The Harbour Club brand is renowned in the Netherlands and around the world for its distinctive blend of quality, mouth-watering, high-end cuisine, vibrant international ambience, stunning industrial backdrops, and cool contemporary art, offering a unique dining-based experience that’s stylish and fun.
The latest evolution in this successful concept is the just-completed The Harbour Club Theater, an exciting brand-new 300-capacity purpose-built performance and event space located adjacent to The Harbour Club’s flagship restaurant Amsterdam Oost. It extends the opportunity of sampling exquisite food whilst enjoying top-notch entertainment, starting with the show VEGAS starring Dutch magician and world level illusionist Hans Klok, plus a cast of eight dancers, four singers, three acrobats and a live band.
(left to right) Marc Fijters (Controllux), Bob Nieuwland (venue technical manager), Benny La Maitre (lighting designer) and Hans Peitsman (Peitsman Licht en Geluid )
Lighting for this exclusive new venue has been designed by Benny La Maitre, who put 24 x Robe T1 Profiles, 28 x LEDBeam 350s and six Spiider wash beam moving lights at the centre of the rig.
This is part of an overall next level production design encompassing audio, video, staging, pyro and SFX, all planned and co-ordinated by The Harbour Club technical manager, Bob Nieuwland, who started the design process by drawing up the set in WYSIWYG. He then asked Benny onboard to fine-tune the details which included the swapping of some lighting fixtures once the final look of the set was established.
The lighting was delivered via Rotterdam-based Peitsman Licht en Geluid (Peitsman Lighting & Sound) headed by Hans Peitsman, one of several companies asked to quote on supplying a technical package that will include ongoing support, based on a comprehensive brief developed by Bob for The Harbour Club Theater.
Bob has been working for The Harbour Club for several years, looking after all their technical and production aspects, so when the theatre project re-energised as Covid restrictions were gradually lifted (the initial venue / show ideas were germinating before 2020), he asked Benny onboard to create an appropriate lighting design.
VEGAS in The Harbour Club Theater is a lively combination of genres – theatre, cabaret and music – for which Bob knew that Benny’s work and skills would be “a perfect fit”. In addition to staging their own world-class productions, the location of The Harbour Club Theater is available for select private hires and business events for which there’s already a queue!
Bob and Benny were both instrumental in specifying Robe for the moving lights, together with a list of lighting ‘must-haves’. These included compact fixtures as the headroom above the stage to the LX bars is tight and consequently the lights had to be quiet as well as camera-friendly for recording or streaming. In keeping with The Harbour Club’s vision, the technical design demanded premium brands, so Robe was a great fit, together with the L-Acoustics system and audio design by Jeroen ten Brinke.
“Flexibility had to be at the heart of the lighting system, as the needs for the show and also the room architecture are diverse and can and do change daily, often at the last minute,” explained Benny, adding that he also wanted to keep the design ‘clean’ with just a few key types of multi-functional signature fixtures. These also had to be LED.
Robe’s T1 Profiles were chosen for their finessed theatre features, compact size, fantastic colours, silent operation and “ideal for the space”, says Benny. They are used for all the base front and back lighting. He has lit several other projects with T1s including a variety show starring Herman Van Veen and thinks it’s an “amazing” fixture.
Benny La Maitre on the left with Bob Nieuwland.
The LEDBeam 350s are for side lighting, positions where they needed a small bright light with a quiet zoom. Originally the plan was to have Robe’s tiny LEDBeam 150s in these positions, but as the 350 version was launched earlier in 2021, these were swapped for the more powerful lights. The Spiiders are currently being used as a flexible floor package which can also be rigged over the stage if required.
Benny has been a Robe fan since the launch of the DL series – Robe’s first-generation of theatre / performance specific LED luminaires – and since then has regularly spec’d the brand for his designs. Benny and Bob are both confident that this design and these Robe fixtures will provide all the lighting adaptability, creativity and production values needed to enhance the quality of The Harbour Club Theater experience. All lighting is run from a grandMA3 console.
The Harbour Club Theater’s interior design is visually rich and beautifully detailed, from the array of tactile and shimmering finishes and colours to the fresh, glamour-hustle original artworks of Italian-Dutch neo-pop artist Selwyn Senatori, positioned incidentally around the space for max impact. The venue’s aesthetic has been thoughtfully imagined by one of the owners, all adding to the elegant, funky, and swanky mood.
The VEGAS show differs from other ‘supper club’ models with its stand-alone thread rather than a linear narrative. The storyline is based around the activities of a high-end Las Vegas hotel, in which guests visit different levels throughout the evening, leaving the theme open to individual interpretation and the producers enough latitude to present a range of artists – anything from Sinatra-esque to Pink, Hans Klok, Martin Garrix, etc. – who can be anywhere: in the cocktail bar or in the sophisticated nightclub.
“We are definitely on a journey far beyond Las Vegas from Amsterdam East,” concludes Bob.
For more press info about Robe lighting, you can visit www.robe.cz
Nashville-based CTS AVL, a full-service audio, video and lighting company specialising in live events, has expanded its lighting inventory with a large complement of Ayrton Khamsin profile and Mistral-S ultra-compact spot luminaires. ACT Entertainment is the exclusive distributor of Ayrton lighting fixtures in North America.
CTS AVL had been an audio company for almost 40 years when it branched out to video and lighting about half-a-dozen years ago. The addition of Ayrton Khamsins and Mistrals, the company’s first Ayrton purchases, offers more high-end lighting options for customers across all markets and across the US.
“We needed a high-output fixture with framing shutters and an LED source,” says lead lighting technician, Carter Ranson. “We were looking for something with a big feature set. I saw Khamsins in use on the road and loved the fixture, and from the research I did they seemed very robust. Then I got my hands on Khamsin at LDI 2021.”
He expects CTS AVL’s roster of Khamsins to be used mostly as key lights thanks to their even, flat field. They will also be in the rig to create aerial effects and light scenic elements. “We’re getting ready to do several large-scale corporate projects back-to-back, so there was a big push to get the Khamsins in for those events,” notes CTS AVL vice president, Mike Taylor.
The Mistrals will be slated for aerial effects and back lighting, according to Ranson, who saw the fixtures at LDI and in use at Nashville’s famed Ryman Auditorium. “We love how small they are for such a big output,” he says. “We can fit four in a case, which is really nice for us.” Taylor explains that, “as a company working nationally, getting the most out of our truck space is a big deal.” Ranson also points out that, “the Mistrals will integrate well in the rig with our Khamsins – a lot of the gobos are the same, and they’ll match colours easily.”
