LED Wash light with effects

B-Eye K20, after the buzz, the flash!

Posted on 27 April 2014 by Mo

Five months after an enthusiastically acclaimed debut at the PLASA Show in London, the bee leaves the factory. B-Eye K20, a moving-head LED wash fixture capable of graphic and aerial effects through point by point control of its RGBW LEDs and its rotating optical group, has already started a brilliant career at the opening ceremony of the Sochi Olympics and at the Super Bowl halftime show in the U.S.

Obviously we were looking forward to getting our hands on it, and discovering what lies behind one of the biggest buzzes of the whole year in 2013. The whole Sound Light Up light team got together to discover this new fixture.

B-Eye K20, the big news in the A.Leda range

Overview

As its name suggests, the B-Eye K20 is an evolution of the A.Leda range, so it is natural to find the 37 RGBW LEDs (15 W each) with individual control. The two major differences are to be found in the optical system, which involves a light guide for each LED, to achieve color mixing, and a rotating output lens. In addition, at the software level, the evolved effects generator allows the quick and easy creation of aerial or projection effects.

These developments make it possible to have an all-in-one wash, beam and effects fixture. The body is made of a slightly shiny, black plastic. As it weighs only 21 kg, the fixture can be easily carried by a single person. You should nevertheless be wary of a slight imbalance that may surprise you the first time you try to pick it up.

B-Eye from the rear

As with the K20, only the pan locks (every 90°). The lack of tilt lock can always be troublesome, especially during maintenance.

On one side of the base, there is the display and the keys for navigating a very simple, six-part menu.

Some menu functions, such as halogen modes, can also be activated via the control protocol you choose. You can control the DMX input signal directly from the menu in bits or in percentage values.

The extensive connectivity of B-Eye

On the other side of the base, there is the power switch and the connectors. A PowerCon input for power, two pairs of XLR connectors (three and five pin) for DMX in/out and an RJ45 network connector for updates or for control via ArtNet.

You can also use this fixture as an ArtNet node, with ArtNet protocol input on the network connection and DMX output via XLR to distribute to other fixtures in the same universe.

Under the hood

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As the removal of the B-Eye optics is quite difficult, we regret that we could not access the circuit on the LED side and show you the famous light guides.
Basic maintenance is very simple and only requires a Phillips-head screwdriver. The back cover is removable by loosening four 1/4-turn screws. Once removed, you have access to the single fan of the head and to most of the electronics.

The only fan in the head is on the main board.

The cooling of the fixture is particularly well designed. It is not one of the quietest, though (this is a pre-production fixture), but certainly very effective. Throughout the testing phase, we could lay our hands on all parts the fixture and the only heat we felt was from in front of the lighted LEDs!

On the main circuit board we find nineteen small LED control boards screwed on to the PCB. They are easily interchangeable and can be substituted either from a spare device or, as a last resort, by removing the center LED and using it to fill a hole in one of the rings.

The main board itself is very simple to remove and substitute. It is held in by six screws and the covers and connectors do not pose any problems. Nevertheless, it is always useful to take a picture before starting disassembly, in order to have a reference in case of doubt.

The heatsink that dissipates the heat generated by the 37 LEDs

Under the board lies the impressive heatsink, cast in one piece, which can dissipate the heat generated by the 37 LEDs. Around the perimeter, four areas are adapted to accommodate the zoom motors .

Similarly, removing the front cover requires simply a 1/4-turn of the four screws located around the optic group. The rotation system of the Prism is very simple, four grooved rollers support the optic group, which has a toothed ring around its entire circumference.

A stepper motor with a gear on its shaft engages the teeth on the optical group and allows precisely indexed rotation of the optics. The system is quite loud on this pre-production model. Remarkable are the four sturdy posts which permit the whole lens assembly to slide.

One of the four zoom motors integrated into the heatsink

The rotation system of the optic group

Disassembly of the yoke arm covers is no more complicated than the previous operations. On each side you find a hybrid three step motor. Together with the pan locking system, you find the motor which drives the tilt using a toothed belt and, on the opposite side, together with a circuit board is the pan motor.

Black out, smoke!

Very good derating test results

Derating
At the first touch of the dimmer, we get a treat for the eyes. What power! The first cold measurement reveals 29,100 lux and that is not the last surprise.

One hour of heating, white RGBW at full power and 13 measurements later, the verdict is that the derating does not exceed 11% (at 25 min).

It is even down to 5.5% after 1 hour. Good results, which can even be improved by using certain modes (such as halogen modes) that allow for colorimetric constants, even over long periods of time.

Movement
The first tests can begin. We start with the most traditional settings which are, nonetheless, essential to the overall quality of the product. The head is pretty impressive. Even if the weight is not excessive, the volume and mass of the heatsink still need to be moved.

Vidéo :The speed measurement of movement on the Pan and Tilt axes

We find the now standard 540° rotational limit on the pan, but the tilt has lost 60°in comparison with the K20 Wash, which has a thinner head. It takes 1.48 seconds for the Pan and Tilt to perform 180°, which is no surprise if you are familiar with Clay Paky’s skill and the movement performance of their previous fixtures.

Colors

Color is obviously one of B-Eye’s most important features. Through the function menu or via the function parameter we can modify the LEDs’ response curve and their base color temperature. Six halogen modes simulate lamps from 750 to 2500 W. Two great strengths in those modes are that the dimmer automatically switches to the halogen curve and the color temperature changes according to the intensity, just like a halogen lamp does.

Another important point when we switch to this mode is that we work with a maximum of three colors simultaneously, which eliminates intensity variation problems and therefore provides a constant colorimetry.

The colors of the B-Eye

One more interesting color parameter is the Macro Colour function, a virtual color wheel with sixty-four colors plus white. Fifty-three of these colors correspond to Lee Filter colors, which can be found in the manual along with their RGBW values.
The RGB is quite nice, and having tested it at 9 meters from a cyclorama, the result with a single fixture is stunning!

The test at 9 m from a cyclorama at Clay Paky France

dimmer

Linear dimming curve

Square 2 Dimming Curve

Zoom

We measured the range of the B-Eye zoom from 4° to 53° but, with a little trick, this can be opened up to 58° by setting the “Lens Rotation” parameter to value of about 30% (at the end of the indexing). Therefore, you can’t have a prism effect at this “extra” aperture.
Despite the size of the lens, the zoom is fast and responsive and offers equally smooth performance with long transition times.

