The Prolights product portfolio has been expanded with the addition of a hybrid moving head that combines powerful versatility with a compact footprint, but also the IP-rated LED PAR lights, Astra PAR7IP and Jet PAR7IP, as well as the Flood300FC LED, an alternative to traditional flood lights. Fabio Sorabella, CEO of Prolights, presents them in a video.
Astra Hybrid 420
The Astra range, which includes most of Prolights’ flagship products, now boasts a new model with the introduction of the Astra Hybrid 420, a versatile fixture equally at home in the roles of Beam and Spot, with a variable linear zoom between 2.7° and 40°.
The Astra Hybrid 420 combines Beam and Spot capabilities.
The fixture is powerful – with its new Ushio lamp rated at 420 W and a nominal operating life of 6,000 hours – small and fast (for its class), with a compact size of 45×66 cm, but especially well-equipped!
Under its covers are two gobo wheels, one of which rotates with 10 positions plus a wheel with 18 fixed gobos. To color the beam, no less than six different wheels are used, three for CMY linear trichromy and three others which incorporate full colors and temperature correctors.
As for effects, the Astra has plenty to offer! It features an animation wheel with insertion and rotation control, two rotating combinable prisms with four and eight facets, and a linear frost.
To control all this, you’ll need 30 DMX channels (there is a single control mode, which is worth noting). The RDM-compatible fixture also features ArtNet, sACN and W-DMX control.
Astra PAR7IP et Jet PAR7IP
The new Astra PAR7IP and Jet PAR7IP are two IP65-rated LED PARs, that share most of their features, but have different output power. Each features a zoom range from 4.5° to 53°, a 7-LED RGB module supplemented by warm white, and a color temperature range from 2,800 K to 10,000 K.
The IP LED PAR line-up includes the Astra PAR7IP and Jet PAR7IP.
They can be controlled via DMX+RDM, as well as via CRMX (Lumen Radio) and W-DMX wireless protocols. The JET PAR features 20 W sources, while those of the Astra are rated at 40 W. The Astra is also equipped with Pixel Control for independent control of each LED source.
EclExpo Flood300FC
We continue our tour of the latest products with the EclExpo Flood300FC, an asymmetrical LED fixture designed to replace CDM or tungsten-source flood lights and other asymmetrical fixtures. Equipped with a 300 W RGB+warm white source, it generates a wide beam of 100° x 60°, perfectly suited for indirect lighting.
A pair of EclExpo Flood300FC units shown here fitted with their barn doors.
Its power and its high-end specifications, including a CRI/TLCI of 93, variable white (2,800-10,000 K), variable-frequency PWM (between 600 Hz and 25 kHz) and compact dimensions (39×24 cm, weighing just over 5 kg), make it an excellent choice for a wide range of applications, from exhibitions and TV studios to events and theaters.
Circling around to reveal the rear of the EclExpo Flood300FC, we can see its impressive, but discreet, oversized ventilation system.
In fact, Prolights has developed a forced ventilation system compatible with those applications where noise is undesirable, by oversizing its fans so that they only run at reduced speed.
In a period decidedly focused on IP65 fixtures, ETC has presented a VXT version of its new ColorSource profile and Fresnel family, the SolaPix 19XT IP65 multi-source LED wash in the High End family, and a retro-fit RGBA LED module as an upgrade for the company’s renowned Source4 tungsten fixtures.
Today, the ETC brand encompasses ETC and High End fixtures, Eos and Hog consoles, and a host of specific products for rigging, networking, as well as for architectural and even horticultural lighting applications!
ColorSource Spot VXT
For some time now, ETC has offered the ColorSource V range, in Spot and Fresnel versions, with drastically improved components. Manufactured in the US, the ColorSource V Spot features a 5-color LED source – Red, Blue, Green, Indigo and Lime – delivering almost 200 W, in a modernized version of the traditional Source4.
ColorSource Spot VXT, IP65.
It comes in a profile version, compatible with various fixed-focal-length lenses, zoom lenses and special output adaptors, just like its Halogen ancestor. It is also retro-compatible with all Lustr and Source Four LED accessories and optics.
The Fresnel version uses the same LED engine, but in a new, more compact format, with a wide 178 mm Fresnel lens, motorized 13°-44° zoom and barn door shutters. ColorSource V LED arrays are calibrated and temperature- and dimming-compensated, and come with a 10-year warranty.
Returning to the idea of offering a generic fixture accessible to all budgets, ETC presents the ColorSource V Spot as its spearhead, without, however, abandoning the Source4 series 3, which is aimed at high-end studios or theaters with its 8-color source.
The ColorSource VXT is nothing more and nothing less than the same fixture, with the same technologies, the same features, the same DMX channels, but in an eXTerior (i.e. IP65) version. The on-board fan is replaced by an IP65 type, while the on-board menu display has been removed, replaced by RDM configuration or via the ETC SetLight mobile app and an NFC chip. Lenses and accessories remain unchanged, and are common to all ColorSpot V models.
Integrated into each fixture, the wireless DMX receiver module is the one developed by City Theatrical, which works in Multiverse – like a well-known Hollywood franchise – with a specific 10-universe transmitter.
The SolaPix 19XT is also an IP65 waterproof version of a well-known fixture, the High End SolaPix 19. Already available, the SolaPix 19XT features 19 RGBW LED pixels in a waterproof body, with hydrophobic treatment and IP65 connectors.
Its 4.5° to 60° zoom, RAW and CTC color management (2800-8000K) and, above all, its 3-way control with 19 channels for the main functions, 12 more for the effects section with the FleX Effect Engine, plus the possibility of managing each pixel individually with a media server, make it ETC’s most versatile Wash.
Source 4WRD Color II
Source 4WRD Color II.
At a time when tungsten sources are being phased out, many manufacturers are offering solutions that are both economical and environmentally friendly, to ease the transition to LEDs.
ETC’s S4WRD Color II module allows you to modify Source4 Tungsten fixtures, of which there are tens of thousands, by substituting the conventional rear lamp holder and adding a specific reflector as required.
The Source 4WRD Color II consists of a 150-watt Nichia RGBA LED array delivering an output of nearly 6,000 lumens, a power supply and a menu, fully integrated into a Source4-compatible lamp receptacle. Installation takes just a few minutes, and allows old Source4s to be converted into color profiles, with DMX in/out on an RJ45 connector, RDM, Z focus management (lamp azimuth) and a dozen direct-access presets (calibrated whites and standard colors).
Video presentation:
It is also possible to purchase complete versions of fixtures with this LED source, such as the Source 4WRD Color II profile, the PAR or the PARNel.
A little more than two years after testing the Huracan-X, I am redis-covering the pleasure of this powerful and innovative range, but this time in the Wash version. Wash is just the start!
Ayrton, as usual, goes off the beaten track to offer more and better: a powerful source, a zoom that knows how to make itself very small but opens very very wide when necessary, an optimized color pa-lette, and a host of functions never before seen in a Wash thanks to its lens F.O.S. which receives an SLU innovation award!
Among the Huracan family, here is the Wash ST.
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Storming into the market
Ayrton, we aren’t surprised to always be surprised. The number 1 objective of the brand is to develop innovative and original products to always have added value compared to the competition. But since they are not satisfied with the best, they are always looking to im-prove their products. The Huracan Wash is a perfect example. The first version available was the S. It has an 80,000-lumen source allowing it to obtain a lu-minous flux greater than 52,000 lumens in an integrating sphere with a CRI above 70 (numbers provided by Ayrton) and a tempera-ture of 7000 K.