Taylor notes that CTS AVL has a long history of acquiring its inventory from ACT. “We’re a specialised, boutique-style company that doesn’t invest in hundreds of lights at a time, but ACT has always made us feel just as valued as the larger companies they deal with.” In addition, Ranson cites ACT’s “excellent support in the field. I always get answers quickly when I need them.”
More information on Ayrton Khamsin, Mistral and the full portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu
Genelec has further expanded its Smart IP family of installation loudspeaker systems with the introduction of the super compact 4410 loudspeaker model and a new Smart IP Controller app. The 4410 joins the existing 4420 and 4430 Smart IP models to cater for an even wider range of applications and room sizes.
The free Controller app provides the end user with instant and intuitive control of key loudspeaker system functions including mute, volume control and power on/off, plus overall zone control.
Originally launched in 2019, the Smart IP loudspeaker range combines exceptional sound quality with single cable convenience, providing scalable power, audio and management features via a standard CAT cable. Offering extraordinary coverage, clarity and intelligibility, all models are compatible with both Dante and AES67, and derive power via PoE and PoE+ Power-over-Ethernet formats.
Measuring just 181 mm in height, the active two-way 4410 is perfectly suited to smaller spaces, yet its proprietary internal power supply helps to produce an impressive 100 dB of short term SPL.
La réponse en fréquence dans et hors de l’axe.
The 4410 supports up to eight audio channels in a stream with sample rates of 32 – 96 kHz and 16 – 24 bit resolution and delivers a frequency response of 67 Hz – 40 kHz, via internal Class D amplification stages driving a 3 inch woofer and 3/4 inch metal dome tweeter.
Created in conjunction with leading industrial designer Harri Koskinen, the 4410’s aesthetically beautiful Minimum Diffraction Enclosure is fashioned from recycled aluminium and utilises Genelec’s trademark Directivity Control Waveguide, to ensure precision and clarity both on and off axis. Built to the highest environmental standards in Iisalmi, Finland, the 4410 is available in black or white finishes, and a wide range of accessories ensures that the 4410 can be mounted quickly and conveniently in almost any location.
As well as receiving both power and audio-over-IP, the 4410’s single rear panel RJ45 connector also allows access to Genelec’s Smart IP Manager – a sophisticated downloadable software tool running on Windows 10 that allows installers to configure an almost unlimited number of rooms, zones, loudspeakers and audio channels, and includes device discovery, a versatile room equalisation tool set, system organisation and status monitoring.
Smart IP Manager.
Once the installer has used Smart IP Manager to configure and optimise the system, the end user can then download the free Smart IP Controller app onto their smartphone or tablet (iOS or Android) for instant fingertip control of mute, volume control and power on/off.
The Controller app will automatically discover the loudspeakers on the network, and offers a clean and intuitive user interface that both experts and non-technical staff alike will find straightforward and satisfying. Access to some or all of the zones created during configuration can then be assigned to the app, thus ensuring that the appropriate levels of access are granted to each end user.
Le directeur commercial de Genelec AV, Sami Mäkinen.
“The compact 4410 is a natural and welcome extension to our Smart IP loudspeaker family, while the Smart IP Controller app is the perfect tool for less complex installations where comprehensive touchscreen control of the system isn’t always required,” comments Genelec AV Business Manager Sami Mäkinen.
“The 4410 is perfect for those installers looking for big loudspeaker performance from a small footprint, while the Controller app provides a simple, low cost alternative to third party house automation systems. We’re sure that installers and end users alike will warmly embrace these new additions to the growing Smart IP family.”
Das Duell um die Welt (‘The Duel around the World’) is a popular game show that has been broadcast on Germany’s ProSieben network since 2012. In the two-part show, moderators Klaas Heufer-Umlauf and Joko Winterscheidt first have to face a series of challenges in different countries around the world before returning to solve further tasks in the studio for the respective countries in the second half.
Since 2014, mdc licht.gestalten.gmbh & co.kg has been responsible for lighting technology for the show, produced by Florida Entertainment GmbH with lighting designer Jonas König. The final season aired live on 4th and 11th December 2021, and an episode for 2022 was taped during this production period. MLS Magic Light & Sound GmbH are the lighting suppliers for the show, which is produced in the Bavaria Studios in Munich.
The studio itself consists of a spacious playing area surrounded by long LED banners and spotlights. A lighting matrix of 141 GLP impression X4 moving lights hangs above the playing surface. “I’m a big fan of clear and neat designs,” says Jonas König. “Consequently, I had a design in mind for Das Duell um die Welt that can react flexibly to any requirement and at the same time look clean. The show requires great creativity, because there are always many different, unexpected, sometimes crazy things happening.”
The X4 matrix serves as a show and key light. The two-dimensional division of the devices allows each position to be illuminated individually in a relaxed manner. The impression S350 spots, on the other hand, are used for fixed moderation positions and are occasionally used to emphasise smaller objects. Since these positions are fixed in advance, the S350 can be planned accordingly.
“Both the X4 and the S350 are very small yet powerful devices,” notes König. “I find the output very harmonious in comparison to the chassis size. The devices are always available on the market in sufficient numbers and have an extremely low failure rate. With the low power consumption, it is also possible to produce the show in a climate-friendly manner, which is rightly becoming more and more important.”
Jonas König is accompanied during production by Christoph Dahm (technical director), Fabian Schmidt (moving light operator), Florian Penzberger (gaffer), Tobias Grabosch (white light operator) and Jens Probst (media server operator).
Grammy award winning musician, singer, songwriter, actress and producer St Vincent (Anne Erin “Annie” Clark) is as exciting as a live artist as she is accomplished and provocative as a music creator, renowned for highly visual performances, an invigorating mix of grittiness, conceptual art and superlative music, so this was a great match with lighting designer Paul Normandale, who also has a penchant for imaginative risk taking.
Paul designed the set and lighting for St Vincent’s most recent Daddy’s Home tour following the launch of the highly acclaimed album of the same name. He worked closely with the artist who had numerous ideas about the style she wanted onstage, and after some creative brainstorming, Paul evolved a dynamic set and lighting scheme to bring flexibility, texture, depth, and dimension to the stage that was also practical and tourable.
Right at the core of the touring lighting system were 19 x Astera Titan Tubes
These were fully maximised as scenic, practical and effects light sources for the floor lighting rig which was based around a 16ft diameter revolve stage built by All Access. This touring lighting / set package was installed underneath the top lighting at each venue and facilitated the fluid dramatic theatrical style scene changes and backdrops supporting the show’s dynamics and narrative.