Minimum zoom

And open to maximum

Photometric measurements

Tight beam

Wide beam

20° Beam

The first sensation when you turn on the B-Eye K20 is its powerful light output and our photometric measurements confirm this first impression. Using a tight beam with the 4 chips on and after derating, we get 27,300 lux at the center and a total luminous flux of 4526 lumens, which gives us a very bright beam. Using a wide zoom (53°) we measure 868 lux and 9496 lumens with a beautiful beam uniformity: a very mild hole in the center represents a dip in illuminance not exceeding an amplitude of 4 lux.

Control

The most important innovation is the lens system that can create a very interesting kaleidoscopic effect. With this new feature, you can get striking optical effects such as helical beams and, using a vertical line of LEDs, you can project a horizontal line of light. Magic! You can also explode the beam completely and split it into thirty seven rays.

With a vertical line of LEDs …

… you get a horizontal beam and a banana effect

The lens system …

… splits the beam

To control the B-Eye, you have the choice between 4 DMX modes, which range from 21 to 169 parameter channels. The “Standard” mode allows you to use the B-Eye with few parameters but it limits you to one color for all 37 LEDs, unlike the “Extended RGBW” mode which allows individual control of the LEDs and thus pixel-mapping via a lighting console and a media server.

Between these two extremes you have a “Shape” mode featuring 32 control parameters. Its big advantage is the effect generator which allows you to get effective results, with few channels and a minimum of programming time! It is based on 11 parameters, including four color control parameters. To activate it, you assign values to the “Shape Intensity” and to the four “Shape RGBW” parameters, the “Shape Selection” parameter lets you select a “pattern” and then play with the Speed, Smoothing Transition and Offset channels to obtain the desired effect.

With all color settings at zero, we have, for some patterns, a random color effect (Random Color or Rainbow).By adding one color to the RGBW base channels and setting the “Background Intensity” parameter, we obtain two-tone effects.

By combining the effects of the Shape mode generator and “Lens Rotation” parameter you can achieve beautiful combinations and stunning effects very quickly.

The magical combination of the effect generator …

… with the new lens system

B-Eye: an artistic stinger

This new projector from the A.Leda range is really well done. It combines an efficient wash light and a highly innovative effects projector – on steroids – into a single fixture.

Having verified the B-Eye’s beam quality and colorimetry, we are not surprised that one of the first demonstrations was made for a demanding application such as ballet. The fixture takes a little getting used to in order to grasp the new lens system and control the effects generator but it gives a new dimension to lighting.

The new K20 is already available at Régie Lumière and Noctambule and should delight the most demanding designers and it will probably be featured, to our delight, very shortly on all French stages!

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DiGiCo appoints Amptec as Belgian distributor

Posted on 1 April 2014 by Mo

DiGiCo has appointed Amptec as its new distributor for Belgium. Founded by CEO Bart Willems in 1990, Amptec is one of the BeNeLux region’s best-known professional audio distributors and solution suppliers.
With a strong reputation for quality and service, the company’s installation department has worked on high profile projects in live music venues, theatres, broadcast, post production and recording studios across the region.

From left to right : James Bradley and Harald Vanherf

“We have followed the DiGiCo story with great interest and not a little admiration over the years. We have always had great respect for the company’s products and the market position they have achieved,” says Harald Vanherf, sound engineer and Amptec sales director.
“After serious consideration by both sides, we agreed that DiGiCo products are a perfect fit with the high end brands that Amptec represents. Most importantly, DiGiCo agreed that Amptec has all the right skills and the ideal organisation to support and maintain the brand’s strong position in the Belgian market.”

Amptec has appointed David Liebens as DiGiCo product specialist, backed by a strong team of sales, service and support staff. The company will also be actively supplying education and training on DiGiCo products.With a number of DiGiCo sales already to the company’s credit, the relationship has got off to a flying start.

“Amptec’s reputation for quality service and support is a perfect fit for DiGiCo in Belgium,” says DiGiCo technical sales engineer, James ‘Digger’ Bradley. “We’re looking forward to a long and mutually productive relationship.”

Blueprint’s SGM 3D pixel tubes bring chart-topping Katy B’s music video to life

Posted on 26 March 2014 by Mo

Event technology specialists Blueprint were recently tasked with the challenge of providing dynamic lighting to enable British chart topping artiste Katy B to make the video promoting her next single, Crying For No Reason.

And so they turned to their inventory of next generation LED tools from SGM, notably the 120 x 2-meter long LT-200 3D pixel tubes. This was accompanied by 60 of SGM’s ILD controllers and a lot of SGM extension cable.

SGM LT-200s in action on the Katy B video

Said Jacob Swan-Hyam, producer at RSA Blackdog, “The tubes added great depth to the video bringing what would traditionally be 2D video out into the space, and allowing the camera to track in through the tubes.”

Toby Shipway, Blueprint’s SGM technician, added that the SGM LT range of products are incredibly bright for their compact size but still have the finesse to work at much lower intensities making them suitable for film and television work. “Crying for No Reason was filmed using less than 25% of the tubes’ potential power,” he notes.
“This shoot was pulled together within a very tight time frame and as such there was limited time to produce content in advance; but with the flexibility of the tubes we were able to manage the final positioning on site.”

Madrix was a natural choice to control the 60,000 DMX channels in a 3D patch, allowing creation of the 3D content and effects in real time to suit the creative vision. Toby used multiple layers to build up the effects to the required density, ensuring sufficient coverage over the large work space.

Comments on Katy B’s official website went even further, as they trailed how the video was shot. “By now you’ll have seen the spellbinding video for Katy’s next single Crying For No Reason … well now you can see some of the behind the scenes graft that went into creating the spectacular light show”.

Directors of the video were Sophie Muller and Ross McDowell, Production company was RSA Blackdog, and Producer was Jacob Swan-Hyam.

CAST introduces online forum

Posted on 26 February 2014 by Mo

The Forum is meant to bring members together regarding everything from design and programming for lighting, multimedia, audio, to new technologies, to working in other countries, to sharing tricks of the trade, and leveraging each other’s knowledge and experiences.

The forum is open to everyone and aims to serve both CAST product users as well as the entire entertainment & event production community, it is not just about CAST products. Forum members can post projects, ask questions, get technical support from the Community or just browse to see what others are doing.