Ok we were not wrong!
For color fiends, R&D has also offered a TC version, True Color! With a native temperature of 6000K and a flux of 49,000 lumens, this version produces an output of 33,900 lumens with a CRI of over 95 (numbers provided by Ayrton)!
Many would have been satisfied with these two models, but not Ayr-ton. They took advantage of a new source with a D65 (6500 K) white source, which perfectly meets the needs of the digital cinema and audiovisual production industry, to offer an ST version. It is the latter that we tested.
On paper, the native 68,000 lumens flux makes it possible to obtain 45,300 lumens in an integration sphere with a CRI greater than 80. In addition to being entirely adapted to video requirements, it could be a perfect compromise between the S and TC versions for rental companies and venues with a very diversified range of uses.
The Air, Fire, and…the Storm
With his Phillips head magic wand, Cyril Albus Union, the magician who makes real the imagination of Yvan Péard, founder and great designer of Ayrton, lifts the veil (and the covers) of the Huracan Wash. Aesthetically, it is similar to the other models. We find the at-tention to detail and the emblematic know-how that makes it possi-ble to identify the brand at first glance. It is therefore without any am-biguity that we can speak of the base unit.
There are of course two handles on each side which makes the handling of the 42.5 kg easier. Two ventilation grills/slots allow air to flow through the entire base unit. Cleverly positioned behind the handles, they will never be blocked. Two foam filters prevent the en-try of dust. On the front, there is the screen and the wheel to confi-gure the many options of a clear and practical menu.
Touchscreen or rotating wheel, we can even do both!
In terms of connectivity and control, there are more than certain ver-sions of the Huracan. On all models, there are 2 XLR5 connectors for the DMX signal, 2 etherCON RJ45 connectors for the ArtNet and the sACN as well as a powerCON True1 connector for the power supply.
With a maximum consumption of 1,470 watts, copying the power supply could have had unfortunate consequences. On this fixture there is also a USB connector, for software updates and direct ac-cess to the battery which allows, among other things, to configure the fixture without plugging it into a power socket. The RDM protocol is available, as is a CRMX TiMo wireless receiver from Lumen Radio.
Here it is!
An NFC (Near Field Communication) chip is now added to the fixtures and it is thus possible, via a smartphone, to retrieve all the data from the machine and to configure it. A novelty that will greatly facilitate the management of one’s stock of equipment.
As usual, the base unit houses the motherboard as well as the power supplies for the electronics and the LED matrix. No change on the yoke either. The two axes of rotation can be locked to carry the machine in com-plete safety. The Tilt drive is in the side of the yoke that locks this axis.
Under the hood, the system differs a little from that of the Huracan-X but remains very classic. In the other arm/side, there is the mana-gement card for the pan and tilt axes, as well as the cable run of part of the wiring to the head.
There is a connection between the card and the three-phase hybrid stepper motor of the Pan axis! On the Tilt side, on the right, it also has a cable run to the head!
Ayrton constantly strives to produce fixtures that combine design, robustness, and reliability. For this reason, a large part of the fixed elements is made of cast aluminum. By combining the chassis with the external elements, the structure is very rigid with larger volumes. To see what the Huracan has in mind or shall we say, in its head, all you have to do is turn each of the two screws on each of the covers a quarter turn. Little tip: to change a gobo, you must remove the top cover when the “Huracan” logo is upside down. At first glance, there is no difference with a profile version!
The Wash head is quite full!
SLU Innovation Award
The only quick way to differentiate the Wash version from the profile versions, if you don’t have the label in front of you, is the impressive 210 mm Fresnel lens. Fully molded, it is surely the element of this wash that required the most research.
The big Fresnel F.O.S. Lens of the Huracan is the new generation of Washes!
On the outer side of the lens, we can see all the characteristics of the Fresnel lens, on the other side a multitude of “points/dots” have been added and the position of each of them meticulously studied.
To be able to effectively use the blade module, the gobos, and the onboard ovalizing prism, the RD had to develop a progressive diffu-sion system that adapts according to the application and the acces-sories or optical elements used.
The F.O.S. (Fresnel Optimization System) also brings a very signifi-cant improvement to the mixing and diffusion of colors as well as a gain in luminosity which can reach up to 10%.
Behind the lens is the optical part of the head with the focus, in addition to the usual zoom, an ovalizing prism, and, what a joy, a progressive frost system using the same principle as the trichromic color flags.
The zoom, the frost, and the ovalizer! Already available in all major theaters but wi-thout Ennio Morricone’s soundtrack.
Yes ma’am, it’s a Wash with a lens for focusing!
In the second space, there are, as on the Huracan Profile, two mo-dules. The one closest to the Zoom has two settings, Iris and Fra-ming Shutters. It would have been simpler and less expensive to take the version of the profile and only offer the improvements in fu-ture models, but Ayrton always offers the best of these possibilities.
The same Iris module!
The same Framing Shutters module but better!
The 4-blade system is like that of its big brother. Each blade, control-led by 2 motors, completely closes the beam. On the other hand, the indexing of the module is done on 120° whereas it was +/- 45° on the profile. It is not a revolution, but it is often in the details that we appreciate the quality of a product.
The second module is a lighter version and is specially optimized for the Wash version. The system of 3 colors (CMY) and 3 correctors (CTO, CTB, and CTP) has of course been retained, it has even been adapted to the characteristics of the LED matrix. There is also the color wheel as well as the multicolored effects wheel and finally a wheel of 7 rotating and indexable gobos.
This is where the difference is made!
12 Flags of 6 tints produce 281 trillion colors!
To a tune of Latin jazz, by vibraphonist Cal Tjader
A few turns of the screw-driver to put everything back in its place and the fixture is ready to show us the extent of its possibilities. I connect the RJ45 port to my controller and the ArtNet link is done directly. Of course, we chose the 61-channel Extend mode, which offers the most possibilities. The fixture also offers Basic and Standard modes which use 37 and 39 parameters respectively. The menu structure and content are practically identical on Ayrton fixtures of the same generation and it is therefore very simple to configure the fixture.
Most of the functions are also available via the NFC app and on the controller via the RDM or the last DMX channel of each fixture. Very useful options that allow modifications during the course of the Show. You can, for example, select during most of the me-mories/cues the Stage ventilation mode for maximum light output and switch to Auto, Silence, or even Super Silence mode if you need to lower the level of ventilation at certain times. If one day, the stage frame is smaller, we can also limit the course of the Pan. The Huracan is now ready. On @Full, we feel that there are lumens in this fixture! Even if it is not the brightest version, the beam is powerful and homogeneous.
The Huracan Wash ST is very Luxurious!
The ST version is mainly intended for TV and movie sets as well as for theatre, opera, and ballet even if, in my opinion, it is the most versatile of the 3. The dimmer is very efficient and you can precisely set the desired intensity. It’s even available in 16-bit with Extend mode. Depending on your needs, you can choose between Square Law curves, default, or Linear. For a nice thunderstorm effect, there is of course also a Shutter function with regular strobes, Pulse, or Random.
No surprise either with the pan and tilt axes. The movements are well managed with very short or very long transition times and whatever the combinations of values. One of the parameters that particularly surprised me was the zoom. The opening range is stun-ning while maintaining a high speed between the extreme values.
A few examples of the Zoom range!
One of the pluses of the Wash Huracan is that it opens wide and that you can also have a light “stick” or tight beam while maintaining a good homogeneous luminosity. When you are using 100% Wash, you don’t use the Focus function and you have a very fast speed from 0 to 100! By adding the iris we manage to find the small very tight beams that when sweeping across the stage or crossing above are always magic!