Running fully wirelessly, 13 of the Titan Tubes were a perfect solution for a light source on the back wall of the motorised revolve set piece. Attached at jaunty angles to the wall with a series of spring-clips for quick and easy rigging, the Titan Tubes worked as both a solid back light fixture on one side and as blow-through in conjunction with a semi-transparent cloth on the revolve wall which spun around 180 degrees to create a complete cityscape.
The remainder of the Titan Tubes were positioned on the floor along both sides of the revolve wall to provide up lighting for the background vocalists. During the song “Sugarboy” the backing vocalists unclipped three of the Titans from the back wall and used them as illuminated props as they danced around the stage.
“Combining the essence of old-skool theatre with the revolve and different backdrops and contemporary technologies – the Titan Tubes – meant numerous different environments skillfully could be created to reinforce each song,” explained Paul. From fast-strobing effects to beautifully subtle pastels to rich electric neon colour palettes, they helped bring elements of surprise, ambience and visual flourishes of soul, jazz, rock, and other genres to the stage and were “worked very hard throughout the set.”
Paul’s UK-based lighting rental company, Lite Alternative, owns Titan Tubes and Astera AX3 LightDrops, and he has been using products on different shows and events for some time. “The quality of the light is excellent, and they are extremely well packaged, so you have everything you need to hand.”
Operating lights on the St Vincent tour was LA-based lighting specialist Tess Falcone. It was the first time she had worked with Paul, an opportunity she relished, commenting that “his creativity and industry knowledge is impressive, so I was over the moon to collaborate with him and help achieve his goals for the show.”
Tess also enjoyed working with the Titan Tubes describing them as “an incredible fixture” and observing that they stood up remarkably well to being ripped off and pushed back onto the scenic wall and sometimes accidentally dropped! She was also impressed with the battery life.
“They are a beautiful light source,” she said, adding that they did some video and TV shoots on the tour using the Titans where they didn’t have their full lighting rig, including at Austin City Limits and for the Jimmy Kimmel Live show. “They are fantastic on camera as well as in person. We used them as front light and as an effects light and the light quality is really solid for both applications.”
The battery powered / wireless DMX functionality meant Titan Tubes could be deployed around the stage with a very expedient footprint for these shows, enabling “some really different looks, even without the rest of the full show.” They were also ideal for the smaller gigs where it was impractical to fit many lights onstage, so Tess positioned them on top of amps or around the stage on their stands to create straightforward architecture and effects without impeding the backline.
Tess and her partner, Dan Hadley, first used Astera products – AX1 PixelTubes – for a Jimmy Eat World video shoot in 2020 and loved them. Hanging down from a truss structure rigged with a fishing line – thanks to their light weight – the AX1s created a perimeter around the band that “looked absolutely beautiful,” she elucidated. In addition to the experience of working with Paul, Tess loves St Vincent’s music and enjoyed working with this incredibly talented artist who is tuned-in and interested in every aspect of her live performances.
Tess hopes there will be the opportunity for more shows this year. “All credit to Paul for creating such a wonderful world for us to work in,” she concluded.
Domino LT is the first all-terrain LED luminaire in Ayrton’s ‘LT’ (Long Throw) range. Designed for intensive outdoor use in long-distance applications that require high precision, Domino LT can cope with the most extreme conditions, and is able to acclimatise to all types of climatic environments. It combines the minimalist design of Domino Profile with the colour mixing capabilities of Huracán Profile and the IP65 weather-proofing of Perseo.
Domino LT’s 225mm diameter frontal lens produces an ultra-intensive beam with a 15:1 zoom ratio and a zoom range of 3.5° to 53°. Equipped with an all-new high-efficiency 1,000-watt LED module, Domino LT delivers a luminous flux of 51,000 lumens at a colour temperature of 6700K.
Domino LT’s complex colour mixing system offers a double level of CMY saturation that can obtain 281 trillion colours (patent pending) with a triple corrector for variable colour temperature that allows subtle adjustment from 2700K to 15000K and significant CRI improvement.
Fitted with multiple optical tools for shaping light, Domino LT is equipped with a linear progressive frost system, a lightweight frost filter, and two rotating prisms: one is linear with four facets and the other is circular with five facets.
The framing section enables precise positioning of each shutter blade on a 100% surface area. The effects section includes two superimposed rotating gobo wheels each with seven gobos, a 15-blade iris diaphragm, a monochromatic multi-position effects wheel, and an RGB and CMY effects wheel for unique multicolour effects.
Its full weather-proofing features are no barrier to maintenance as Domino LT’s design still ensures total accessibility to the luminaire’s internal functions.
Domino LT is a unique luminaire Designed to face the most extreme conditions. in stadiums and large arenas, Domino LT will be shown for the first time in public at Prolight+Sound, Frankfurt (26-29 April 2022) on the Ayrton stand in Hall 12 Stand D74-D75. To coincide with the release of Domino LT, Ayrton’s original Domino fixture released in 2018 will be renamed Domino Profile.
Full specifications can be found on the Ayrton website www.ayrton.eu
Anaheim-based BCT Entertainment, a leading AV production company with a full inventory of lighting, video, pro audio, lasers and staging available for rental or sale, has invested in a large complement of Ayrton Diablo fixtures from ACT Entertainment, Inc., Ayrton’s exclusive distributor in North America.
“We have expanded our lighting inventory with the purchase of our first Ayrton fixtures,” says BCT’s owner, Brian Longhofer. “We had a gap in small-format fixtures with framing capabilities, and the Diablos checked all the boxes.”
ACT Entertainment introduced Longhofer to the Diablo fixtures, which he later saw at LDI. “We considered other fixtures, but ultimately decided on the Diablos because of Ayrton’s name recognition, the fixture’s feature set, and its high quality compared to its price.”
He expects the Diablos to be used primarily for corporate events, where their small format is especially desirable. “Unlike concerts where lighting is part of the show, corporate clients like the lighting to disappear,” says Longhofer.
“Diablo’s framing shutters are also a big plus: they are in demand for just about every corporate show and give a lot more control over the beam.” Additionally, the Diablos’ LED source means “a significantly less amount of maintenance, cooler temperatures and lower power consumption.”
“ACT has been really great in supporting our purchases,” he points out. “We plan to continue investing in Ayrton fixtures in the future.”
More information on Ayrton Diablo and the extensive portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu
Sure, the game is fun to watch but for many – certainly those in the entertainment technology industry – it is the Super Bowl halftime show that garners most of the attention. On Sunday, February 13, 2022, all eyes were on SoFi Stadium in Los Angeles for Super Bowl LVI where hip-hop legends Dr. Dre, Snoop Dogg, Kendrick Lamar, Eminem, and Mary J. Blige took the stage, with surprise performances from 50 Cent and Anderson .Paak.
