USITT 2015 with CHAUVET Professional, in Photos!

If you came out to say hi at this year’s USITT Conference and Stage Expo in Cincinnati, Ohio, we’re glad to heave seen you!  Our booth was mobbed with love for three days, and we’re so grateful to spread the love of light!

We took lots of photos for those of you who couldn’t make it…  up to and including the awesome fire drill we had right at the end of the last day.  It’s always a blast to put a few thousand Entertainment Business folks randomly onto a street during a sunny day in March!

We hope you had as much fun as we did, and we’ll see you next year in Salt Lake City!  This year’s USITT booth was designed by Product Manager Ben Dickmann.  Great work, Ben!

Click on any of these thumbs and you’ll be transported to the Light Box!



It’s time for the VESUVIO RGBA hybrid atmospheric/lighting fixture to rock and roll your shows!  If you’re in the market for a fixture that takes massive output and bright illumination and smashes both of them together at the speed of light, you need to check out the VESUVIO RGBA!

A new addition to the CHAUVET® Professional atmospherics family, the Vesuvio™ RGBA brings together high output LED washes to towering fog output with ferocious intensity. The Vesuvio™ RGBA atmospheric effect generator allows you to add red, green, blue, and amber color mixing (RGBA) to voluminous fog output for multi-colored atmospheric columns, bringing a new level of effects to your production. Vesuvio™ RGBA features a quick heating 1.6 kW heater and a 2.5 L fluid tank for dependability in production, and features an incredible 40,000 cubic feet per minute output (CFM), bringing a huge punch for your show.


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USITT! Booth #1013! CHAUVET Professional! Come Say Hi!

Happy Wednesday, lighting industry! This is a special week, tomorrow (Thursday, March 19, 2015) is the opening of the 2015 USITT Conference and Stage Expo here in Cincinnati, OH!


CHAUVET Professional is here, and we’re looking forward to seeing all of you on the USITT show floor tomorrow morning! The show floor opens at 10am, and we’re right up at the front in Booth #1013, some come on by and check out what we’re offering the Entertainment Lighting community – new technology, super performing moving head spots and washes, and an industry firstthe first LED ERS and Fresnel that can operate on both a conventional dimmer, meet the Ovation ED-190WW and Ovation FD-165WW, two of the newest developments in technology in our industry!

We’re showing off some of our other awesome products at the USITT show as well, like the ROGUE R2 Spot, our LED powerhouse moving head spot, and the ROGUE R2 Wash, our brightest LED wash in the ROGUE line. The ROGUE series is excellent for theatrical endeavors across all genres of theatrical entertainment – Opera, Dance, Theatre, Musical Theatre, and workshopped performances. ROGUE R2 Series spot and wash heads are reliable, LED powered, value-driven, and popular across all genres of entertainment, from La Traviata to Garth Brooks!

We’re very proud to bring the Ovation C-640FC LED cyc light to the USITT audience – we’ve got a top and bottom design of the excellent C-640FC cyc light on a hand-painted Ann Davis piece from Chicago, Illinois, please com on by and watch the LED wash bring the already amazing hand-painted drop to life! That’s what the C-640FC is known for – bright color mixing and a wash coverage that is every bit as good as what you can dream up, minus all the power consumption!

We’re very excited to show off our wonderful LED houselight, the Ovation H-105WW, which features Remote Device Management (RDM), multiple power configurations, and the ability to hang the unit as a pendant or sconce in your venue.


On the focus bench with the ED-190WW and FD-165WW sits the H-105WW Houselight, the newly released MIN-E-10WW mini-ERS (the perfect complement to the ED-190WW and E-190WW LED ellipsoidals), the new COLORdash Accent Quad single-source RGBA washer, the COLORdash Par Hex 12 LED wash unit that has an amazing color configuration of RGBAWUV, and the venerable COLORado 2 Quad Zoom Tour, the perfect replacement for any conventional wash – except the COLORado 2 Quad Zoom Tour features a wide zoom range, low power consumption, an incredible field of output, and RGBWE color mixing. It’s truly an LED color washing powerhouse!

Come on by Booth #1013 this week at the USITT Conference and Stage Expo here in Cincinnati, Ohio at the Duke Energy Arena!  DeAnna Padgett, Dwight Slamp, Ben Dickmann, and Jim Hutchison will be in the booth to answer any and all questions you have about going CHAUVET Professional! We look forward to saying hi!


Beyond Watts and Lumens – Daniel Connell, Church On The Move

Wading through all your options when doing a church lighting project can be a daunting task as anyone who’s ever walked through an LDI or WFX show will readily agree. Setting aside brand preferences and some of the more conspicuous performance features, how to you evaluate your lighting choices?