If you are a sly one this effect should make you smile.
One effect that I was surprised to see again was the prism simula-ting the oval of the Par 64 beam. As it is rotatable and indexable, it produces an original volumetric effect! The combination of the CMY trichromic flags, the 3 progressive cor-rectors CTO, CTB, CTP, the color wheel, and the color macros make this Wash a perfect tool for users with very demanding color requi-rements. When all these parameters are combined with the new F.O.S. it is a rare work of art!
The color wheel, even if it is a little more complicated to use for the transitions, always has some colors, which would be difficult or im-possible to reproduce with the trichromic flags or a brighter version than one achieved with the stacking of the different filters. On the ST version, the colors of the trichromic flags have been specially adapted to obtain the best compromise between color palette and luminosity. There is a slight difference with the Profile version but the two models go together very well in the same kit.
A small taste of the 281 trillion colors available with the Huracan Wash!
The addition of the 3 correctors, CTO, CTB, and CTP (minus green) is a big plus for television and cinema in particular, but also for other users. You can choose a color and very simply, cool or warm it up, adapt it to the camera settings, or make a subtle switch between two atmospheres without modifying the base color. I’m willing to bet that this is one of the most comprehensive color systems ever devel-oped on a fixture.
The multicolor effect will make you think you are hallucinating!
The color effect wheel also adds possibilities in terms of colors. It can be used alone but it is just as interesting to combine it with ano-ther color or even a “chase” or an effect of several colors.
The original colors are mainly based on cyan, yellow, and blue, by adding tints approaching magenta, red or green, the original rende-ring is completely modified.
I also liked the Frost. The fact of having chosen to modify the Profile system is a very good idea. We have a much more precise start and continuous management of the insertion of the frost. This is of course an important point on a Wash. Another interesting point is the blade/framing shutters module which allows the beam to be framed on one or more sides. A possibility that is not easy to set up on this type of source, but the work done on the final lens makes it possible to obtain very convincing results.
You don’t have to use round shapes only, you can also have them square or rectangular!
The last parameter, the gobo wheel, is surely the most original! The 7 gobos have been specially chosen for optimal efficiency and I must say that the result is very convincing. This is a plus on this al-ready complete fixture, which makes a real difference with all the other products on the market.
The very effective set of gobos in projection and volumetric use.
The Effect wheel, is even more fun!
Interesting results playing around with the Focus.
And with a dynamic video presentation
The Space Trucker
My favorite moment in testing is coming! Moe take out the rangefin-der, we’re going to eat soon… After letting the fixture cool down, we turn the @ full matrix back on to measure the impact of the heating of the LEDs on the light intensity.
Over a period of 35 minutes, the illumination in the center goes from 7,350 Lux to 6,954 Lux with a lowest value of 6,930 after 20 minutes.
So we have a maximum derating of 5.71% in auto mode, no sur-prise, Ayrton is one of the pioneers of the LED source.
Beam of 20°
After a carefree hour-long sushi break, the Huracan’s brightness re-mained the same. We, therefore, begin the first series of mea-surements to find the luminous flux at 20°, our reference angle. The illumination in the center of 20,450 Lux after derating (21,620 when cold) leads to a total flux of 29,100 lumens (30,760 when cold). Our measurement methods and conditions are completely different, it is quite normal that we find different values than those of Ayrton which has an integrating sphere. The intensity curve shows no hot spots or faults in the beam. We take this opportunity to raise the in-tensities of the RGB, CMY, CTO CTB CTP hues and we get a CRI of 81 for the basic white.
Tight beam
For the smallest beam of 7.1° that we measure at I/2 (intensity at the center divided by 2) the illumination at the center is very high, 90,000 lux after derating (95,140 lux when cold) and the total flux is 24,250 lumens (25,600 lm when cold). No worries about the light in-tensity curve. The measurement of the angle, this time at I/10 leads to 10.2°.
Wide beam
For the maximum aperture, 72.3°, which we measured at I/10, with central illumination of 1,640 lux after derating (1,750 lux when cold), the flux reached 29,920 lm (31,640 lm when cold). 0 5 meters dis-tance, the light projection covers a diameter of 8 m on the target!
We also measure the regularity of the dimmer and we aren’t surprised that the fixture passes with flying colors!
Dimmer curve from 0 to 100% in Square Low mode.
Dimmer curve from 0 to 10% in Square Low mode.
A great Speedster!
The phrase that best sums up this fixture is “There’s a little more than you asked for, is that ok?”. Like the Profile version, the Wash of the Huracan series brings major innovations and additional fea-tures. We even have 3 versions to go as close as possible to our needs and always further in the designs.
The Huracan Wash has a powerful and homogeneous beam which makes it possible to increase tenfold the enormous potential of the CMY, CTO, CTB, and CTP color system highlighted by the new F.O.S. But this source also has a very nice range of effects and pos-sibilities thanks to the gobos, the effect wheel, and the blade/framing shutters module. I have only one piece of advice to give you, and that is to ask for a demo from the team at your nearest distributor!
AYRTON – Huracán Wash – Presentation from Ayrton on Vimeo.
A spectacular new Anolis external lighting scheme is illuminating the facades of The Godfrey Hotel in Boston, picking out the detail and architectural intricacies of the impressive former Blake & Armory Building, a historic commercial site at the corner of Temple Place and Washington Street in the city’s Downtown Crossing pedestrian shopping zone.
Ron Kuszmar of PORT led the project and explained that the hotel’s owners brought them onboard to specify, design and install a new LED lighting scheme that would highlight the building in all its glory and replace the previous system dating back to when The Godfrey originally opened in 2016. Based in Seabrook, New Hampshire, an hour out of Boston, PORT is well known as a theatrical, stage and architectural lighting and control specialist. The client found them via a Google search and was impressed with some other commercial lighting installations completed by PORT around the city.
The hotel is a combination of two buildings which were listed on the National Register of Historic Buildings in 2014. The 11-story Blake & Armory was designed by well-known Boston architect Arthur Hunnewell Bowditch, and the two buildings were constructed in two phases between 1904 and 1908.
They vary slightly architecturally, but both feature large windows and quirky neo-Gothic details. Early tenants on the upper-level offices were mainly associated with the garment and fabric trade, while the lower floors housed different retail operations. In the early 20th century, the Downtown Crossing was Boston’s most chic shopping district.
Originally, The Godfrey Hotel lighting scheme was made up of flood type fixtures that looked messy and did not light up the building very efficiently, and key to the client brief received by Ron was that they wanted the sharp lines of the architecture to stand out … and they wanted to be able to colour change to mark certain occasions.
They also didn’t want additional electrical conduit running across the facades, so the fixtures had to utilise the existing two circuits of lighting power and the mounting infrastructure, so wireless control was crucial in the choice of fixtures, and they had to fit onto the existing bracketry of the previous system.
After extensive onsite tests with various Anolis products, Ron proposed a choice of three different schemes, and from these … the ArcSource Outdoor 24 MC Integral fixture was chosen, fitted with Lumen Radio CRMX modules for wireless DMX control.
Anolis ArcSource 24 MC
“When we realized that 25 x ArcSource 24s had the power and punch to light the building, we also knew we would not have to worry about any electrical costs,” commented Ron. he compact size and rounded shape blended in well with the overall building aesthetics and it offered excellent, even, high quality lighting coverage across the facades. The fixtures are located 20 feet up from pavement level where the old lights used to be, and where the architectural columns start that run up to the top of the building. The Anolis luminaires are fitted with 7-degree lenses to ensure they can attain the tight focus needed to shoot up the columns and not spill into the windows or encroach on the ambience of the guest rooms.