Super Bowl halftime veteran Al Gurdon of Incandescent Design was back lighting the show and, as befits a show of this caliber, had a large lighting package at his disposal. This was the Emmy-winning designer’s sixth time lighting the event and with ambient lighting conditions to contend with chose a powerful package that included Proteus Maximus, new Proteus Excalibur, and Protron 3K Color luminaires.
Entertainment design group 22 Degrees supported Gurdon in his design including lighting direction. The lighting system, made up of over 600 lighting fixtures, was supplied by PRG. Executive Producer of the show was Roc Nation.
Returns to Maximus
In terms of what is most important when it comes to fixture choice for the Super Bowl halftime, Gurdon says it depends on the show. “One Super Bowl can be very different from another,” he says. “Very significant considerations are whether or not the stadium is under cover from the elements, or not, and the type of throw distances involved.”
Last year’s halftime show, in Tampa, was exposed to the elements and therefore having an IP65 rated fixture was very important. “That was the first time I used the Proteus Maximus, and I was very impressed with its functionality and particularly its brightness,” Gurdon comments.
“Again this year, we were all extremely impressed with the brightness at significant throws, and that was particularly important in this halftime show as we were shooting across the borderline between full daylight and full night.”
Bright ambient conditions Gurdon says that because the precise duration of the first half of the game was not predictable, they did not know what sort of ambient conditions they would eventually shoot in. “As it turned out, the first half was very quick and we broadcast the show at the earliest and brightest time we had ever seen it. It was very useful at this point to be able to call upon the considerable brightness headroom we had built into the rig to give us more contrast in brighter daylight conditions.”
Although the IP rating was not a requisite for this year’s show as the field at SoFi Stadium is covered, Gurdon says the shuttering, and most importantly, their brightness, made them an obvious choice for this year as well. He incorporated 94 Maximus in his design, arrayed around the building and mainly used for key light. “I also used them for the ‘Global Citizen’ event in Paris this year, and found them very effective and efficient.”
In searching for a compact moving head that could create powerful aerial beams, Gurdon spoke with Elation’s UK-based Business Development Manager, Graham Hill, who introduced him to Elation’s newest Proteus series fixture, the Proteus Excalibur.
“The set design concept for the show (Es Devlin) was a series of iconic buildings from the Compton neighborhood, sitting on a field cloth of Los Angeles from the air,” Gurdon explains.
“I wanted something that would give me a good searchlight effect. I was keen to have the visible fixtures feel like a motivated part of the environment, rather than ‘just a bunch of lights’.”
The Proteus Excalibur projects an ultra-narrow 0.8-degree beam – producing up to 200,000 lux at 20 meters. Eighty-four Excalibur fixtures were arrayed on field carts on both sidelines and on audio carts that created a ring around the field.
Finally, rigged next to the Proteus Maximus, 106 Protron 3K Color, a high-power RGBW strobe light with 40,000 lumens of power, provided a stadium-sized flash effect. Gurdon says he is a big fan of strobes and often prefers to simply accent the music using them, something he feels they do well.
The Super Bowl is the most watched television broadcast in the United States every year with this year’s halftime show watched by over 100 million viewers plus millions more around the globe. The game proved especially satisfying for Elation as the Los Angeles-based company’s home team Rams came out victorious.
After celebrating 15 years lighting My Morning Jacket (MMJ) – including seven design cycles – any LD could be forgiven for running out of fresh ideas. But not Marc Janowitz, who recently started using GLP’s innovative KNV Dots – the latest in a long history of discovering solutions within the German company’s fast-evolving LED inventory.
“In 2012 I first started stringing [impression] X4 as ‘festoons’ on MMJ and I just kept on using them as a problem-solving tool,” he explains. “Prior to that I had been using the 120 Zoom. The X4, with its homogeneous RGBW sources, was a big sea change for LED wash fixtures.”
Presently Janowitz is favouring the KNV Dot, which he also has out with the Black Pumas. One of four inter-operable KNV fixtures, each housing can be used independently, or combined seamlessly to provide massive canvasses. Contained in its own IP54-rated housing, KNV Dot comprises a bright 30W hyper-white central LED surrounded by 16 x 0.5W RGB LEDs, providing the flexibility to be used as a pixel-mapped surface, strobe, blinder or washlight, and with a DMX pattern generator offering further multiple effect libraries and graphic options.
The KNV Dots form an essential part of an evolved design, which also includes multiples of GLP JDC1 hybrid strobes, X4 Bar 20 battens, X4 washes and the tiny impression X4 S. After COVID the band resumed touring, announcing Fall dates which would showcase not only their recently released Waterfall II album but also a new self-titled album released mid-tour in October, all of which needed to be expanded into the show.
The scalable production design was initially aimed at 10,000–12,000-capacity ‘shed’-style venues at the upper size and 3,000 4,000 boutique size at the lower. It would range from 40ft to the highest truss – to accommodate six diamond centrepieces, each edged with six GLP impression X4 Bar 20 battens – down to 25ft. Initially the design had come together for limited engagements in 2019 to celebrate the band’s 20th anniversary. “We always knew we would use the design again but then everything was put on ice (with lockdown),” states the LD.
“The diamond layout was modular and each diamond was isolated from the next. This modularity left a lot of negative space between each and I really wanted something to fill in those gaps, so we used 120 of the KNV Dot. One of the really amazing and appealing features is in the name: You can dot them anywhere and simply click them into the space.
“Whereas diamonds are geometric and symmetric, I wanted to fill that negative space in a much more organic way, more like a twinkling starfield – it was a firmament that needed to be filled. “Because the outer RGB ring is never hard to look at, they can twinkle away as background elements throughout the show. Then you can push right through with the white LED in the middle and grow it to what you want – from a twinkly star to a supernova and audience blinder. In fact when you hit the white it’s competing with a JDC1; they work great together.”
Janowitz has a set of 14 JDC1 in the rig – one in the centre of each diamond, a set on the floor upstage of the band and another midstage. “The JDCs either work with the Dots or counter to them. If I do rhythmic hits, I’ll alternate between. You can get a nice large outside effect – a colour starfield, like an aurora borealis effect,” he continues.
He says the band picked up on it right away. “They absolutely love it,” he adds. “They first saw them in rehearsals and were amazed at these crazy spokes getting the lights to float in outer space like a Milky Way.