We could think of no better person to help us answer this question than Daniel Connell, the lighting designer at Church on the Move in Tulsa, OK. Widely regarded as one of the leaders in worship technology, Church on the Move has been featured in industry publications like PLSN and Lighting and Sound America. Much of the ink in these stories has been devoted to Daniel’s standout lighting designs.

Prior to joining Church on the Move, Daniel was the LD for a number of major recording stars. His work combines a soaring creative vision with a down to earth sense of fitting his design to specific needs of every event or worship service. We talked to Daniel about some of the things that are often overlooked when churches evaluate lighting products.


Many, if not most, churches rely on volunteers to run their lighting systems. Should this be a factor in which fixtures you choose fixtures for your church? Are there fixtures that you might select if you had professionals running your rig that you’d avoid if you had all volunteers?

“We are lucky at Church On The Move to have an incredible staff AND an extremely dedicated team of volunteers. This allows us to design systems based on the needs of the room and then staff it accordingly. However, when I’m asked to consult with other churches, my first questions are always about their production team. What levels of experience? If volunteer, how much time do they have outside of running events to dedicate to maintenance? My next questions are about infrastructure. Do they have fly battens? Motorized truss? Lift access onstage? All of these factors should be consider when selecting equipment. I’m a firm believer in equipping volunteers with the tools and training they need to do the job rather than dumbing down a design to fit a lower level of experience.”

Are there any “tricks” to accomplishing the same (or almost the same) results with those “volunteer” fixtures as you can with the ones you’d select for pros?

“We put a great deal of emphasis on proper setup and layout of all of our lighting consoles. A phrase I hear commonly from other churches is “I like console brand “XYZ” because it’s volunteer friendly.” I tend to disagree with this mindset. Although there are definitely consoles that are poorly designed to begin with, I think whether or not a console is “volunteer friendly” depends on how it is setup. When we add a new fixture into any room we spend a lot of time on proper creation or palettes, macros, and effects to support this fixture. Keeping the console well organized makes programming easier for our volunteers AND paid staff.”


How can you judge how easy or difficult it would be for a volunteer to master a given fixture?

“I worry less about a specific fixture and focus more on the tools we give a volunteer to interact with that fixture. This is another area where console selection and layout is so important. I’ve been a lighting professional for over 20 years but I will occasionally come across a console so confusing that makes me feel like it’s my first day. Picking the right console is important, but getting that console laid out in a clear and organized fashion is even more important.”

Maintenance is another hidden factor. How much attention do you think churches should devote to things like lamp replacement and power consumption when evaluating fixtures?

“Unfortunately at many churches, especially churches new to using production in their services, this is an area that is all to commonly overlooked. Luckily the advancements in LED technology over the past few years have made this much less of an issue. LED isn’t a magic bullet that negates the need for maintenance, but it does decrease the frequency and cost involved. We still use a lot of non-LED fixtures, but on new project designs we always look for an LED option first.”

How about the multi-functionality of fixtures? Should a church try to look for fixtures that can do double duty in a house of worship – for example acting as a house light during services and a color wash during events?

“Getting a wider range of usage out of a fixture can be a really good thing, as long as it does all of the intended functions well. I’ve seen the mistake made of getting a fixture that does a lot of things ok, but doesn’t do any of them GREAT. Sometimes the best choice is to get the fixture that only does one thing for you but is the exact right fixture for your need.”


Any advice on what to look for when evaluating the flexibility of a fixture?

“It’s a two way street. Sometimes a very “flexible” fixture does a lot of stuff but none of it very well. You have to decide in each situation if you need a multi-use fixture or one that only serves one purpose but does it incredibly well.”

Everyone wants to stretch their budget, but how do you distinguish between a fixture that offers a good value and one that just has a low price that you’ll pay for later?

“Ha ha, that’s getting tougher and tougher. I usually insist on a hands on demo at my facility before I purchase or rent. Beyond that I stick with established manufacturers who have a brand name they want to protect.”

Looking at specific types of fixtures like LED video panels and moving heads, how can a church determine if those types are right for its facility?

“This is a real personal decision for each church. The word “church” can describe so many different types of facilities and organizations now. First, you have to decide if it’s going to help serve your mission as an organization. Second, don’t be afraid to rely on outside expertise to help make those decisions if you don’t have the experience on your team.”

Going back to the volunteer issue do you have any advice for churches on training volunteers?

“Always choose heart and character over experience when building your team. My right hand guy started volunteering when when he was 12 because if the doors to the church were open he would be there. He didn’t amount to much at the time, but now he could easily be the head lighting director at almost any church. Once you have your core team, expose them to outside training. There are great opportunities at conferences like LDI, USIITT, and Infocomm. Also, visit other churches that are doing what you want to do. Learn from those that are already where you want to be.”