CAST of Toronto has launched The CAST Forum at http://forum.cast-soft.com

CAST president Gil Densham explains, “We want the forum to focus on the important issues; the collaboration of creativity + artistry + technology, from the design process to execution to wildly successful projects.
This is not at all limited to large-scale projects. On the contrary, it’s the everyday productions with smaller budgets that often present the most interesting challenges which require brainstorming leading to clever solutions. The forum will be the place where industry pros can share advice and experience.”

Andrew Gordon, CAST – marketing & business development, states, “If the pre-launch is any indication, we are pleased to launch The Forum as the place to go for people in the know and who want to know. We believe it will quickly take on a life of its own.”

Site : http://www.cast-soft.com

Preview Prolight + Sound

ETC competition, win a Cobalt Nomad

Posted on 25 February 2014 by Mo

Following the successful launch of the Cobalt 20 desk at the PLASA trade show, ETC is expanding the range with the Cobalt 10 desk, which will be available for stand visitors to play with. The desk brings the power of Cobalt 20 to a compact, road-ready footprint, with ten motorised faders.

There is also an opportunity before the show to win a Cobalt Nomad dongle, which lets you experience Cobalt from your own PC. You can program your own show from a range of four different one-minute music tracks, and then have it reviewed by a panel of judges.

Visit www.etcconnect.com/Prolight2014 for more information and to enter the contest. All entrants will receive free entry to Prolight + Sound.

ETC’s stand will include a large cyclorama rigged with the Source Four LED CYC adapter, which can be attached to any Source Four LED luminaire to create smooth, full-coverage lighting on backdrops. At Prolight + Sound, ETC will offer the same full-scale, colourful demos that proved so popular last year at PLASA in London. Source Four LED CYC has been used to superb effect at London’s National Theatre, Parktheater in Eindhoven, and many other venues around the world.

The SmartPack® Wall Mount series of power control products, which now includes ThruPower solutions, will also be at the show. As with ETC Sensor3 power control, dual- and triple-action dimming and switching configurations provide complete control of today’s hybrid rigs.

ETC Hall 9 – stand B62 – www.etcconnect.com

Andy Walters leaves James Thomas Engineering

Posted on 21 February 2014 by Mo

James Thomas Engineering has announced the imminent departure of its Sales Manager, Andy Walters, after a career spanning 21 years with the company.
Walters, son of the company’s co-founder John Walters, has chosen to take up a once-in-a-lifetime opportunity to join specialist UK model makers, Amalgam.

Andy Walters Paul Young and John Walters

Andy Walters leaves JTE with the blessing of Operations Director, Paul Young and co-founder, John Walters and team.

Walters’ passion for cars is legendary having collected model cars for his entire life and been instrumental in establishing James Thomas Engineering as a sponsor of Jack Goff, the industry’s adopted racing driver and BTCC champion.

“Amalgam is a very well-respected, highly-specialised UK manufacturer of scale model cars for top end clients,” says Walters. “Hard though it will be to leave JTE, I am very excited by the prospect of new horizons that this move gives.”

“Andy is an irreplaceable member of the JTE team, both in terms of his character and the unparalleled experience he brings to the company,” says Operations Director, Paul Young. “As such, it will be difficult to fill his role, especially at such short notice. However, we all agree this was too good an opportunity for him to miss and he leaves with the blessing and good wishes of the team.”

Walters’ duties will be shared among the James Thomas Engineering team in the short term. Enquiries should be directed to Paul Young while JTE search for a new Sales Director to head up its expanding team.

Web: www.jamesthomas.co.uk

To Boost R&D Growth

Airstar Receives €1M Cash Injection

Posted on 14 February 2014 by Mo

Airstar a world leader in advanced lighting solutions for the event, cinema, broadcast, architectural design, construction, rescue and safety industries, is proud to announce that they have received a €1M capital injection to help accelerate their development.

Handled by Audacia, the new funding will allow Airstar to finance entirely its needs in research in development, while strengthening its position as the world leader in the manufacture of lighting balloons and at the same time offering new breakaway opportunities to the industry.

Benoit Beylier, CEO of Airstar, comments « Over the past 20 years, we have launched many significant innovations in illuminating balloons, and we are committed to continuing with this trend. Not only is this capital increase essential to the development of our brand, it is also a strong signal that we are sending out to the vertical markets we’re involved in. »

Airstar’s R&D agenda will be a vigorous one, Beylier confirming that « these funds will immediately be allocated to the financing of five major projects which will be unveiled over the next 24 months. »
With 120 employees in 13 contry, the company has enjoyed a constant growth of its turnover in recent years, increasing from €14 to €15 million in the last fiscal year.

Airstar, which celebrates its 20th anniversary in 2014, is currently distributed in more than 60 countries, with international markets responsible for 75% of its turnover.

Airstar video : http://vimeo.com/80271977
Contact : Audacia

Clay Paky @ ProLight+Sound: preview

Posted on 12 February 2014 by Mo

Successfully launched at Plasa 2013, the Clay Paky B-EYE is turning up with other surprises at ProLight+Sound; firstly B-EYE has become a comprehensive product line including: B-EYE K20, B-EYE K10, B-EYE K10 Easy and B-EYE K10 CC.

A.LEDA B-EYE K20
The A.leda B-EYE K20 is a high performance wash light, a breathtaking beam light, and a creator of completely new spectacular visual effects. Its unparalleled versatility makes it an extremely interesting creative tool for all lighting designers. First and foremost A.LEDA B-EYE K20 is a perfect wash-light, generating beautiful colors and featuring an impressive, wide 6° to 70° beam aperture. The zoom however can be closed even further, down to as little as 4 degrees thus switching the light from a wash diffusion into a narrow and parallel beam. In this operating mode B-EYE becomes a “beam-light”, whose beam consists of an array of nearly indiscernible, individually controllable little beams.
As in the B-EYE LEDs can be controlled one by one, the light beam is a pulsating bundle where every micro-beam has its own color and shade. A.LEDA B-EYE K20 finally introduces a totally unseen feature that turns it into a stunning effect light: the front lens can be rotated in either directions and at variable speed and many little beams are created, that can be unfolded or closed like petals. When colors and dynamic patterns are added, B-EYE generates countless kaleidoscopic projections, as no other LED fixture has ever done.