The ArcSource Outdoor 24 MC Integral yoke design was also a key to getting the required look and style of lighting. Offset from centre, this allowed Ron and the installation team to rotate the fixtures slightly further away from the building – both outwards and inwards to deal with the different sides – which was the final physical element that enabled optimization of the focus and coverage on both buildings, making the shafts of light so perfect.
The signature look is a crisp white, highlighting the linear elegance of the columns and beautifully outlining the shape and style of the buildings. A full new Pharos networked control system was installed as part of the project. The scheme will be changed for events like the Boston Marathon, so a series of different colour combinations are pre-programmed into the Pharos TPC controller which can be recalled as needed.
The control system is running via the hotel’s TV network infrastructure, accessed by strategically placed wireless transmitters located in the corners of the buildings and behind each of the TVs in the rooms, with an extra VLAN added to the system for lighting. Signal comes out of that TV network switch to the Lumen Radio CRMX transmitter via streaming ACN. “It’s all about problem solving,” commented Ron.
He added that PORT frequently uses Robe products on various projects, so he is familiar with the “robust design quality and excellent engineering”, which added to their confidence to spec Anolis for the exterior lighting of this highly visible architectural centrepiece.
Phenomenally successful Dutch singer-songwriter duo Nick & Simon (Nick Schilder & Simon Keizer) played 6 sold-out nights at Rotterdam’s famous Ahoy Arena in The Netherlands, the culmination of their “Nu of Ooit” (Now or Someday) tour which also was the last time they will appear in this format, as after 17 years of performing together, both artists now intend to pursue solo careers.
Lighting was designed by Martijn Steman of Triple Showtechniek working closely with artistic / show director Ad de Haan from Live Legends with the help of approximately 220 x Robe moving lights on the live show rig, plus another 60 x Robe Spiiders appearing as virtual light sources within the digital scenery that defined the stage design and show aesthetic.
Jim de Brouwer from Live Legends created the set design in conjunction with Sander van der Ham of Bluepaper and creative Desiree van Giezen, which comprised 435 square metres of LED screen. The concept was to have a ‘museum’ building that houses all Nick & Simon’s hits – of which there are many – each in their own special place. With moving walls and stairs, the stage architecture could be shifted and varied, offering a unique scenic look for each song in the set.
Ad explained that since 2009, when Live Legends first became involved in designing Nick & Simon’s stage environments, they have often included large LED surfaces enabling spectacular IMAG close ups of the artists onscreen.
For this one, they wanted to be able to change the scenery dramatically for each song, and digital scenery was a more cost-effective and flexible way of achieving this than doing it physically.
Live Legends’ content creation team – VFX artists Jim de Brouwer and Rolf Kuipers and content producer Margriet van Weperen – were asked to realistically light the footage they were making with plenty of motion using the virtual light sources.
For the show, it was essential that the pace and atmosphere of the real and digital worlds and content were synchronized, so Ad and Martijn’s long and enjoyable experience of collaborating on Nick & Simon shows proved a great asset in merging these digital decor and lighting elements seamlessly into one visual entity.
Once the set list was established, Desiree and Martijn drew up a colour list for 29 songs which had a total run time of one hour and 45 minutes. As the stage layout of the ‘museum’ changed, so did the lighting and video designs. By working with different angles of light, the different digital compositions were sometimes very theatrical for ballads and slow songs, but animated and up-tempo for the more rousing music.
Video was played back via a Resolume server with two live operators – Desiree took care of live PiP inserts plus all the specials related to the LED banners along the catwalks and above the band, and lit the digital décor with three or four lighting looks for each song.
Martijn has lit Nick & Simon since they first broke through in 2006. One of the beauties of working on these shows was collaborating closely with Ad, Sander and Desiree and blending lighting and visuals so specifically, creating special scenes and perceptions of depth that intensified the live experience.
Robe MegaPointe
Of the 66 x Robe MegaPointes on the shows, most were above the stage and along two runways that came off the stage either side and ran down the length of the auditorium. These were used as the show’s main effects lighting.
The 40 x LEDBeam 150s were positioned along the sides of the LED screens so Martijn could call them up for side lights, while 36 x LEDBeam 350s were flown all around the room and used to backlight the audience and extend and echo the mood of the decor across the hall for a more immersive experience.
Robe LEDBeam 150
Robe Spiider
Twenty-two real Robe Spiider LED wash beams were used as a backlight for the band. Martijn needed a powerful, punchy and even luminaire to compensate for the brightness of the LED screen.
Robe BFM Blade
For front light he chose 20 x BMFL Blades, picked for their power, excellent whites and flesh tones, with four BMFL Spots – out of a total of 24 – used as remote follow spots, running on four RoboSpot BaseStations positioned in a control room on the venue’s second floor balcony level.
The four follow BMFL Spots were rigged along the runways and the front truss and were chosen for their output and because Martijn specifically wanted to utilise the flexibility of the RoboSpot system for several reasons. The main one was that spot chairs dangling down from the rig, looking unsightly, and obscuring the clean hi-impact structural look … was out!
RoboSpots also allowed him to cover entrances at multiple points across the stage and set, and gave him colour and other parameter control that was at the core of the design concept, so they could be matched to the lighting and scenic ambience of the moment.
All the Robe lights together with another 200 or so fixtures were programmed and run by Martijn on a Hog 4 console, run completely live with no timecode input. Prior to that, he pre-vizzed in Depence 3 using previews of the video content for reference. Lighting equipment was supplied via Martijn’s company, Triple Showtechniek B.V which has supplied Nick & Simon’s management company, Volendam Music B.V., for some time.
Quizzed on what he enjoyed the most about these shows, Martijn stated “the collaborative nature” of the production and the fusion of talents and teamwork that made the stage come alive, etching lasting and memorable Nick & Simon impressions for all their fans. It was an emotional time for many after such a lengthy chapter in the creative careers of both artists, however there is also plenty of anticipation about what will happen next, as clearly neither of them is going away!
For more information about Robe Lighting, you can visit www.robe.cz
With a wealth of platinum and gold records to his name, Italian singer-songwriter and ‘father of Italian blues’, Zucchero Fornaciari, affectionately known as Diavolo in R.E, celebrates his 40-year career this year with his World Wild Tour 2023.
The tour kicked off in New Zealand in April, before returning to Zucchero’s home town of Reggio Emilia on the 9th and 10th of April where he played with huge success to capacity crowds at the RCF Arena, formerly known as Campovolo. With these two shows, Zucchero inaugurated the new-look Campovolo which now has a 35,000-seat capacity, and a purpose-built 5% slope that ensures optimal views and acoustics across the whole site, making the RCF Arena the largest outdoor music venue in Europe.
Zucchero’s lighting designer, Daniele De Santis, chose 60 Ayrton Cobra for the key feature of his lighting design for these two special shows, knowing he wanted a fixture that was powerful enough to make a mark across the huge space.
“I was intrigued by Cobra from the very first moment this fixture was released onto the market,” says De Santis. “I was fascinated by the opportunity to use a laser source that could give me the ability to ‘go far’. To have a tracer beam that would draw a sharp, clear shape in the air, with vivid colours even at long distances.”
Ayrton Cobra
The 60 Ayrton Cobra were positioned around the entire structure of the 80m wide by 18m high stage, with the function of defining the frame of the whole stage and visually enlarging the lighting system.
