plus within an IP65 waterproof shell. The cooling system has been revised to allow the Osram Sirius HRI® 330 W X8 lamp to keep its full lighting potential, without changing its color temperature.

Very sleek, the Sharpy Plus Aqua is adorned with a multitude of barbs to help heat dissipation.

During this operation, the Sharpy Plus Aqua gained weight, 15 kg and 10 cm more, but without losing its line or its features. We therefore find the two identical projection modes, Beam and Spot, the zoom range from 3 ° to 36 °, the famous CMY color mixing, plus 15 fixed colors on three wheels inherited from the Mythos and all the effects .
Thus, we recover the 2 CTO filters, 18 fixed gobos (including 6 beam reducers), 8 rotary gobos, two 4 and 8 facet prisms, an animation wheel and the Soft Edge frost.

The Sharpy Plus Aqua, the very same one that was launched at LDI a few days before the JTSE and which arrived in Paris just in time.

This way, Claypaky hopes to meet again the success of the Sharpy Plus with a waterproof version, with the same DMX chart, for outdoor equipment or permanent installations.


The ReflectXion, unveiled at LDI and not present at JTSE, will soon be available.

Many years ago, an Italian manufacturer launched the Light Deflector, a small motorized mirror for innovating light designers, who used its numerous reflections to give the illusion to provide an incredible number of light sources.
With the Xtylos now available with its infinite beam, it was the perfect opportunity for Claypaky to release a remix of this device, the ReflectXion.
This unit offers a large double-sided mirror, 390 by 280 mm, with 16-bit control Pan and Tilt. The coated surface allows a reflection rate of 99% without any chromatic aberration, with infinite rotation of the Tilt as a bonus.
This beautiful 13.5 kg baby will perfectly complement the Xtylos, of course, but also all types of narrow light sources or lasers, according to the designers’ imagination.

More information on all the Claypaky range on the manufacturer’s Website

L-ISA Technology Adds Console Partnership with Yamaha

As L-ISA technology continues to be adopted by live events like the recent Bon Iver and Mark Knopfler tours, and in permanent installations such as Sydney Coliseum, L-Acoustics is pleased to announce the expansion of console partners, adding Yamaha Professional Audio, who has co-developed an L-ISA DeskLink for their flagship Rivage PM7 and PM10 mixing systems.

“Collaborating with the creative team of experts at Yamaha has resulted in an exceptionally sleek integration of the L-ISA object controls into Rivage mixing workflow. The new DeskLink is a great example of collaborative design,” explains Sherif El Barbari, director of L-ISA Labs.

Sherif El Barbari posing inside the legendary L-ISA auditoria in Marcoussis.

Within the Rivage consoles, for every mono or stereo input channel, a direct control of L-ISA Objects or Groups will be available on the console control surface and touch screens.
The five main L-ISA parameters Pan, Width, Distance, Elevation, Aux send will also be stored for each object in the console Scenes, with dedicated recall scope.

The L-ISA DeskLink provides a seamless workflow on two of the industry’s leading consoles, allowing for immersive hyperreal mixing in a familiar environment, making adoption of L-ISA technology even easier. “It has been a real pleasure to collaborate with the team at L-Acoustics to create a dedicated, deeply integrated and flexible user interface.

As the reputation of Yamaha Rivage PM mixing systems for outstanding sound quality and traditional Yamaha reliability continues to grow, this project will benefit our many joint customers throughout the world.” comments Chris Angell, Yamaha Pro Audio R&D.

The Yamaha Rivage with L-ISA DeskLink will be available this next Spring and on display for hands-on discovery at PL & S in L-Acoustics room Symmetrie 2+3.

More on the L-ISA Immersive website and on the Yamaha website


Chauvet Rogue R1 BeamWash and Maverick Storm 1 Spot

We discovered at JTSE 2019 exhibition in Paris two new moving heads as a complement to the Rogue and Maverick ranges. Let’s sum up saying we met a small hybrid and swift moving head, as well as a powerful IP65 waterproof Spot.
Both were introduced by Jérôme Garnier, Product Manager and Technical Manager at Chauvet France.