“The Dots spoke out from the diamonds on 2ft, 3ft, 4ft extension arms: their placement was originally selected at random. I asked my design assistant, Jacob Wesson to zoom in on the front elevation, close his eyes and start clicking Dot fixtures into the model. Then, in the lighting shop, he essentially did the same but with the actual units. There are also a bunch of them on mic stands behind the band at random heights; in fact there are clusters everywhere.” For the smallest venues, when the diamonds can’t be rigged, the arms are re-located to the three upstage floor package carts.
In summary, Marc Janowitz says: “I am always drawn to GLP products that you can dangle or outrig in a whimsical way – the KNV Dot provides consistent eye candy in every look.” The lighting package is supplied by Pulse Lighting with additional Dot fixtures from Gateway Productions.
The latest project, supplied and installed by Sogo Butai, was for the 2900+ capacity Zepp Haneda in Tokyo and consists of a full complement of LED fixtures across the whole range of Robert Juliat’s LED portfolio: profile, single lens, followspots and cyclorama lights.
Sogo Butai lighting designer, Yukiteru Hayashi, carefully chose the comprehensive selection of LED fixtures to include 24 Dalis 860 cyclorama lights, 6 Tibo 533CW 115W Cool White and 4 ZEP 664SX2 300W profiles, 28 Warm White ZEP 360LF2 300W and 10 Cool White ZEP 360LF2 300W Fresnels, alongside 6 Oz 600W LED followspots. Four of the Oz followspots are sited in front-of-house positions and 2 in side positions. The profiles are rigged to a movable batten as ready-to-be-used fixures and stored in the stage right wing.
The Warm White ZEP360LF2 Fresnels are rigged in side positions, 12 either side of the auditorium, and the Cool White ZEP360LF2 Fresnels are all rigged on the first downstage truss. A subsidiary of Sony Music Entertainment (Japan) Inc, Zepp concert halls are dynamic, busy venues which are spread across all areas of Japan and beyond. The venues play host to many international tours and Japanese musicians and are also popular locations for corporate events and conventions.
With such a diversity of uses, the versatility and economy offered by LED fixtures and the quality of Robert Juliat products in particular was extremely important to this busy venue. “We’ve been using RJ fixtures for the other Zepp concert halls, so it was a natural choice for this venue as well,” says Hayashi. “This was a good opportunity for us to purchase only LED fixtures. We hope this will be a good model for other venues.”
Hayashi first specified Robert Juliat followspots in 2013 when he selected 4 Victor units for Zepp Namba and has been returning to the French brand ever since, choosing this time to go with Oz as an LED option. “I was worried at first that Oz would be hard to use for the operators who are used to other followspots, but Oz is so well-calculated ergonomically that the operators could handle them very easily. I suppose this is why Oz is so popular throughout the country. Besides, thanks to the LED source, there’s no need to change the light bulbs which saves time and energy, so we are glad to have Oz and Dalis, and all of the LED fixtures, for economic and ecological reasons too.”
Very familiar with the high quality of light produced by Dalis, Hayashi specified the award-winning cyclorama lights for Zepp Haneda, and he is delighted with his choice once again.
“The brilliant, vivid colours of Dalis illuminated the stage with such beauty, and it was very moving to see the obvious quality of the lights,” states Hayashi. “The operators told me how they loved the fact that Dalis fixtures colour the stage so smoothly, equally and beautifully with their light so vivid and aesthetically intense. I will definitely choose Dalis if there’s another occasion to purchase new fixtures.”
Sogo Butai Co., Ltd. provides installation design for theatres, concert halls, and live houses, including sales and delivery of equipment. It prides itself on servicing every demand with the best equipment available, selected with the confidence of many years of experience and skill.
With the new Arolla range, Claypaky spans the gamut from the complete and versatile XP 1200 W LED fixture down to the two small MP fixtures, Spot and Profile, equipped with a 470 W LED source. Simply swapping modules allows the user to switch from Spot to Profile and vice versa. These two fixtures – which boast surprising weight, luminous flux and a wide range of functions – caught our attention.
With such an impressive set of features, the Arolla should be very popular in television production.
On paper, the Spot and Profile fixtures of the Arolla range are doubtlessly the answer to the expectations of a large number of lighting companies. The size, weight and the declared flux of 22,000 lm (using the integrating sphere method) are impressive!
At 590 mm high and 360 mm wide at the base (including handles), this unit is almost identical in size to the Axcor Spot 300, with a difference of 290 watts! The weight, also surprising, is no more than 24 kg!
As the icing on the cake, this little fixture has, in my opinion, a truly great design, a clever mix of curves and lines, roundness and angles that make it sleek and stylish. One can appreciate the quality of the plastic covers, as much for their durability as for their appearance.
Trying everything out
Everyone is looking for the most powerful and lightest fixture possible – but of course with complete features. We will surely get there, but for now there are still limits. Claypaky’s R&D department, which has more than one trick up its sleeve, has developed and integrated the eSWAP technology into both versions. This consists of an interchangeable module. While the basic principle is not new, it has been revised and improved to make the technician’s job easier and, above all, to reduce the burden on the buyer’s wallet.
The eSWAP: Claypaky’s take on Drag & Drop
For those who only need Spots or Profiles, both versions are available. Others who find it necessary to have both types can use this interchangeable module of the other type. They will buy the Arolla Spot MP and the Profile framing module or vice versa. Since the module is automatically recognized, once the cover is closed, all that is left to do is to switch it on and program it, without forgetting when patching that an Arolla Spot with the framing module becomes an Arolla Profile and vice versa.
So, whatever the initial choice, you get a very complete set of functions, including a 16-bit dimmer that allows you to precisely adjust the LED array according to one of the four curves available in the menu or via DMX channel 29. The strobe function offers regular and random modes.
A plot of the dimming curve from 0 to 100 % in Square-Law mode.
A plot of the dimming curve from 0 to 10 % in Square-Law mode.
A plot of the dimming curve from 0 to 100 % in Linear mode.
A plot of the dimming curve from 0 to 10 % in Linear mode.
In terms of color, the twin fixtures are certainly not lacking. They have CMY color mixing – which can be configured for control in RGB mode – a progressive CTO and a wheel with nine colors. The fifth of these filters is a CRI-4 filter that allows it to reach a CRI greater than 88 (the LED array has a CRI >70 intrinsically).
The color wheel has three modes, “Full Color”, “Half Color” and “Linear”. The palette is really interesting and provides beautiful, saturated, and pastel tones. The light source has been specially designed not to produce the metallic white that often limits the color range.
The six primary colors, CMY and RGB.
The CTO at 100%.
The color wheel.