“The goal was to extend the lighting system in all directions,” explains De Santis. “The concert area was very large and it was important not to exclude any part of the audience. I didn’t want those sitting at the sides or at the back – at about 200m away – to feel excluded.
I wanted each of them to feel they were part of the concert, and that they were enveloped in the beams of light coming from the stage. I didn’t envisage putting lights on the delay towers precisely because I wanted everything to emanate from the stage, the central point from which all the lighting began. In this the Cobra helped me a lot because, with their beams, I was able to reach to the very last person at the back.“
“Although I had an idea in mind of what the Cobras were supposed to do, I didn’t know the full potential of the fixture. I’d focused a lot on the result, which for me was achieving the crucial effect of widening the stage, plus the Cobras were the only fixtures positioned around the structure, together with a frame of blinders.
“I was afraid that by using colours the beams would disappear into the night sky, and I had many doubts at first. But as soon as we fired them up, all my fears and anxieties disappeared,” confides De Santis. “’Wow!’ was my first exclamation at first sight…here were some bright, powerful beams that went “far”, and were everything I was looking for.
Within a few minutes everything materialised in my head and I had the confirmation I needed that a great lighting show would come out of this. I began to see the potential of what I could create over the two nights by programming with Cobra. Using the zoom to zero with the beam effect, we created sharp, clean, powerful tracers that I have never seen before in my twenty-three years of experience.”
The Cobras, which were supplied by Agorà, were in action for a week in all weather conditions, without ever being covered during the night.
“An hour before the debut on June 9th, there was a sudden water bomb that spilled over the entire Reggio Emilia area, with deluges of water and very strong wind, that forced us to shut down the system for safety,” says De Santis. “Once the storm passed, we started to turn everything back on with the concern of having “lost” some fixtures. The Ayrton Cobras restarted as if nothing had happened and did their job without any worries. Their water resistance is excellent and their reliability is unquestionable.”
For more information on Cobra and Ayrton’s full range of LED and laser sourced lighting solutions, visit www.ayrton.eu
Ayrton is distributed exclusively in Italy by Molpass. For information on Molpass visit www.molpass.it
HOLOPLOT, announces the launch of its latest product innovation: X2. Setting a new standard in sound reinforcement for speech-based and multi-content applications, X2 is the logical next development in HOLOPLOT’s ongoing commitment to delivering unrivaled sound control – now for more applications than ever before.
Wrapped in a more compact hardware design, HOLOPLOT’s newly conceived X2 embraces the same core technologies of 3D Audio-Beamforming and Wave Field Synthesis as the multi-award winning X1, making it more accessible for integration projects across a variety of sectors.
The highly anticipated X2 is optimized for speech applications and builds on achievements from HOLOPLOT’s formative years, when tests of a technology prototype resulted in some of the highest Speech Transmission Index (STI) measurements ever recorded on a train station platform.
The Modul 30 (MD30) is a Matrix Array loudspeaker, incorporating 30 full-range drivers in a single layered matrix arrangement. X2 taps into intelligent software-based optimization of sound system design and performance, as well as guaranteeing seamless and customizable integration.
The Modul 30.
For the conceptualization of the product, HOLOPLOT brought in Klas Dalbjorn as Product Manager, informing its development via his 30 year career in pro audio, and pulling on his experience at Lab.gruppen and Powersoft.
Klas Dalbjorn
“When setting out to design X2 it was obvious we needed to stay in line with HOLOPLOT’s Matrix Array principles. We wanted to bring the same unprecedented digital control over sound achieved with X1 and translate it to delivering unsurpassed intelligibility and directionality for typical install use cases such as auditoria, PA/VA applications, or houses of worship. Form factor and power to size ratio were key considerations from the get-go. X2 is optimized for speech applications, but can reliably support music content reproduction,” says Dalbjorn.
The 3D Audio-Beamforming in action.
X2 is specifically engineered to tackle longstanding acoustic issues, significantly decreasing the need for acoustic treatment, by mitigating unwanted reflections, ensuring clear and consistent audio experiences. With the ability to be discreetly positioned behind acoustically transparent screens or wall panels, X2 preserves the architectural integrity of any space, while HOLOPLOT’s optimization algorithms counteract transmission loss.
X2 boasts a surprisingly compact size without compromising on the exceptional sound control that defines HOLOPLOT. The simple, intuitive mounting frame of X2 allows for clean and efficient installation, making it a practical choice for a variety of environments.
Building on the modular Matrix Array principles of X1, X2 can be scaled effortlessly to meet the demands of a multitude of spaces. Recognizing the crucial role of clear communication in public address and voice alarm applications, X2 is an optimal choice for safety-critical applications such as train stations and airports.
Engineered to endure challenging environments, X2 is built to withstand extreme weather conditions including high temperatures, humidity, and water exposure. This durability allows X2 to be installed in outdoor venues or other demanding settings without compromising performance or longevity. Whether placed in a tropical resort, a humid indoor pool area, or large outdoor congregation spaces, the MD30 module delivers consistent, high-quality audio performance, no matter the climate or conditions.
Holoplot Plan.
With the announcement of X2, HOLOPLOT is also releasing a brand-new version of its sound system design software HOLOPLOT Plan.
Alongside a number of feature updates, it now enables planning and simulation of HOLOPLOT sound systems with X2 Audio Modules.
MichaelKastner
“X2 embodies our relentless pursuit of audio perfection, continuing our journey to set a new benchmark for sound control and performance,” concludes Michael Kastner, Head of Product at HOLOPLOT.
“Our aim is to provide a transformative solution that achieves exceptional speech intelligibility and sound quality in even the most challenging acoustic spaces, while ensuring minimal intrusion on the aesthetics of the project environment. We believe X2 delivers on this, and is set to redefine how society engages with sound.”
Three LED fixtures join the Cameo catalog, the Evos W7IP wash, the Spot Azor S2, and the Profile Opus SP5+, and two static/traditional fixtures: the S2IP softlight panel and a Pixbar G2 bar presented here on video by Fabrice Dayan, product manager for France.
The W7IP, moving head wash IP65. The areas above the axes of the yoke incorporate two strong handles.
Evos W7IP
The Evos W7IP is an IP65 version of the W7, a moving head wash with 19×40 W RGBW matrixable LEDs and offering a variable zoom from 4.5° to 34°. The look of the device does not go unnoticed with its two imposing yoke “arms” which incorporate solid handles dedicated to the handling of the 25 kg fixture.
Azor S2
Another novelty in the moving head category, the Azor S2, a 300 W led moving head spot, develops 13,000 lumens at 6800K and offers 2 gobo wheels, one of which is rotating, CMY trichromacy assisted by its color wheel, a large zoom of 5 to 50°, iris, frost, focus, prisms, LED frequency variation, W-DMX control, etc. A very versatile compact fixture with a weight of less than 20 kg.
Opus SP5+
To close the new chapter in the moving light division, we discover the Opus SP5+, a variation of the SP5 still in the catalog but “which lights up more” hence its name. The reworked LED engine still displays the same power of 500 W but in this case, develops 22,000 lumens against 15,000 for the classic version. The other functions as well as the dimensions of the device remain identical between the two models.
Moving head spots with the Azor S2 (300 W) on the left and the Opus SP5+ profile-type machine at 22,000 lumens on the right.
The S2IP, “softlight panel” is based on the S4 and is of course IP65.
S2IP LED panel
Another traditional/static fixture, the LED panel S2IP, for the outdoors, has the same characteristics as the S4IP but is half the size.