Like other competing brands, Chauvet decided to release a small moving head equipped with LEDs that can both generate a concentrated beam with very narrow angle, as well as a wash light with a well spread out light output.

The small, yet mean Rogue R1 BeamWash.

The Rogue R1 BeamWash comprises a module of 7 mobile lenses acting as 5 and 58.2 ° zoom, each associated with an RGBW 40 W LED. Its compact size (36 cm maximum wingspan) and its limited weight (5.35 kg) ensures high speed. It has an integrated management of its color temperature, variable between 2,800 K and 10,000 K, and is controlled by RDM DMX.

The Maverick Storm 1 Spot is a much larger device, with a well-worked and robust design to confront bad weather. Under its integral IP65 shell, this spot incorporates a white LED source of 480 W (at 6,600 K).

The Maverick Storm 1 Spot, designed predicted to brave the most unfavorable weather conditions!

The light generated can be transformed and shaped by a multitude of modules: CMY color mixing system complemented by a progressive CTO filter, 8-position color wheel, two gobo wheels, one of which with rotating and indexable gobos, an animation wheel, two Frost filters, an iris, a 3-facet prism and a 6.5 : 1 zoom variable between 7 and 45 degrees of angle aperture.

This projector can be controlled in RDM, Wireless DMX, Art-Net and sACN. It spreads out to a maximum height of 72 cm (head pointing up) for 38.8 kg (this is what you get if you want IP65 specs!). It therefore completes the range planned for outdoor use already boarding the Storm 1 Wash.

More infos on the Chauvet Website


Cameo launches the Evos W7 Wash light and the Opus X Profile spot with framing system

Created only seven years ago and first associated with the DJ-oriented device market, the Cameo brand now unveils new products belonging to a resolutely professional category.
Fabrice Dayan, Product Specialist Light Technology for the south-eastern area, introduces them to us.

First contact with the Evos W7, new Wash light with matrixable LEDs.

The Evos W7 is a wash / beam type moving head, capable of generating a light beam over an opening range with angle specs between 4.5 and 34 °. This device is equipped with 19 LED 40W RGBW sources, and claims a light output of 10,500 lumens.

One of its other particularities is the use of a low color temperature for white, with a Color Rendering Index greater than 90. It can be controlled by many protocols: DMX (RDM), Art- Net, sACN, Kling-Net. Its 19 LED sources can be independently controlled and animated thanks to a seemingly well-stocked macro bank.
The Evos W3 is a variation of the W7, with 7 LED sources of 40 W.

Here’s another machine that is entering the Cameo Pro range, the Opus X Profile (pronounced “Opus ten”), it is a beautiful moving head comprising a 700 W dimmable LED module, announcing a 33,000 lumens luminous flux.
This very complete moving head integrates a CMY color mixing system, a linear CTC corrector variable between 2,600 K and 6,500 K, a 6 °- 46 ° extended zoom, a framing system module with 4 blades motorized both in positioning and rotation, as well as all the focusing and classic effects that can be found nowadays inside projectors of this type (prisms, rotating gobos, effect wheel, progressive frost …).

The only Opus X Profile item being hung up quite high, we just could wave at it from a distance!

Some Deep Throat advisor whispered in our ear that special care was taken during the development of the framing module to obtain a very correct focus edge on all 4 blades at the same time. Cameo also points out that the maintenance / disassembly aspect has been optimized on this device with a system of cassettes and connectors, quick to handle.

Small « nomad » and wireless projector still in the final development phase, the B4 will have a very wide range of colors.

Let’s end this up with the B4, a small autonomous LED projector equipped with 4 RGB + W + A + UV LED chips of 15 W. It is provided with a battery (manufactured by LG) providing 12 hours of work time at full power.
The B4 is obviously equipped with wireless DMX, it is supplied with a kit of several lenses to give a beam choice 22, 32 or 40 °. Its little brother, the B1 will integrate only one LED, but will be equipped with a brand new magnetic fixing system.