A.LEDA B-EYE K10 ***INTERNATIONAL FIRST***
The B-EYE K10 version with rotating front lens makes its world debut at ProLight+Sound. By popular demand, Clay Paky has decided to add this important feature, which was previously only available on the K20 version. The K10 and K20 luminaires therefore provide identical features: same optics, same color engine, same visual and “beam” effects.
Only the light output changes, since the B-EYE K10 is fitted with 19 LEDs, while the B-EYE K20 has 37. Both versions excel for their light output, higher than other LED fixture of same power category. Thanks to its light weight (only 15 kg), its small size and silent operation the B-EYE K10 is a very interesting luminaire for a variety of professional applications. It is particularly suitable for studio and theatre productions, where its unmatched versatility may be exploited.

A.LEDA B-EYE K10 Easy
The B-EYE K10 version without front-lens rotation, which Clay Paky launched at Plasa 2013, has not been discontinued but it has been renamed the B-EYE “easy”, owing to its simplified features. This luminaire is highly suitable for all uses where special visual effects are not needed. As a washlight this version is identical to the full-feature B-EYE; it offers also individual LED, since this is essential for creating unique aerial effects in the beam mode. Versatility, light-weight, compact size, high output and outstanding performance/cost ration make B-EYE “easy” an very valuable alternative.

A.LEDA B-EYE K10 CC ***INTERNATIONAL FIRST***
For those many professional users who wish to use the superior optical characteristics of B-EYE technology exclusively in the wash mode and do not need the mid-air and graphic effects, Clay Paky has created a simpler version, called the A.leda B-EYE CC (Color Changer). Unlike the full version, this fixture does not provide control of each pixel and does not have a rotating front lens.
The A.leda B-EYE CC is therefore an extraordinarily bright LED-wash, with a perfectly uniform light field, a really wide zoom (from 4 to 60 degrees), and complete color and white light management. B-EYE CC fixtures are an indispensable tool in every show, where they make the utmost in modern colour wash technology. They are perfect for TV studios, theatres, tours, corporate events, showrooms and theme parks.

MORE NEW FIXTURES TO DISCOVER ! ***INTERNATIONAL FIRST***
There are more new fixtures that Clay Paky will unveil at ProLight+Sound ! The company is working hard to bring the first prototypes to the show but we prefer not to announce them at this time.
Therefore do not miss the appointment with Clay Paky in the Lightpower village at ProLight+Sound in Frankfurt from 12 to 15 March 2014. We promise you won’t be disappointed!

Showtech and ProLight+Sound confirm merger

Posted on 12 February 2014 by Mo

ProLight+Sound and Showtech will merge and take place concurrently in Frankfurt from now on. Reed Exhibitions Deutschland GmbH, the organiser of Showtech, and Messe Francfurt reached an agreement to that effect.

The merger of both shows will create “the largest trade fair alliance for professional event technology in the areas audio, lighting, theatre and stage, media and image production, and system integration”.

© Messe Frankfurt Exhibition GmbH 2013, Pietro Sutera

“The two international market leaders will contribute their globally renowned brands to this alliance of strength,” says Hans-Joachim Erbel, CEO of Reed Exhibitions Deutschland GmbH.

Stephan Kurzawski, SVP of Messe Frankfurt Exhibition GmbH, echoes this sentiment : “Industry leader meets industry leader in a move that executes the bundling of the market in just one trade fair venue so often demanded by both exhibitors and visitors. It’s a change that can only benefit the entire sector.”

Reed Exhibitions, as one of the partners in the cooperative effort, will continue to support marketing efforts on behalf of Showtech. Previously, both trade fairs had taken place separately in Frankfurt and Berlin, often only a few weeks apart.

Showtech – with 311 exhibitors and nearly 7,500 visitors at the last edition – has traditionally focussed on stage technology and equipment. With that approach, it has been the globally leading industry show for over 30 years.
By contrast, ProLight+Sound is focussed on professional event technology for segments such as lighting, audio, and media and systems technology.

The aim is to introduce Showtech’s new trade fair concept at the next ProLight+Sound, which will be held in Frankfurt from 12 to 15 March 2014. From then on, Showtech will take place in Frankfurt every year, which means the event scheduled for Berlin in 2015 will be cancelled.

AED Distribution is BeNeLux official distributor for Robert Juliat lighting solutions

Posted on 4 February 2014 by Mo

With the start of a new year comes the start of a new arrangement for Robert Juliat in their distribution network as AED Distribution takes on the role of official distributor for the Benelux Countries.

The agreement came into force on 1 January 2014 when AED Distribution took on responsibility for the Netherlands, having represented Belgium and Luxembourg since 2011.

AED Distribution will cover all markets but are especially excited at the prospect of supporting the theatre market with Robert Juliat products.

“We are very happy to bring the full range of Robert Juliat products to the BeNeLux territories, and in particular to the theatre market”, comments Hans Vanderheijden, MD of AED Distribution HQ. “From single lens luminaires and profiles to followspots, Robert Juliat’s range covers every requirement from the smallest to the largest venues.”

“AED Distribution’s product knowledge and dedicated customer service provide a great level of central support to all users of Robert Juliat solutions in the Benelux countries,” adds Claus Spreyer, Robert Juliat’s Sales Director. “We are delighted that, through AED and the rest of the RJ distributor family, we are able to provide this level of support to our customers in this region as we do for the rest of the world.”

Contact:

www.aeddistribution.com
[email protected]

ISE 2014, Amsterdam
With Integrated Systems Europe Trade Fair just around the corner, visitors are invited to discover Robert Juliat lighting solutions on the AED Distribution stand from 4 to 6 February at Amsterdam RAI. Members of both the AED and RJ teams will be on hand to answer questions and show visitors through the product range at Stand 1F-85.

Wash moving head

Martin Mac Viper Wash DX, with a secret ingredient !

Posted on 4 February 2014 by Mo

Following the success of the Profile model, the MAC Viper range, Osram HTI 1000 W short arc based moving lights, grows up quickly as not less than 6 new models have been added to the original one.

Today, we will focus especially on the Viper Wash DX. Yet after MAC 2000 XB success, Martin couldn’t only introduce a new wash, even with a 1:5 zoom, with an extremely comprehensive color system and an iris because of the hard competition with LED washes. MAC Viper Wash had to have something more hidden behind the ‘DX’.