This “softlight panel” has 272 SMD RGBWW leds grouped in blocks of four and offers a variable white between 1800 and 10000 K, a CRI of 95, and a TLCI of 91 as well as multiple control solutions (DMX/RDM, ArtNet, W-DMX and, sACN) all in an IP65 housing.
Rear view of the X3, the “D” version (6800 K white), with a view of its output in the background.
Série X3
Alongside are two fixtures in a “PAR LED” format which, although a bit different in shape, are dedicated to exhibition lighting that could be described as “powerful” (21,000 lumens), they form a new series named X3. The D version generates a white at 6800 K thanks to its 31 LEDs of 15 W, the X3 TW offers a variable white between 3200 and 6800 K.
Pixbar IP G2
In terms of LED bars, the Pixbar IP G2 has 16 sources based on RGBW LEDs for the Pixbar 400 IP G2 and RGBWA-UV LEDs in the Pixbar 600 IP G2, of course, IP65. They have many accessories and filters to modulate the beam or offer different solutions for connecting bars and rigging to structures or floor mounts.
Chauvet is continuing to develop its IP range, which now welcomes two new members: a Maverick Storm 3 BeamWash equipped with two independent zooms and a Colorado PXL Curve bar of independent moving pixels presented here by David Launay, Product Specialist for Chauvet Professional.
Colorado PXL Curve 12
Having a place of choice on the Chauvet stand, the Colorado PXL Curve 12 is a motorized LED bar offering 12 sources of 45 watts that are completely independent of each other.
Le nouveau Colorado PXL Curve 12. On distingue le module de zoom indépendant pour chaque source.
Each of the modules is equipped with an RGBW LED, a variable zoom between 5.7 and 36.3° as well as a motorized TILT axis of 200°. The fixture offers several control modes, from the most simplified with its many macros (20 channels) to the most extensive for pixel mapping and its 179 parameters, accessible in DMX/RDM, ArtNet, sACN, or even Kling-Net.
L’une des nombreuses combinaisons de TILT que nous pouvons imaginer avec ce nouveau projecteur.
The fixture’s overall housing (which, by the way, displays 34.5 kg on the scales) has been developed so as not to have any gaps between the “pixels” if several units are grouped together.
Maverick Storm 3 BeamWash
Nouveauté au catalogue Chauvet avec ce Maverick Storm3 BeamWash et ses deux zooms indépendants.
The Maverick Storm 3 BeamWash is an IP65 moving head weighing 37 kg integrating a total of 28 pixels of 45 W RGBW LEDs, with individual led control. The innovation of this product lies in its two completely independent zoom modules, each housing part of the LEDs.
The first zone located in the center of the head is made up of 12 of the 28 LEDs, the others take place around the perimeter, thus creating the second zoom zone. Let’s talk about the zooms. Their ranges are from 4.6 and 53.6° to obtain effects such as percussive beams or very wide washes. All the leds output a consistent flux of more than 19,000 lumens.
The fixture has many macros allowing you if needed, to free up some room in the patch from all the control channels, accessible in DMX + ArtNet + sACN.
Robert Juliat is proud to announce the arrival of its first Arthur LT followspots in South Korea. Five of the 800W LED Long-Throw followspots were installed at the Seoul Broadcasting System Open Hall studios in Deungchon-dong, South Korea by RJ’s exclusive distributor for the region, C&C Lightway.
Established in 1990, SBS is the largest private broadcaster in South Korea, with a nationwide network of 10 regional stations, and three radio networks. SBS Deungchon-dong Open Hall is one of the region’s main production venues hosting a broad programme of entertainment and variety shows.
The Arthur LT 800W LED followspots were installed in a bespoke followspot box located at a distance of approximately 20m from the production floor. They will primarily be used on SBS’s flagship K-pop program, SBS Inkigayo (The Music Trend), in addition to all other programmes requiring similar key lighting capabilities.
“The Arthur LT LED followspot is highly regarded and recommended for use on all kinds of programmes, including SBS Inkigayo,” says Seung-Hoon Chun, who has been Lighting Director and Lighting Designer at SBS since 2013. “The decisive reason for choosing the Robert Juliat Arthur LT is primarily due to its suitability for the SBS broadcasting environment, but also to the lack of comparable competing products from other companies.” Seung-Hoon Chun praised the CRI value of the Arthur LT which he said was very satisfactory, and found its DMX control capabilities extremely useful in the television environment: “The control through DMX allows for the utilisation of many features that were not achievable with traditional Xenon lamp followspots, resulting in enhanced convenience and usability,” he says. “DMX allows for accurate ON/OFF control, providing fine-grained control over individual lighting fixtures. By utilizing DMX protocol, it becomes possible to send specific commands to each followspot or channel, enabling precise control over their states.”
Arthur LT is a long throw model of Robert Juliat’s original Arthur followspot, developed to match the output of a 2500W HMI source. Its powerful LED engine and very narrow beam angle (5.5°- 15°) gives it a long-throw capability that combines with a high CRI of 95 to deliver invincible performances, with premium output and quality of light.
A built-in, flicker-free power supply, and a choice of ventilation modes that ensure Arthur’s sound level is much quieter than any of its discharge rivals, make it ideal for sound-sensitive venues like studios and opera houses, as well as concerts and other live performances.
C&C Lightway is the exclusive distributor for Robert Juliat in South Korea: www.cclightway.com
For more information on Arthur LT and Robert Juliat’s full range of lighting solutions, visit www.robertjuliat.com
We could summarize the history of the fixture manufacturer Astera, in two distinct periods. To make it simple, a break-up took place in 2018, with its commitment to the world of cinema, and a line of unique and iconic fixtures. A difference that can be found in the different names of its product ranges.
Presented in “avant-première” at the Prolight+Sound 2023, the LeoFresnel and PlutoFresnel, their official release is as of June 1st.
From 2014 to 2018, then later in a more punctual way, the X series brought together a series of PARs, tubes, and bars, all LED, wireless, and with great technical commitment. The AX1, AX2, AX3, AX5, AX9, and other PiXelBrick find a well-deserved spot in the event and hosting sector, without however revolutionizing a very saturated market.
Everything will change when, between 2018 and 2019, Astera offers fixtures with much more poetic names like Titan, Hyperion, and Helios, dedicated to filming (TV and Cinema). The tubes quickly became essential for their extreme versatility and the incredible quality of their light. Their surnames inspired by Greek mythology (Hyperion being one of the Titans, master of light, also the father of Helios) resonates strongly with Astera, derived from Astraia, the star daughter of Zeus. A prophetic choice that places these fixtures within a few months in the constellation of essential luminaires, recalled here on video by Jesper Sorensen, Astera product manager.
Then appeared the small Hydra panel and the NYX bulb, goddess of night, and a well-thought-out hanging system for discreet and efficient light sources in the smallest and tightest places. And it was at Prolight+Sound that a “deus ex machina” of two divine and feline fixtures, the LeoFresnel and the PlutoFresnel, were unveiled before a select audience.
Pluto & Leo Fresnel
Sublimated vision of the Fresnel, Astera R&D has designed two innovative luminaires, the culmination of its research on wireless and ergonomics personified. Around a revisited Cob Titan source, RGB along with Mint and Amber, the PlutoFresnel and LeoFresnel are recognizable by their respective power. For the Pluto, 80 W of power consumption, the size of a large 5 or 6 kg torch, and a flux equivalent to a 300 W Tungsten. The Leo, majestic, has 250 W of LEDs, 16 kg, and a size that matches its brightness of 1000 W Tungsten.