All these products will be available during 2020, Q1.

More information on the Cameo Website


Astera available in South Africa since 2019 is a success story

DWR, which had been announced as distributor in 2019 for South Africa, followed the last years of ‘Astera LED’ becoming famous in South Africa. In fact, they started making sales to people interested in the brand innovative range of battery powered LED products immediatly.
One of the first sale in the country was to freelance gaffer Andre Beumer from Just Light It in Pretoria, who collaborate extensively with several leading DoPs and other clients in the film, TV, commercials and video industry.

Andre was in need to get his hands on a set of Titan Tubes because a lot of his work is done on location in dynamic environments around Johannesburg so there’s no studio lighting and every space is different. Everything has to be outsourced for the shoot, and this is an exciting way to work as it requires knowledge, quick thinking and the right tools when it comes to lighting.

Andre encountered Astera Tubes few times before in his career but these had been available only through other individuals like himself, who used to purchase them elsewhere to bring them back to SA. It was a good news that DWR and Astera struck the distribution deal. And following it Andre acquire the 8-way Titan Tube kit. “They are totally amazing tools,” confirms Andre who appreciates the versatility of the fixtures.

With the onboard batteries they can be transported easily anywhere to bring the right light to a shoot, whether it’s popping a Tube in the corner for some atmosphere, back lighting a subject or key lighting people’s faces for interviews and getting perfect skin tones thanks to the high CRI.
He adds that he’s impressed with the way Astera has thought of every possible permutation that someone might use to mount and rig the tubes – including hand-holding with the ‘light sabre’ handle. A selection of the most popular accessories is included in a neat flight case with the 8 Tube kit.

“You can really work fast on any site with these, utilising a number of smart features like telling the source how long to operate and other extremely helpful things.” Andre loves the colour mixing, the quality of the light and the fact that the daylight to tungsten scales are “spot on”. He states that the App control is a plus. Flexible, straightforward and great for on-set work where you need to make tweaks quickly.

Andre’s future Astera investment should concern some the DoP Choice accessories “which make things even more adaptable,” he declared.

More information on the Astera website


Martin Audio Launches Blackline X218 Subwoofer

Martin Audio started 2020 with the announcement of the X218 subwoofer, answering numerous requests and extending yet further the company’s best ever selling portable series, BlacklineX.
BlacklineX, announced in 2016, was the first new series developed under the management of Dom Harter and was an instant hit, delivering performance and value for a range of applications including portable sound reinforcement and stage monitoring for live bands, DJ’s and corporate events, to installations in nightclubs, bars, commercial spaces and Houses of Worship.

Soon to be shipped, the X218

The original line-up comprised just a 15” and single 18” subwoofer and so as Harter says : “the success of the BlacklineX series led to numerous calls to extend the range with a double 18” subwoofer, and we’re delighted to kick off the new year with this punchy sub at an equally punchy price point.”

The X218 is a dual-driver, high performance subwoofer with an operating range of 42 Hz to 200 Hz ± 3dB and passes 33 Hz at -10dB. It produces high output levels—141dB peak SPL (half space)—with low distortion and can be used singly or stacked horizontally.
It features dual 18”/4” voice coil, long-excursion ferrite magnet drivers in a reflex enclosure with eight large ports that reduce air turbulence at high output levels. The weight is 88kg.

For added versatility in deployment, the X218 is fitted with a 35mm pole-mount socket for mounting BlacklineX full-range enclosures, and integral M10 inserts provide for eyebolt suspension of a single enclosure. When used with BlacklineX Series full-range systems, crossover and EQ functions can be performed by the DX0.5 or DX4.0 system controllers or by a Martin Audio amplifier with onboard DSP.

Dominic Harter

Summing up, Harter said : “Our double-digit growth for the last three years has been largely born out of a new product drive and this latest addition to the best-selling BlacklineX series starts the year off nicely. It will further drive our pedigree and success in value-led portable and installation applications.”

Shipping is scheduled worldwide from early May 2020.

For more information visit the Martin Audio website