With its two gobo wheels, the Spot provides 14 indexable rotating gobos. The selection of gobos is smart, combining the needs of projection and aerial effects, and the Go-Bright technology ensures that no light is lost or colors are altered when gobos are inserted into the beam.
On the Arolla Profile, the 4-blade framing module replaces the second gobo wheel. Each of these shutter blades can completely obscure the beam, which implies that each blade is on a different focal plane. It will therefore be impossible to obtain perfect focus on two different shutters. In the control of the shutters, the first parameter of each allows the shutter to be moved in or out, while the second parameter adjusts the angle of the shutter in a much simpler and faster way than before.
The 14 indexable rotating gobos of the Spot version.
The gobos can be combined with an indexable, rotating 4-facet prism or with the animation wheel. To modify the beam aperture, there is a zoom, a focus and an iris. The zoom range from 6° to 50° is impressive for a fixture of this size. All three of these parameters (iris, zoom and focus) are very reactive and the transition from sharp to soft focus, with the iris closed, is done in less than two seconds!
You have to be careful when you close the iris because there are two tight sharp settings: one is very fast but doesn’t give the tightest beam, but I find the transition a bit cleaner. The smallest aperture is really very tight, and of course slightly less bright, but very useful for pencil-beam effects. The beam is uniform and its power is surprising. Even if the Italian brand has gotten us used to beautiful and very bright beams, I must admit that they still manage to surprise me. And finally, the pan and tilt movements are clean, smooth and fast. There is no jerkiness on a diagonal, fast movements are impressive without any jerkiness at the end of the travel or delay at the start. Slow movements are perfect.
Video Presentation of the Arolla
The Big Challenge
The heat pipe system that cools the 470 W source.
Despite its size and the number of features, the disassembly and maintenance of the unit seems rather simple. To remove the two halves of the head cowling, only ¼-turn is needed for the two screws for each cover. The maintenance procedures include two air filters that need to be cleaned regularly in order to keep the ventilation optimal.
The cooling system of the LED array is a classic heat pipe system cooled by four fans, two on the bottom to draw cool air to the heat sink and two on top to expel the hot air.
The LED array is positioned behind the collimating lens.
The LED array is, of course, directly mounted on the heat-pipe radiator. The collimating lens, positioned in front of the light source, gives the beam its uniformity. In order to be far from the focal plane, the CMY+CTO system, is as close as possible to the collimator.
It consists of eight color flags, two per color. I notice that Claypaky has used laser nano-engraving, which allows for optimized progression from white to full color, and for beautiful transitions when changing colors.
The four-color system with its dichroic glass filters, on which you can clearly see the nano-engraving.
The subsequent module, common to both MP models, includes the color wheel, a wheel of rotating gobos, as well as the animation wheel. This last one is mounted on a boom that allows you to control its insertion into the optical path.
A great view of the gobo wheel, the color wheel and the animation wheel.
On the gobo wheel you can see that the seven gobos are made of glass and that they have, like all the latest series, a reference point that allows you to index the gobos of all the fixtures identically. The color wheel also boasts the best features. All the dichroic filters are mounted edge-to-edge, to benefit from both a more pleasant transition between colors and a split-color capability.
Next – depending on whether you are looking at the Spot or the Profile model – you will find either the framing module or the second gobo wheel. This is the module that uses the new eSWAP technology. As you can see in Claypaky’s video presentation, you only need to remove two screws to take this module out. You need to be sure to gently slide the zoom lens as close to the output lens as possible, to avoid it interfering with the removal of the module.
The top of the framing module.
On the other side, you can see the iris, the wheel that rotates the framing module, and the control board for the ten motors of this module.
In the Spot model, this is the second wheel of rotating gobos…
The last effects, zoom and focus, are mounted on carriages, guided on two rails and driven by four belts (two per function).
In the foreground is the frost and, just behind it, the prism. Above these is the zoom.
The frost is inserted by means of a rotating shaft. It’s position very close to the zoom lens allows the effect of smooth progressive blurring across the entire beam. On the other side, the prism uses the same type of mechanism, with the addition of a motor for rotation and indexing.
The covers of the yoke arms can be removed by means of four screws. On one of the sides, we find the same system that has been used for many years to drive the head, a small pinion at the bottom directly attached to the three-phase motor housed in the horizontal part of the arm. It drives the sprocket wheel linked to the head via a belt. There is also a junction that connects the power supplies from the base to the head. This is a very accessible and practical place when you want to isolate or access the wiring of one of the elements.
The belt and sprockets of the tilt drive transmission.
At the bottom you can see the motor of the pan drive and, above it, a multifunction PCB.
Inside the opposite yoke arm, we first see the three-phase hybrid motor that drives the pan, topped with a fan that cools both the motor and the circuit board. This PCB has several functions, such as controlling the pan and tilt motors. From what I can surmise, it also handles the position sensor of the head.
To wind up our examination of the Arolla, we remove the two covers of the base. In the base we find the various power supplies for the LEDs, the motors and the electronic components. It is also where the motherboard of the fixture is located.
Some numbers and letters
Now it’s time to take some measurements. To do this, after having centered the beam on the target, we turn on the fixture at full power and measure the illuminance 30 seconds after switching it on: 8611 lux.
We then take illuminance readings at five-minute intervals and plot the derating curve. The flux stabilizes after 25 minutes of heating at 8140 lux. The derating is thus 5,47%, a very good result for such a ratio between size, power and luminosity.
Tightest sharp-focus beam
We measure the tightest zoom setting that permits a sharply focused beam, with the iris open. As the zoom of the Arolla really tightens down, the beam doesn’t extend outside the third circle of our measurement target. Once we crunch these nine numbers in our spreadsheet, we get 9359 lumens after derating (9900 lm when cold). We measure a beam divergence of 5.84°. With only three series of measurements, the intensity curve is, of course, flawless.
At our reference beam angle of 20°, which generally provides the most reliable results, we obtain a lumen output of 16,220 lumens after derating (17,160 lm when cold). An impressive result for a source of this power. There’s nothing to remark about the intensity curve.
Widest sharp-focus beam
The widest zoom angle that gives us a sharply focused projection corresponds to a beam divergence of 53.2°. We start in the center with 1470 lux after derating, reaching 550 lux on the outermost ring. This gives us a luminous flux of 15,890 lumens after derating (16,810 lm when cold). We lose only 330 lumens from 20° to 53°. There are no irregularities to note on the intensity curve.