A nice mix of curves and edges resulting in an interesting mix of strength and softness

Viper Wash DX overview

The Viper Wash DX is, from the outside, the perfect twin of the MAC Viper Profile

From the outside, the Viper Wash DX is the twin of the Profile. Same base and same head, only the front of the head is slightly different and makes the head longer of 1 millimetre. The nicely designed yoke is still here, with a mix of curves and edges, bringing both strength and softness. Yoke lids are made of composite UV resistant reinforced fibre.

Handles on its top, standard since the MAC III range, are a real advantage to move the machine on a short distance. Yoke also carries the 8 positions tilt lock but there is no pan lock deliberately since the MAC III again. I must admit that I am of two minds about this because, even if this lock is subject to a lot of issues, most of the time because of misuse, it is very useful for servicing the machine and repacking it into its flight case.

Display and connexion panel are on the same side of the base : two 5 pins XLR (one male and one female) for DMX and RDM signals, a Neutrik PowerCon for the power supply and an USB socket for software upgrades. There is no RJ45 socket, meaning neither Artnet nor sACN protocols onboard.

Beside the sockets are the display and two buttons, a jog wheel for menu navigation and an escape button. On the left of the jog wheel, an LED indicates with 3 colours (green, orange and red) the system status.
Two tricks to be mentioned : addressing and setup can be done even if the machine is not AC powered and, if one keeps the right hand button pushed for 2 or 3 seconds, the display will show shortcuts for Reset, Lamp On/Off and display rotation.

New items in the menus

Menus are both simple and complete. Further the usual functions, two interesting menus are the end of the list : « DMX signal monitoring » which helps to monitor incoming DMX signal and the « Test sequences » for controlling the machine without any console or DMX generator. Under the base, the safety cable anchor is a smart fast hooking system that allows positioning hanging clamps every 45°.

A clever hanging system allows positioning the fixture with 45° increments.

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Inside the beast

No need of a complete toolbox anymore, a screw gun or a screwdriver and 3 torx heads are enough. The two first screwdriver turns allow removing the first head cover and make two interesting things appear. On one hand, the safety system of the covers have been redesigned with the Viper range, a simple axle allows to remove or install easily the safety cable, even when « comfortably » seating in a climbing harness, hung under a truss. On the other hand, a sticker inside the cover lists all the connectors in the head.

The new safety system for the Viper range head covers.

A sticker inside each cover lists all the connectors.

Inside the Viper Wash head.

Once both covers removed, the head shows the same layout as the Viper Profile, as for the electronics and the modules than for the cooling system.

On the top, the zoom system and something new in the washes range, a focusing system. We will see later that this is absolutely not a gadget.

Wiring is clean, nothing must stick out.

On both sides of the optical system, two blowers and air filters are the entry point of the cooling system.

Filters cleaning must be scheduled as much as possible to ensure the cooling efficiency and an optimum light output and quality.

In order to make the maintenance easier, Martin Professional publishes videos detailing Viper servicing :

http://www.martin.fr/service/frontpage.asp

The air intakes of the Viper Wash for its cooling system

Super easy to service

Lightweight yoke arms

Tilt belt with tension correction.

Pan motor pass-thru and tilt indexing

On one side of the yoke are the tilt belt and its tension correction spring, allowing a constant tension, and the wiring pass-through. Considering the lack of room in the arm, it is very important to arrange the cables correctly in the shell, which is not very easy.

In the other arm are the spacing for the pan motor and the tilt indexing system. The two triphase* stepping motors of the pan are in the base of the yoke with the pan belt.

Opposite to most of the moving heads, the yoke in the Viper is quite empty which allows reducing its weight and gaining speed and movement quality.

Triphase hybrid stepping motors in the yoke base.

Barndoor simulating system

As for the Mac Viper Profile, the centre of the heads houses two removable modules. The one on the top carries the colour system plus a smart barndoors simulator. To achieve this, Martin uses a twin blades system laid down on a 200° rotatable frame. The second module carries the colour mixing system, the variable CTO and the dimmer. Surface on this last module is shiny on its lamp side.

The module housing the barndoor simulation system.

The colour mixing module with the reflector.

Down the head is the lamp which is cooled down with air blown by two blowers through yellow pipes. Changing and adjusting the lamp is very easy and clearly described on the back of the head or on the online video clip on Martin Professional website : http://www.youtube.com/watch?v=A7mchX-A6jU&list=PL112AF5B5588DB76E

The lamp and its two tailpipes.

Lamp access on the back of the head.

All the electronics and electrical parts are in the base which cover is, for once, in one only part, with a central pass-through for the head axle. Base opening is very easy but it is important to be careful on the display side as the adjusted wiring makes the dismantling a bit delicate. On one side, four fans are cooling down the base.

Power supply and electronics are in the base.

Four fans to keep a constant temperature in the Viper base.

Starting the Viper

No surprise on the lamp strike, as we already had an idea of how powerful the machine is, but it is always amazing to see so much light output from such a compact luminary.
Control can be done in two DMX modes: « Basic 16-bit » and « Extended 16-bit”. For now, not many differences between them as the second mode has only got one more channel: « Dimmer fine » but a future upgrade with 5 more channels seems to be planed.
It is fast and easy to get familiar with the Viper and one understands very quickly the interest in a focus function for wash when using the barndoors.

4 dimmer curves

As illustrated on the photo, the chosen mechanism for the dimmer is a pair of combs. This solution is road proven on many other fixtures and the set of 4 curves allows adapting the dimmer curve to the rest of the rig or to the needs of the Director of Photography. Except some small deviations because of variations of lamp level that will be solved in a close future, curves are smooth and the projected results are really clean.

The 4 embedded dimmer curves allow adapting the fixture to the rest of the rig or to the needs of the Director of Photography.

Linear curve

Inverse square low curve

Square low curve

S-curve

Be careful to dim the light with the dimmer while keeping the shutter open : after 10 seconds with the shutter closed, the lamp falls down to 800 W to avoid overheating and strains that would block the shutter. Powering up to 1000 W is automatic as soon as the shutter reopens. This can be a kind of surprise, especially during video takes. The rest of the functions are classic with 2 strobes, a linear one and a random one, both progressive.

Photometric measurements

Optics in the Viper Wash DX is a major asset. We were really surprised by its beam consistency, whatever the zoom level is.