For the light source, Astera has succeeded in integrating its famous Titan led engine into a single beam, with a specific optical setup and an unbreakable polymer lens. The result, which is particularly noticeable during demos, makes it possible to obtain a uniform flow, and without the chromatic aberrations or the slightest leaking of secondary colors which frequently occur. The manual zoom offers a range from 15° to 60°, from “spot” lighting to wide “wash” coverage.
Astera makes a point of keeping a slight margin on the power of the LEDs to preserve their lifespan. The Pluto is equipped with 105 W of RGBMA LEDs limited to 80 W, while the Leo benefits from the most powerful source integrated by the German manufacturer, with its 350 W of color LEDs limited to 250 W. The colorimetry obtained is of the same quality as that of the HydraPanels or the Tube Titan, with a white range of 1750 to 20,000 K, a TLCi/Cri Ra ≥96, and multifactor control: RGB, HSi, X/Y, Green/ Mag and gel references. Adding to its qualities, Astera associates a dimmer and a linear electronic strobe from 0 to 25 Hz, and a Flicker Free guarantee at 25 or 50 frames/s.
Perfectly adapted to any type of filming, the Leo and the PlutoFresnel add ergonomic innovations, such as the Aero numbered rails or the rigging adaptors.
We also have the pleasure to see the new Astera menu and its famous slider to adjust all its parameters with the swipe of a finger, as well as an adjustable fan/ventilation system. The fan offers three choices of speeds, an auto and/or a silent mode (without ventilation). The fixture does not adjust its power level immediately, but monitors its temperature and only dims when it overheats. This makes it possible to shoot for a short time in complete silence.
The user can control these Fresnels in different ways. Manually, with the screen located at the back, but also via DMX cable, with an infrared remote control, in wireless DMX CRMX, or with the AsteraApp app. The 2 fixtures are equipped with a Timo RX LumenRadio reception module. The wireless concept also applies to the power supply, since the 2 sources are equipped with an internal battery, with an autonomy of up to 20 hours by lowering the light output power. The Seamless Runtime function synchronizes the desired duration of use with the light intensity, in a completely transparent way. The maximum flow will be possible in MAX mode, in this case, the minimum guaranteed autonomy will be 3 hours for the PlutoFresnel and 2 hours for the LeoFresnel.
If this is not enough, it is possible to connect 1 RuntimeExtender (or 2 in the case of the Leo) and install external V-Mount or Gold-Mount batteries of 14.4V or 26V. The Fresnel yokes also include mounting points for the RuntimeExtender. For permanent installations, it is recommended to use a mains power supply, either directly with a PowerCON in the case of the Leo, or with a separate power supply and a hybrid cable for the power and DMX for the Pluto.
Different modes for the Fresnel Astera are available: DMX, wireless, manual, or via infrared.
Beyond the wireless capabilities and the quality of their light output, the Leo and PlutoFresnel are packed with innovations, and fixtures within several accessories requested by the DOP to satisfy their creativity.
Each Fresnel has all 4 sides fitted with Aero rails to attach a large number of accessories, including a large handle to use them by hand, or ultra-fast yoke clamps (the YokeBase). The removable yokes have an azimuth 360° wing-nut clamping system, for RunTimeExtender, 2 fold-out supports to be placed on the ground and a central notch for a standard TVMP adapter.
On the front side, a gel holder allows you to install an 8-plane barndoor with sharp enough edges to cut/block the beam perfectly. By removing the barndoor and the lens, the Fresnel can either work in open source, with beautiful shadows, but will also be able to be fitted with future sources. Astera has specially designed them to transform its Fresnel into premium profile fixtures with 16-36° focal length, a gobo holder, and 4 framing shutters!
With an infinite eye for detail, the LeoFresnels come with Rabbit-Rounder adapters, an ultra-simple attachment system developed by DOP Choice for its accessories: Octa, Snapbag, and Lantern. In the field of hybrid cinema/TV fixtures, Astera is increasingly establishing itself as an absolute reference. Not only is the finesse of its light a rare asset, but the attention given to every detail, as well as the quality of its wireless and battery-powered fixtures, is practically unbeatable.
The German firm Look Solutions, a specialist in effect machines, unveils a new powerful, robust, and innovative smoke generator. Its name “BOA” is in line with its fellow smokers with reptilian names (“Viper”, “Cobra” …) As for the 64, it designates its IP64 protection index.
The new BOA64 has an innovative nozzle to reduce noise.
The new BOA 64 is therefore a classic type smoke machine (by which I mean high output, using a water-based liquid and without an internal fan or turbine) of 1,800 W equipped with a brand new system of Quiet nozzle that significantly reduces smoke emission noise compared to other single orifice nozzles used up to now.
After a quick demonstration, it speaks for itself (or shall I say whispers), at high output setting (and it is!), the perceived noise is, by ear, approximately cut in half compared to another classic smoke machine of equivalent power!
Rear view with the 5-liter tank and connectors. Note the large handles are directly integrated into the housing of the device.
The device, which is therefore protected from splashing water and suitable for outdoor use, has a system for detecting the presence of smoke fluid which cuts off the emission of smoke in the event of an empty tank to protect the pumps (because the BOA 64 has two).
The electronics of the device detect the changes in the temperature of the heating elements to know if the liquid is vaporized or if the pumps are running on empty.
The BOA 64 has a brand new intuitive touchscreen control interface allowing you to configure its DMX mode, use it manually, to have access to the timer or the operating hours counter. Note that it is equipped with RDM, 0/10V control, and an Ethercon RJ45 port.
In terms of operation, the BOA64, due to its large heating mechanism, requires 15 minutes before being available at full power, it can then operate continuously at 30% of its maximum flow rate, which is accessible for about one minute.
Its price is not yet known but it should be around 2,500 € HT (public price). It should be noted that the machine is entirely designed and manufactured in Germany except for the electronic PCBs which arrive from Asia without their components to be equipped and assembled at the German factory.
In celebration of the coronation of King Charles III on 6th May, Palace of Westminster in London was illuminated in the iconic colors of the Union Jack – red, white, and blue. The home of the UK Parliament is a worldwide famous building dating from 1840 with iconic architecture. To illuminate the Gothic-style exterior facade in the national colours, lighting designer David Bishop chose a total of 74 units of Cameo ZENIT W600 LED Wash Lights, supplied by Version 2 Lights.
The IP65-rated ZENIT W600 fixtures were placed at the base of the building’s facade over a width of more than 250 metres by David Bishop and Gaffer Matthew Zelmanowicz, focused to uplight the historic building with a beam angle of 18°. When choosing the colours, the lighting team didn’t have to think twice: blue, white and red alternating across the entire width of Palace of Westminster.
Cameo_Zenit_W600
“The Zenit W600 was the obvious choice”, says David Bishop. “Its power, reliability and IP rating combine to produce stunning colours on any chosen canvas. In particular, the punch of the white chip in the W600 suited this application as we needed to ensure the naturally warm stone of the Palace translated into pure white to make the traditional red, white, and blue associated with the UK. The colour consistency across individual units is great too even when white was mixed with some blue, each unit in this setting was absolutely identical.”
Version2 Lights knows its way around royal events. The rental service provider already equipped Queen Elizabeth II’s (†) platinum throne jubilee in 2022 with hundreds of Cameo fixtures, including the ZENIT W600, and illuminated both the open-air stage and Buckingham Palace in the background for the famous Party at the Palace.