Looking at training are there one or two – or three – things that a volunteer should learn to help stretch its lighting budget and get more impact out of its system?

“Simple system upkeep. I’m amazed at how many places don’t know to lamp off arc fixtures, replace lamps at rated hours, or clean air filters.”

Setting product features aside what are the things that churches most often mistakenly overlook when evaluating fixtures?

“Longevity. Will this purchase still be serving us well in two years? Five years? Ten years? Any purchase we make at Church On The Move is expected to last 10 years. Otherwise we look at alternative options.”

Any other advice?

“Don’t be afraid to rent for a period of time before you buy. You may spend more money but it gives you the opportunity to make sure the purchase is the right decision before you commit your churches resources to it.”


CHAUVET Professional at LLB Show in Norway

CHAUVET Professional distributor in Norway Rubicon displayed a wide variety of products at the recent LLB show. At the stand visitors checked out the Ovation line of fixtures for theater and stage, PVP S5 video panels, Rogue moving heads, wash lights from the COLORado line and more.

Check out some cool shots:







Ride Captain Ride! Happy Tuesday!


It’s another Tuesday, and we all what the best way to make a Tuesday morning better…  come on by the CHAUVET Professional Blog and get your Tuesday morning on!

We here at The Blog recommend doing the following for yourself and the members of your office:

  1. Crank it up, followed by
  2. Crank it up louder, and then
  3. Make sure everyone around you gets grooving in order to progress the general groovality of the Tuesday morning!

Ready?  GO!  Here’s The Blues Image playing “Ride Captain Ride” — have an amazing Tuesday morning!


CHAUVET Professional Parades at Endymion For Mardi Gras


NEW ORLEANS – The Krewe of Endymion Parade, started at City Park and Orleans Avenues in New Orleans, and from there took visitors on a journey that figuratively at least reached far beyond the confines of the Crescent City. Built around the theme “Fantastic Voyages,” the largest and most legendary of New Orleans’ Mardi Gras parades, featured floats depicting 20,000 Leagues Under the Sea, Gulliver’s Travels and other tales of transcendent journeys.  Accenting it all, along with 2,650 masked revelers tossing beads to the crowds are video panels from CHAUVET Professional and Geyser RGB Foggers from its sister company CHAUVET DJ.

“Chauvet products are a key part of our design,” said Ray Ziegler of RZI Lighting (New Orleans), which does most of the lighting and special effects lighting for Endymion. “Being in New Orleans at Mardi Gras, the Endymion floats have to be very lush and rich visually to capture the imagination. Yes, the Chauvet products certainly contributed to this look.”

The Endymion project starts with a series of 45-foot floats which linked together to form a parade train that roll through New Orleans. Each float was decorated to reflect the “fantastic voyage” theme of this year’s parade. “Our goal with the lighting design is to accentuate what the design artist has created on each float, highlighting the various props and adding even more excitement to them without drawing attention away from them.” said Ziegler. “This can create a challenge, given the static nature of the float displays.

“Essentially, the floats are large cars with props that don’t move,” continued the LD.  “So you don’t want to overwhelm the props, the lighting design should make the float more interesting, colorful, and unique”

To lend movement to the floats Ziegler installed 24 MVP 12 LED Video Panels from CHAUVET Professional on the side of the parade’s lead float. The panels, which were position 12 on each side of the float, display motion graphics and overlaid text, creating the desired sense of motion while also treating the crowd to some vivid LED colors.

“We pushed the content to the wall with a custom built, waterproof server/driver combination,” said Nolan Beaver who created content for the panels in After Effects and Illustrator “The CHAUVET MVPs were awesome in this application because the 12mm pitch is a perfect size to allow for maximum impact both to those in the street and parade watchers a block away. Plus the light weight of the panels allowed us to retrofit them into an iconic, long-existing Mardi Gras float without the need to obtrusively re-engineer the superstructure. Another thing I like was the generous number of threaded mounting points on each panel, which allowed us to secure each wall against shifting while the float is in motion.”


Chauvet Geyser RGBs also helped add more light and depth to the floats with their streams of colored fog. “The average person looking at the float gets about 30 seconds to view it before it moves further down the street,” said Ziegler. “So we really needed a fixture like this that shoots a quick shot of fog with no re-heating.”

Designed to add drama to any setting, the Geyser RGB blasts a vertical stream of safe, water-based fog while simultaneously illuminating it with 21 high-output RGB LEDs to create streaming 30-foot plumes of color. “We get a lot of excitement out of the Geysers with very little installation time,” said Ziegler, who positioned 10 of the units on his float. “Endymion is near and dear to a lot of people in New Orleans, so we wouldn’t make a decision about gear lightly. I feel good about the Chauvet fixtures and the contribution they can make to our floats.”

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