Narrow beam

Narrow beam, flux

Narrow beam, intensity

Wide beam

Wide beam, flux

Wide beam, intensity

Measurements at 1/10 reveal a zoom ranging from 13,46° to 54,5°. This optical performance is seriously seducing considering the size of the fixture. We are also amazed by the flux values, constant at any zoom level. The optics go from 30 400 lm at 13.5° to 30 300 lm at 54.5° (the lamp was more than 150 hours old). This reveals the stunning quality of the optics developed by Martin Professional.

Zoom speed is fast enough to snap between two ambiances, one can even use it as an effect. Tests results are really impressive. Adding a focus function on a wash is a very good initiative. It helps focusing beam edges and allows changing from a total colour wash to an atmospheric beam and changing the visual universe in a few seconds. This gives to the wash fixture a greater flexibility.

Iris

The embedded iris allows to close down the beam at a minimum of 6.3°. Of course, the light output is seriously lowered. Light output at the centre of the beam falls down from 51 220 lux with the iris opened to 5 700 lux when the iris is closed. Using the iris is still interesting when used at intermediate levels. However, we would have appreciated a slightly faster iris: this is one of the rare weak points of the fixture.

With the iris closed, the beam is only 6.3° but the light output is much lower.

Barndoors

Using two blades to simulate a barndoors effect is a success. This function allows cutting out the beam around stage elements, creating streets or isolating stage sets. Blades are attached to an indexable frame with a 200° rotation range which helps positioning the effect on stage whatever the head position is.
Barndoor effect can also create a square flat beam like the one a Profile fixture would produce with a bar shaped gobo. Finally with this function, the focus module becomes significant.

Vidéo : Viper Wash DX Beam Dimmer, Shutter and Beam effects of the Viper Wash DX

Colours

The colour wheel houses seven slots plus an open white. Filters shape and proximity allow bicolour beams or fades between two colours. Colour mixing is based on a blades system. As for the dimmer, it is very progressive and allows colour shades as well as saturated colours. Thanks to a variable CTO, colour temperature can be set from 6000 to 3200 K (manufacturer data). It also allows spreading the colour mixing range.

Some colour mixing settings :

Vidéo : Colour functions of the Martin MAC Viper Wash DX

Movements

Viper Wash DX head movement walks away with top honours. Thanks to its two triphase motors, the fixture reaches a speed of 2.68 s for 360° on pan and 1.76 s for 180° on tilt. Movement is very clean, without noticeable braking at the beginning or the end and no stepping or pause when reversing the direction. Steps are perfectly smoothed as the video shows it on diagonal moves.

Vidéo : Mac Viper Wash DX movements

Viper in perfect running order

MAC Viper Wash DX is a great success, both aesthetically pleasing and mechanically and optically efficient. It was not easy to innovate after the MAC 2000 XB and innovating with a wash is a challenge far from overcome. Martin Professional did it anyway and the result is far beyond expectations.

Optics is a true jewel. Size/power ratio is very impressive and zooming from 13.5 to 55° while losing a few 100 lumens, with such a beam consistency is an exploit that we want to see more often. Adding a focus lens allows to change the beam according to the designer needs and to enhance or fade the barndoor effect. Its high quality features make of it a versatile fixture that will adapt easily to an opera stage, a theatre set or on a drummer riser in a rock concert.

MAC Viper Profile was yet a success and the Wash DX is an excellent partner for the Viper range. To comply with a custom request, Martin has also derived the Viper Wash DX in a Viper Wash, with the same features but without the barndoors. They should be quickly available for rigs on French stages.

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A new line of professional speakers

ArphoniA Collection, debuts at the ISE 2014

Posted on 2 February 2014 by Mo

Arphonia Neocube Alpha 1A HQ

The innovation, technology and design of ArphoniA Collection, a new line of professional speakers created by Alain Pouillon-Guibert, is to be unveiled exclusively on February 4 next at the ISE (Integrated Systems Europe) 2014 Exhibition in Amsterdam.

ArphoniA Collection is the result of two years of research and development to bring about a real revolution in sound systems for public spaces: stadiums, concert halls, conference rooms, theatres, etc.

These state-of-the-art speakers are chock-a-block with high technology: light, and easy to handle and use, they have been designed to minimize their size compared to existing models, without making any concessions to their acoustic performance which remains of outstanding quality.

The collection starts with 3 lines of professional products designed to suit any configuration to effectively meet the needs of any professional user.
It consists only of point sources, mainly coaxial, active systems, self-powered or not, but always driven by proprietary DSP presets combining fast and low noise hardware as well as FIR and IIR filters, whose technical sophistication is matched only by the acoustic performance, with flat time and frequency responses.

This DSP approach offers new possibilities of psychoacoustic tunings, based on variable dynamics for an optimized listening experience and comfort.

Arphonia Neocube Alpha-1A

The Neocube Collection means minimal visual impact, maximum sound profit, and ease of installation and use.
To achieve this, the selected cubic form has the largest possible volume with the lowest visual impact, whatever the viewing angle.
A 45° cut side, three integrated hanging points, a pole mount and a mounting bracket offer a multitude of fixed or mobile positioning options for FOH, stage monitoring or distributed installation.

The Neosub Collection provides optimum volume, SPL and low end combination. Neosub’s subwoofers are low profile with minimum visual impact, and are provided with single or double, long excursion, high power drivers.
The ultra-compact, direct radiating Neosub subwoofers used with ArphoniA DSP presets and amplifiers combine punch and low end for excellent musicality and not only low frequency effects.

The Neo 360 collection provides perfect circular coupling for a perfect spherical array.
The Neo 360 collection of cabinets is designed to be used either standalone or coupled up to an entire corolla providing a true asymmetrical coverage tangerine in the non-coupling plane.
This means that the wavefront is spherical rather than toroidal with the sphere being restricted vertically to cover more space downwards than upwards, or more space left than right when installed in vertical coupling mode.

ArphoniA Collection systems are much more than just conventional cabinets with DSP added. The DSP is a main engineering component of the design, together with the drivers, the cabinet, the waveguides and the amplifiers.

About Alain Pouillon-Guibert

The creator of the new ArphoniA Collection line is a major figure in the field of electroacoustic innovation in France and worldwide. After founding the APG Company that he ran for many years, he became the Chairman of Lotusline France where he is continuing to make his presence felt internationally.
He is today launching ArphoniA Collection, headquartered in Paris in France, as further proof of his visionary, passionate entrepreneurship.