What a Surprise
Small and powerful, the Arolla MP series fixtures are a nice surprise. Claypaky has succeeded with this challenge. The Arolla Spot and Profile MP are among the best in terms of size, weight and light output. The eSWAP is the icing on the cake! No need to choose or buy two different lights, you just have to supplement the purchased model with the module of the other version, which are sold at a reasonable price, so you don’t have to choose between the cheese and the dessert. It is a pleasure to discover a product worthy of the golden years of this Italian manufacturer.
Atomic Professional Audio, Inc. in North Clarendon, Vermont has invested in Ayrton Perseo-S fixtures and put them to work on a New Year’s Eve event held in Burlington. Perseo-S is the first compact, multi-function luminaire with an IP65 rating developed by Ayrton for intensive outdoor use. ACT Entertainment, Inc. is the exclusive distributor of Ayrton lighting in North America.
Established in 1994, Atomic Pro Audio offers a wide range of production services, sales and installations. With years of experience producing live events, the company has a reputation for providing excellent service with the highest-quality equipment.
“The main use of our Perseos will be for outdoor concerts in New England giving us a unit that we can use on the downstage truss and not have to worry about inclement weather,” says Chad Voghell, Head of the Lighting Department at Atomic Pro Audio. “We decided to replace an existing lighting system with brighter fixtures that are IP65 rated and similar in weight, with framing shutters and LED sources,” he explains. “We demo’d fixtures from many different manufacturers last fall. While Perseo was not the brightest fixture in open white, once you started layering on gobos and colours and prisms, they were just as bright sometimes brighter than the competition.”
Voghell notes that in a colour test, “CMY colour appeared faster in Perseo than in other fixtures allowing for much softer pastels and no-colours. And the dimming curve available just on an encoder was the best I’d ever seen in an LED-sourced unit. There was no ‘pop-up’ when coming up from black: It felt like you were operating an incandescent dimmer. The dimmer and colour combined with the framing shutters feature made me excited to offer Perseo to our theatrical clients for dry rental.”
Perseo offered additional features that made them a good choice for Atomic Pro Audio’s inventory. “We loved the gobo patterns in the fixture, and I was relieved to know that the rotating gobo selection is the same across much of the Ayrton moving light line. That means if a rider specifies an Ayrton Ghibli or Mistral, I can offer a substitute that has the same gobos,” Voghell points out.
He also cited the fixture’s zoom range as a big plus. “Having something that opens up so wide makes Perseo useful on short stages as well as rooms with lots of hanging height,” Voghell notes. “We operate mostly on Stageline SL320 and SL250 stages right now, so having a fixture that looks great when the trim is low is very important for us.”
Atomic Pro Audio already utilized its Perseo-S fixtures for Burlington, Vermont’s New Year’s Eve celebration, hosted by Burlington City Arts in a downtown waterfront park. “They performed very well in the 35º wet weather cutting through the wash easily in saturating colours and gobos,” Voghell says. “Their very wide zoom made it possible for them to work on our short Stageline SL100 stage. They looked great!”
Voghell is very excited to implement Perseo-S units on projects in what appears to be a busy upcoming year. “I am looking forward to deploying them as a solution in any situation,” he reports.
More information on Ayrton Perseo and the extensive portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu
The Audio Engineering Society announces the publication of AES75-2022 AES standard for Measuring loudspeaker maximum linear sound levels using noise. The new standard addresses the need for a practical and cohesive procedure for the prediction of loudspeaker performance.
AES75 is the result of extensive work by the AES Standards Committee’s SC-04-03-A Task Group, co-chaired by Merlijn van Veen (senior technical support and education specialist at Meyer Sound) and Roger Schwenke, Ph.D. (Meyer Sound senior scientist and innovation steward).
“The work of the drafting group was deliberate and thoughtful as they carefully refined the standard,” says AES Standards chair Bruce Olson. “AES75 will no doubt join the most impactful standards that the Society has published in its long history of providing the audio industry with critical tools for analyzing the performance of audio equipment and ensuring interoperability.”
Roger Schwenke, Ph.D. Meyer Sound senior scientist and innovation steward.
Predictive evaluation of loudspeaker performance based on published specifications has traditionally been challenging due to inconsistencies in both measurement procedures and in how measured parameters are reported.
“Until now,” explains Schwenke, “reading an SPL number on a datasheet often inspired more questions than answers regarding test signals used and procedures for measurement. Most important to the end user is how the loudspeaker will perform with typical audio signals and whether the numbers can be compared apples-to-apples with numbers from one datasheet to another.”
“AES75 addresses these issues,” Schwenke continues, “by providing a detailed procedure as well as a specific test signal, M-Noise, whose RMS and peak levels as functions of frequency have been shown to better represent typical program material.
Furthermore, AES75 is designed to be independently verifiable, using analyzers and microphones typically used by audio professionals. By being independently verifiable, AES75 provides system specifiers and users a much more enforceable metric to use in quotes and architectural specs.”
The M-Noise test signal is based on Meyer Sound’s analysis of hundreds of music selections spanning all genres. The procedures documented in AES75 provide measurement of maximum linear sound levels by incrementally increasing playback levels until the magnitude or coherence of a loudspeaker’s acoustic reproduction of the M-Noise test signal reaches an unacceptable state. The AES75 test procedures cover performance measurements of both self-powered and externally powered loudspeakers.
Credit for the development of AES75 is owed to the large task group, AES’s standards management and to Meyer Sound’s original work, shares van Veen. “The chairs would like to acknowledge the nearly 80 task group members who represent all market verticals such as, but not limited to, automotive, consumer electronics, pro audio, post-production, and cinema,” he says.
Merlijn van Veen, Senior technical support and education specialist at Meyer Sound.
“For more than two years — during a pandemic — we met more than 50 times, every other week, which is extraordinary given the circumstances! Special recognition goes to the AES, Bruce Olson, Richard Cabot [AES standards manager], and Steve Hutt [recent co-chair AES Technical Council], as well as the SC-04-03 parent committee we report to for their continued support and guidance. Finally, the chairs would like express gratitude to John and Helen Meyer and Meyer Sound where M-Noise and its former companion procedure originated.”
More information about AES75-2022 “AES standard for acoustics – Measuring loudspeaker maximum linear sound levels using noise” can be found in the Audio Engineering Society’s Standards News Blog. The AES75 standard as well as the M-Noise signals and coherence test tracks are available for download at aes.org
Multi-award-winning arts and performance venue, Reading Rep Theatre, has benefited from an energy and space efficient, high impact lighting solution by choosing to invest in a plethora of the latest Acclaim Led Fresnel from Strand, a Signify (Euronext: LIGHT) entertainment lighting brand. The fixtures were originally specified by theater consultancy, Drama by Design, the company responsible for the entire £1m conversion from Salvation Army Hall to 170 seat, technically adaptable, multi-purpose venue.