Simon Perrot, Version 2 Account Manager, adds: “The Zenit W600 boasts an impressive output and has come into its own on some of our larger outside broadcast productions. We see these fixtures appearing on more and more kit lists from leading television lighting directors, such as David Bishop. The W600 has rapidly become a dependable workhorse fixture for both studio and location work.”
ETC’s automated luminaires and entertainment fixtures have been selected by rental company Papadimas AVL S.M.P.C in Greece for renowned TV shows ‘The Voice’ and ‘Just the 2 of Us’, as well as ‘Phantom of the Opera’ in Athens, and Thessaloniki.
Almost 200 High End Systems moving lights feature across the productions, including Lonestar, SolaPix, SolaFrame and SolaSpot automated luminaires.
ETC’s affordable Lonestar fixtures took their Greek TV debut on talent show ‘Just the 2 of Us’, bringing their professional feature set, and quality output all wrapped up in a small package.
They joined over a hundred other High End Systems moving lights as well as 50 Source Four LED Series 3 Daylight HDR profiles, all controlled by a mix of Hog 4 and Eos consoles. Series 3 continues to wow on-camera around the world, with its patented X8 array giving unmatched control over how skin tones and objects render on-screen.
SolaPix Family
SolaPix 19 luminaires returned to world-famous reality competition show ‘The Voice’ this year, working alongside High End Systems SolaSpots and almost one hundred Source Four LED fixtures.
The unique face-look of SolaPix, with its HaloGraphic Pixel Definition and innovative FleX Effects engine is a big hit on-camera, but the fixture is also capable of incredibly smooth washes, adding even more versatility to the rig.
Papadimas AVL S.M.P.C established its presence in the broadcast market in Greece through working on such shows and supplying ETC products. “We met the demand for high quality equipment and services on the ‘The Voice’, ‘Just the 2 of Us’ and the ‘Phantom of the Opera’ with ETC gear, which has also set the bar high for our competitors.
The certified quality of ETC products combined with the large quantities we own have helped us create a fleet that provides exceptional results, with consistency and competitive prices,” comments General Manager at Papadimas AVL S.M.P.C, Panagiotis Papadimas.
The live productions of ‘Phantom of the Opera’ used a wide range of High End Systems spots and wash-lights alongside industry standard Source Four LED Series 2 Lustr profiles to bring the story to life. Released in 2014, Series 2 continues to earn its keep in hire stocks around the world, with venues and rental companies continuing to invest in its reliability and incredible color control, all backed up by ETC’s industry leading warranty and support.
ETC Regional Sales Manager, Konstantinos Vonofakidis comments: “I would like to thank Papadimas AVL for their continued trust in our products and services even during the challenging times of the pandemic. This has been a great collaboration that has been forged through the unparalleled support of our local dealer – Audio & Vision.
“The co-operation between Papadimas AVL and Audio & Vision has had a significantly positive impact on the TV and live events industry in Greece. The overall quality of lighting has improved with many productions being upgraded with ETC equipment, and DOP’s and LD’s continue to create unforgettable lighting designs with our products.”
Presented at Barcelona and available in six 4- and 8-channel models, Unica is Powersoft’s most advanced cloud-based amplification platform for medium and high-power systems. This range is set to grow both in terms of models and possibilities.
This new series required a team of 35 people and three years of work, which means 100 years of research and development potential in man-hours. Its Italian name, “Unica”, which means “unique” in the feminine, strong>explains the creative approach of Claudio Lastrucci, Scandicci’s amplifier master.
Powersoft co-founder and head of R&D, Claudio Lastrucci.
Unique because it offers a whole range of possibilities, flexibility and unprecedented resilience, and Unique again because a single networked platform is enough, through its six variants, to drive a practically infinite line of high-impedance ceiling speakers as well as the toughest of low-impedance subs… all at the same time.
Designed using Powersoft’s know-how in terms of power, sound quality, versatility, efficiency and reliability, the bar has been raised even further in these areas, while adding a significant element of innovation, which is in the DNA of the Italian brand and its response to the demands of integrators and players in the installation market.
The three high-power 4-channel models.
And the three high density models, with 8 channels in 1U.
Two separate lines make up the Unica family. Three 8-channel models with total power ratings of 2, 4 and 8 kW for theme parks and medium-sized venues requiring a large number of channels, and three 4-channel models with ratings of 9, 12 and 16 kW designed to meet the very high demands of large venues like stadiums or Arenas. Each of the six models is housed in a single rack unit, and is capable of delivering peaks ranging from 160 to 220 V and 30 to 80 A, making it ideal for modern loudspeakers and beefy transducers. Channels can be bridged in pairs.
An 8-channel model with eight fans paired with the same number of heatsinks that resemble isophase waveguides. The air flow is front to back, with a filter that can be cleaned without needing any tools, and a noise level of 24 dBA in the absence of signal, or up to 53 dBA at full speed. Note the DSP under the heatsink with the Powersoft logo at top left, as well as the power reserve, which is nicely situated in the airflow and totals 18,200 µF at 200 V.
The efficiency achieved by all Unica series components – including the switch-mode power supply with its single-stage PFC, the network inputs, the DSP and the latest-generation output stages controlled by the Smart Rails Management system – is the highest in the Powersoft catalog, as well as the highest on the market, at 88%. The same is true of the signal-to-noise ratio, the compact design of the circuits and the extremely low distortion levels, the absolute best of all models from the Florentine manufacturer.
A view of the three RJ45 ports and the USB port, where a memory stick stores the unit’s configuration, making it easy to replace in the event of failure.
Particular emphasis has been placed on reliability, with a redundant network input, rigorous management of heat dissipation, circuits designed to prevent a failure from spreading to the whole amp, and very short restart times after a power failure.
Finally, the replacement of a unit can be carried out simply by an electrician, or even by the owner of the venue, thanks to a complete backup of the parameters stored on the USB key located on the faulty amp, which simply needs to be inserted into the replacement unit. Powersoft calls this Easy Swap. To find out more about the Easy Swap function, a White Paper is available here.
A careful study of the heatsinks enabled the manufacturer to lengthen them to increase the surface area and the quality of heat exchange with the air, which in turn reduced the speed of the air and the noise generated.
As always, the rear panel tells the whole story. The two terminal blocks on the left are the amp outputs. The double row houses the eight balanced analog inputs, followed by the GPIO and other standby and level terminals and, finally, the three ethernet ports.
Among the new features specific to the Unica series, the presence of a PoE+ power supply on the amplifier’s network connections means that the amplifier can be programmed before the power supply is connected, a plus for integrators, and also offers almost instantaneous audio return after a power failure, since the DSP remains powered.
With PoE++ in class 8 and beyond, it’s even possible to test loudspeakers with 8 W power on each output, which has been requested by a large number of consultants, potentially saving a great deal of time on job sites. If you’re interested in this PoE function, Powersoft has published a White Paper available here. Of course, it’s possible to control each amp via the proprietary ArmoniaPLUS software, but more importantly, it’s possible to connect to Universo, the cloud specially created by Powersoft to monitor and remotely control any connected Unica unit.
Luca Giorgi with Claudio Lastrucci in the background.
At the presentation of the range, Claudio Lastrucci, the R&D Director who followed the Sales Director Luca Giorgi, suggested that Unica has sufficiently open, innovative and powerful technology to ensure that this platform, which already offers a great deal compared to Due, Quattro and Ottocanali, will offer even more, including surprises in the near future in terms of functionality, hardware, software and cloud, where much is still in development. He added that Unica is built to last, and will have a longer life cycle than other Powersoft ranges.
The 4- and 8-channel models will be available starting in the 4th quarter of 2023.