Contact ArphoniA
15 avenue Christian Doppler 77700 Serris – France
[email protected]
www.arphonia.fr

Fireworks of Robert Juliat Followspots on 2013 Top Tours

Posted on 30 January 2014 by Mo

Outside of the traditional theatre market, Robert Juliat has again proven a hot and sparkling favourite, not only for television, corporate, architectural and retail applications, but for large-scale spectaculars and live music events too.

Robert Juliat is delighted to have this confirmed by Billboard Magazine’s list of Top Ten Tours for 2013 which showed that RJ followspots created fireworks (in a good way!) on no less than seven of these spectacular events.

“These listings confirm once more how our followspots cut through the powerful lighting on these fabulous tours,” says Robert Juliat Sales Director, Claus Spreyer.

“It also illustrates the durability and road-worthiness of spots like our Lancelot, Cyrano, Manon and Lucy which withstand the rigours of these world-wide tours so well.”

Robert Juliat Lancelot 4000W HTI followspot

Here’s just a brief summary of what went where:

In the no 1 spot : Bon Jovi Because We Can world tour – European leg. Ten RJ Lancelot 4000W HTI followspots were supplied by PRG for the European leg of 2013’s number one world tour. The consignment of Lancelots was split in two sets of five, with one set in performance, while the second set leap-frogged ahead to the next venue for a total of 25 European dates.Total Gross: $205,158,370
Total Attendance: 2,178,170 – No. of Shows: 90

In the no 2 spot : Michael Jackson The Immortal world tour. Four RJ Cyrano 2500W HMI spots were supplied by Solotech for Martin Labrecque’s lighting design on this show that celebrates the creative genius of one of music’s best.
Total Gross: $157,299,100
Total Attendance: 1,425,442 – No. of Shows: 205

In the no 3 spot : Pink The Truth About Love tour. Six mighty RJ Lancelot 4000W HTI followspots were supplied by PRG for Baz Halpin’s lighting design which bedazzled this high-octane performance from one of the music world’s most exciting artists.
Total Gross: $147,947,543
Total Attendance: 1,581,939 – No. of Shows: 114

Pink in chandelier lit by Robert Juliat Lancelot

In the no 4 spot : Bruce Springsteen The Wrecking Ball tour. A total of 15 Robert Juliat spots were supplied by Morpheus Lights for Jeff Ravitz’s lighting design to accompany The Boss around the world. Springsteen is known for his particularness with regard to how his lighting looks to both audience and camera so the choice of fixture is paramount. The Robert Juliat inventory comprised eight RJ Topaze spots with 2kW Tungsten modifications, three RJ Manon 1.2K MSR spots and four RJ Lancelot 4000W HTI giants.
Total Gross: $147,608,938
Total Attendance: 1,389,778 – No. of Shows: 53

In the no 5 spot : Rihanna Diamonds World Tour. Three unique RJ Victor 1800W HMI long throw spots were supplied by Upstaging for Guy Pavelo/Willo Perron & Associates lighting design for Rihanna’s 96-date world tour, during which the artist broke several records as the youngest singer to sell out London’s Twickenham Stadium, Cardiff’s Millennium Stadium and the FNB Stadium in Johannesburg.
Total Gross: $137,982,530
Total Attendance: 1,595,161 – No. of Shows: 87

In the no 8 spot : Beyoncé Mrs Carter Show World Tour – European leg. Eight Lancelot 4K HTI spots were supplied by UK-based Neg Earth for the European leg of the Mrs Carter Show world tour. The superb output of the largest of Robert Juliat’s followspots was vital as LeRoy Bennett spectacular lighting design uses over 1000 fixtures and is reputed to be the brightest show ever measured.
Total Gross: $104,358,899
Total Attendance: 883,062 – No. of Shows: 59

Finally, in the no 9 spot : Depeche Mode Delta Machine tour. Two RJ Lancelot 4000W HTI spots and two RJ Lucy 1.2K HMI short throw spots were supplied by Upstaging for Paul Normandale’s design. The Lucy followspots were used as truss spots and chosen to complement the Lancelots’ long throw abilities.
Total Gross: $99,972,733
Total Attendance: 1,390,141 – No. of Shows: 54

More informations :

www.robertjuliat.com

http://www.billboard.com/articles/list/5820092/top-25-tours-of-2013

At ISE 2014 Amsterdam

Meyer Sound Debuts LYON

Posted on 21 January 2014 by Mo

Two Lyon arrays (Photo Bill Graham)

Meyer Sound has announced the self-powered LYON™ linear sound reinforcement system, the newest addition to the LEO™ Family of linear loudspeaker systems

Incorporating the technology of the LEO Family in a lighter and more compact package, LYON extends the advantages of highly linear self-powered systems to a broader range of venues and applications.

LYON will make its debut at the ISE trade show in Amsterdam.

John Meyer in front of Lyon (Photo Bill Graham)

“With the LEO system, we have shown how a system that stays linear across all frequencies and at very high sound levels can provide a whole new listening experience for everything from the New York Philharmonic to Bassnectar,” says John Meyer, Meyer Sound’s CEO and co-founder. “By combining this high level of linearity with a more flexible package, LYON will open up many more opportunities for listeners to experience the performance advantages of a linear system.”

LYON linear line array loudspeakers are available in two versions: the LYON-M main line array loudspeaker and the LYON-W wide-coverage line array loudspeaker. Complemented by the 1100-LFC low-frequency control element and the Galileo® Callisto™ loudspeaker management system, the LYON-M can anchor a powerful system for installations in arenas and large auditoriums, as well as tours and festivals. The LYON-W can serve as down fills to augment a LYON-based system. Both LYON versions can be used to provide supplemental coverage in a LEO system.

At ISE, Meyer Sound will also show the recently announced Galileo Callisto 616 AES primary array processor, a powerful hardware and software solution for driving and aligning Meyer Sound loudspeaker array systems. Designed as a mastering tool for delivering digital audio, the Callisto processor combines versatile alignment tools like U-Shaping™ equalization and delay integration with a full suite of AES3 analog and digital inputs and outputs.

As part of the InfoComm education program at ISE, Jeff Koftinoff, Meyer Sound embedded systems and signal processing architect, will present “Deploying Large Scale AVB Networks” on February 6.

Wicreations Designs & Builds Spectacular Automated Effects for Mylène Farmer Tour

Posted on 21 January 2014 by Mo

Belgian based automation engineering specialists Wicreations designed and created five major automation elements for Mylène Farmer’s highly visual 2013 ‘Timeless’ tour, using a combination of bespoke and standard Wicreations products.