The fixtures have been well received by both the technical department and incoming designers. Head of production for Reading Rep Theatre, Jordan Harris, says: “The project went well, and the theater is now a creatively welcoming space to work and visit. We love the Strand Acclaims, the dimming curve is great, and the light quality is excellent.
In addition, the fixtures are lightweight, small and easy to set up and program. With community at the heart of Reading Rep’s artistic vision, everything in our theater needs to be accessible, easy to understand and operate. It also needs to be energy efficient, work hard, provide good return on investment plus be easy to maintain and store.”
The second production in Reading Rep Theatre’s inaugural season, and the first using the all-new equipment was local born Beth Flintoff’s adaptation of family friendly classic A Christmas Carol. Lighting designer for the show, Simeon Miller, first to use the new Strand lighting equipment said: “The new Strand Acclaim Led Fresnel at the Reading Rep made my time working on A Christmas Carol a breeze.
Being able to be flexible with bright and saturated colors, as well as subtle tones and pastels allowed me to make and remake the world of the play as needed. Despite needing to rapidly move from location to location and through time, I always felt like I had another card to play while using the wide array of Led kit available to make memorable and good-looking lighting states.”
Andrew Stone, managing director of Drama by Design, describes why he specified the Strand Acclaim Led Fresnels: “Sustainability was a key consideration throughout this project. Wherever possible we ensured the most energy efficient, robust, and versatile equipment was purchased. The Strand Acclaim Led Fresnels were an ideal choice.
Energy efficient, great optics and excellent color rendering. They also offer the saturated colors required for backlight, the pastels and softer colors for front and side light and the natural daylight colors for atmospherics. These fixtures are easy to program and rig, so will make really- useful workhorses for all productions.”
Equipment was supplied by Strand and Vari-Lite partner Henley Theatre Services, Henley on Thames: “I always value working with the team at Henley Theatre Services,” adds Stone. “They are an appreciated partner from initial concept and design discussions through to final installation, training and support.”
In addition to the Strand Acclaim Led Fresnel, Signify brands Strand and Vari-Lite have donated a number of Vari-Lite 800 Eventpar and Strand PL1 Profile MKII fixtures. Grant Bales Smith, EMEA & APAC Regional Sales Leader, Entertainment Lighting for Signify comments: “Reading Rep Theatre’s mission is to put community at the heart of its artistic vision and to provide access to the arts for Reading’s most vulnerable communities.
These are important values that resonate with the Signify entertainment brands, which is why we feel it’s important to support. What might be a relatively small donation by us will make a big impact on the technical and production values of Reading Rep’s upcoming shows and we are delighted and proud to be able to support that.”
Reading Rep Theatre has been, and remains, the beloved playground for many of the UK’s leading theater makers. It has always welcomed regular collaborations and co-productions with leading regional and London theater, and this looks set to continue, ensuring this new venue sits at the heart of the national theater landscape.
French company Minuit Une, five years after the success of their IVL Square, has gone to another level with their 2nd generation fixture. Alain René Lantelme, General Manager of Axente the distributor of Minuit Une in France, presents the new luminaire in the following vidéo.
The core of their luminaires uses, surprisingly, the reflection of a laser rotating ultra fast to create light curtains or “blades” of light. This second generations’ source is classed 3R, does not require any throw distance (similar to class IIIA in the U.S. Regulations), and may be used without any special authorization in public areas following the IEC 60825-3 guidelines.
In simple terms, although the source is a laser, the fixture is used just like any standard LED fixture. This new generation enables tighter beams and less “spill” with long throws.
Fortement attachée à l’expérience utilisateur et toujours avide d’échanges avec les opérateurs et éclairagistes, Minuit Une a accordé une place prépondérante aux nombreux retours du terrain avant de s’atteler à l’IVL Photon.
The cylinder shape enables the fixture to be similar to the others in the lighting rig, making its difference barely noticeable. The scanner is, in this case, a 360º high frequency (>330 Hz), able to hit 8 mirrors, multiplying the possible shapes. Each mirror is double-sided, one side is a smooth/mirror side, the other is frosted; each one has a 16-bit independent tilt for fine focusing.
La pièce maîtresse de l’IVL Photon, le Moving Frosted Core.
In the middle of the mirrors, the innovative Moving Frosted Core, a frosted vertically inserted dome enabling the beam to be concentrated. The MFC allows for new effects, a beam with a very strong punch, creating an astonishing central halo.
A multi-purpose fixture, the IVL Photon, is a contender in three categories: the 3D Space Ray, Decorative Frost, and the Creative Punch! Firstly the immersive experience with sharp beams of light bouncing off the mirrors, multiplying in space, with a 45º perspective. Second, switching to the frosted side of the mirrors(in 0,25 sec), the beams become washes, with saturated colors visible in a 180º range and an output of 4000 lux. Finally, the main module, the MFC concentrates the backing effects, part fireball, and part strobe with flashes punching out at 20000 lux.
Minuit Une has made this lighting Octopus, more manageable and user-friendly. It is designed to be programmed like a multi-instance fixture, each mirror is used as an individual fixture with its position, intensity, and RGB value. The possibility to create asymmetrical effects, using either the mirror or frosted sides of the mirrors independently makes for endless looks. Be aware of the fact that the dimmer curves are inevitably limited by the technology.
The ninth module, the main module, divides the beams, strobe, and zoom of the Moving Frosted Core. Thus, by using the E-Gobo, the beam is either 1, 2, 4, 8, 16, 32, 64, 128, or 256 beams, then adjust the size, position, and rotation speed. Control via 60 DMX channels is simplified by downloading the fixture personality, on the Minuit Une website, for Chamsys, Avolites GdMA2, and GdMA3 lighting desks. There are also demo shows available to get to know how to use the fixture.
Easy to set up, the IVL Photon is a relatively light and small fixture 16 kg and 48 cm in diameter, has a wide standard yoke tightened by handles. The cooling is done by an active fan system, be careful to not put it directly on the floor nor in set pieces that could obstruct the ventilation of the machine. To ensure long-term maintenance, the fixture is made of different modules. The mirrors, the 200w power section, and other parts can be changed in less than 10 minutes and are entirely Plug & Play. The rear section has an LCD screen, DMX connections, soon to include RDM, and a Micro-SD slot for software updating. After being shown to a handful of lucky visitors, the IVL Photon is now available worldwide thanks to a strong sales network. The first deliveries began in December 2021.