Mylène Farmer is one of the most successful French recording artists of all time. She has sold over 30 million records worldwide and had 13 number one hits in the French charts eight of them consecutive, as well as working as a model and actress during a prolific and successful career.

Wicreations, renowned for their innovative work in the entertainment industry, were approached by the tour’s Production Manager Didier Gaume and Technical Director Pascal “George” Meley, who have worked with them before on a number of projects, and asked if they could provide a number of solutions to help stage this spectacular show.
Timeless’s impressive stage architecture – nearly all of which moved – was designed by the late Mark Fisher and needed many custom elements.

The Particle Generator effect

The show opened with Farmer appearing from within a ‘Particle Generator’ after a lengthy video intro which ramped up the excitement and tension to breaking point; the upstage LED video screen was hung on a Wicreations WI Tracking system which enabled it to be separated into six sections, all of which independently moved; a rotating telescopic ‘spoon bridge’ was integrated into the stage floor; a massive custom lighting truss circle was flown above the downstage area, and inside that was a second smaller circular truss also on motion control hoists … and finally, the fifth moving effect was 11 lighting pods.

All the flown pieces were controlled by a hot-rodded Kinesys Vector control system operated by the Wicreations operator, running 57 motor channels and a total of 68 different motion cues. This massive undertaking was project managed for Wicreations by Koen Peeters who comments, “Working on the tour was a great challenge and an opportunity for us to use our imagination and expertise not just to find really creative custom solutions for the ambitious production design … but ones that were practical to tour”.

The Particle Generator

This eye-catching effect came at the start of a show action-packed with visual moments and WOW factors. It was formed of five trapezoidal shaped video frames flown and tracked on two Wicreations WI Tracks and 15 zero-speed chain hoists. These 5 panels had to align with three more panels that rose up from the ground.

Detail of rigging

Video panels from Particle Generator effect support projectos

This shape had to be formed at a specific moment in the show for Farmer’s entrance onto stage, and the five flown panels then had to be able to move into several other configurations above the stage. Crucial to the design was the millimeter accurate defining of the positional pick up points relating to the five frames, and this took numerous test runs at the Wicreations workshop, followed by an extensive test period in Lyon, before determining the perfect positions to create the effect.

Positioning tests

light and video tests

During the show, the panels tracked from a flattened horizontal position into the centralized ‘accelerator position’, curving around to form the arc of the set piece with literally a few centimeters of air between them … and from there, they moved into a third ‘straightened out’ vertical position.

Spoon Bridge

Mylène Farmer on the spoon bridge

This was another stunning ‘gag’ that enthralled crowds flocking to see Farmer’s sold out tour across five countries. The Spoon Bridge remained hidden from the audience until the song “Bleu Noir” started, about an hour into the show, where it started with a handrail rising from the floor while Farmer stepped into the platform. The full telescopic mast then emerged from the stage floor and extended right out over the audience, panning from left to right and back again above the delighted crowds.

The spoon bridge

The bridge measured 11.5 metres in length and was constructed from standard aluminium tower sections, extended by a custom fabricated tapered section with its telescopic and rotating mast secreted below the stage. The central base unit was extremely compact, fitting in a 2m x 2m scaffolding bay, and the complete spoon structure weighed 5.7 tonnes in total.

Its movement was run via an inbuilt set of hydraulics, linked to the Wicreations controlling computer for super-smooth and accurate movement.

The central base unit fit in a 2m x 2m scaffolding bay

The platform at the end – finished with LED panels – was rated to carry loads of up to 110Kgs (artist plus equipment) with the tip reaching a rotational speed of one metre a second.
A completely bespoke product developed by Wicreations for this tour, their concept drawings and designs convinced the client that this was the best solution for how they wanted to play out part of the show.

The Spoon Bridge was designed and robustly built by Wicreations to be practical to tour and straightforward to rig each day, breaking down into modular sections for easy transportation and maximizing time during load ins and outs.

Lighting Circles

The 4 metre diameter ‘Lighting Circle’ was also designed for fast rigging and de-rigging, and so all 36 MAC Aura LED wash moving lights travelled within it for convenience. To make this happen Wicreations also designed a special ‘landing dolly’ into which the circle was flown from the roof during the get out.
Once landed on the dolly, four catches were released, and using its four motion control hoists, the trussing superstructure hinged downwards on both sides of the dolly folding into the travelling position. From there the whole thing could be wheeled on to the truck. It was positioned and picked up each day using the reverse procedure. A smaller 3m trussing circle was rigged within it containing smoke machines, and this was hung on three Wicreations motion hoists.

Lighting Pods

Pods supports projectors provided by Dushow

To build the 11 pods that were central to Lighting Designer Dimiti Vassiliu aesthetics for the show, Wicreations started with standard pre-rig trusses and designed custom brackets to accommodate either one or two hoists, their controllers and all the necessary diverters, etc. within the truss section.

This streamlined the pods for quick and easy set up and rigging each day. The 6 offstage pre-rig truss sections were equipped with a twin chain hoist (2x 250kg capacity) to ensure that the pods always stayed fully horizontal. Lightweight aluminum dollies were used to transport the pods and these could either stay attached to the PRT sections or be folded together and stacked away during the show.

Tracking LED screen

A 19.2 x 8.64m large LED screen upstage formed the backdrop to the show and this was hung on a 30 metre WI Tracking system so it could be divided into six columns.
Newly integrated pick up units were utilized to bring the video screen as close as possible to the tracking truss – maximizing rigging height.

The WI Tracking system

WI Stack Truss is a product that has been developed to integrate the WI Track extremely expediently without losing any space.

Its versatile onboard connecting system means it can be used for either straight or curved tracking beams, which makes it the best and fastest tracking system available on the market for touring purposes.

The resulting load in and load out times speak for themselves … with the load in of the full set (25 production trucks) realized in only 12 hours, while the load out could be achieved in 3.5 hours!

The Wicreations touring team was Axel Van Bree, Erik Gielen, Thomas Van Keymolen, and Miro Kusik. The tour played 39 shows in 5 countries over three months and has received great acclaim as a visual and entertainment tour de force.

More informations and pictures on the wincreation website :

http://www.wicreations.com/Portfolio/Project-Details/Myl-ne-Farmer-FR–