Awesome! Check out an article that our Senior Product Manager for CHAUVET Professional, Ford Sellers, wrote on addressing chromatic shadows in LED lighting for Church Production Magazine.
Here’s a link to the article, check it out!
Awesome! Check out an article that our Senior Product Manager for CHAUVET Professional, Ford Sellers, wrote on addressing chromatic shadows in LED lighting for Church Production Magazine.
Here’s a link to the article, check it out!
Another Mike Graham Tech Talk — on moving lights!
Many of today’s moving heads have some pretty amazing capabilities that are not always listed in the feature sets on the spec sheets. In order to find your lights inner magic, it is important to spend some quality time with them.
CHAUVET is launching a new line of moving heads called ROGUE. In this line, we are offering two spots and two beams. I would like to tell you all a little about each one and what they can all do, and none of these things are on the features list in the spec.
The ROGUE R1 Spot is a 140W LED powered work horse. This fixture is designed with the small to mid- size production or installation in mind. Because of a killer optical system, this fixture excels in gobo morphing, iris pulse, and other weird optical effects. So, give this a shot…. Pick two gobos, one static, and one rotating. Drop them in to the optical path. Get a hard focus on one of the gobos. Save that as a cue. Now move the focus to the other gobo. Make that a hard focus. Make the cross fade time between these two cues about 10 seconds. Now play back the cue a few times. Watch the image shift from one gobo to the other. Check out how the images change between the two. There are so many different looks that are available for you in that 10 second change that you can pull from for a show. Now go back and add in some slow rotation into the rotating gobo. Run that same cue again with the rotation. You will now see something completely different. Keep in mind that you have several gobo combinations to check out, and we haven’t even looked at split colors or the prism yet. By adding in the colors and the gobos, you have hundreds of different looks that can be achieved by these mixes. Now, let’s check out the iris. By using the iris on its own, yep, you can shrink down the beam angle. When combined with the prism, you can create some really cool beam effects. Using the built in iris macros, you can create iris pulse effects with rotation from the prism. Again, try the dots gobo and some slow color changes and now you have some really cool looks that will amp up your show.
The ROGUE R2 Spot has a 240W light engine that will blow your doors off. Designed to work with the mid to larger sized production or installation, this light has all of the features of the R1 Spot, but also has a second color wheel and frost flag. This means that not only can you create all of the effects that the R1 Spot can produce, the R2 Spot can also create stunning color combinations that are designed to produce great effects. While the frost effect is designed primarily to give you a wash effect, it can be much more. If you put the frost in with the prism, it will give you a wide wash effect. By adding in prism rotation, and changing the focus, you will start to see edges appear in the beam path. These edges can be further accented by adding in gobos and creating textures. These different textures are great for adding a bit of movement in your wash beam path. This is great for giving your show something a bit out of the ordinary.
The ROGUE R1 Beam is powered by the OSRAM 132 Sirius Reflector lamp. Utilizing a unique optical path, this fixture is equipped with a color wheel, gobo wheel, and two prisms that are designed to overlap each other. Because of its small size, the head of this light has whiplash fast movement to go along with its stunning output and effects. Because of its unique ability to overlap the prisms, you can get some effects that are normally reserved for lighting fixtures that are many times the R1 Beam’s cost. When you get this fixture in your hands, the first thing you are going to want to do is to fill up the room with haze. Once that is done, check out the gobo patterns on their own. There are some very cool beam reducer gobos, and there are also some neat patterns that stand up on their own as well. Now that you have had the chance to check out the patterns and aerial effects without the prisms, lets do the same thing with the first prism in. With the first prism being a 5 facet effect, you will notice that the focus is hard on the outer edges or in the middle. You can’t focus the entire beam at once. This is because the prism is bending the light out at an angle and the focal length of the center of the prism and the outer edges are different. This is actually to your advantage. By having the ability to focus on one side or the other, this gives you some very cool textures in the air. I really like the beam reducers in combination with the 5 facet prism. Adding in a slow rotation to this and maybe even some gobo shake gives designers the ability to create some really interesting effects. You might even want to add in a slow focus chase to play with the focal length of the prism. Now check out the 8 facet prism. Roll through the gobos again. With this prism wheel, I like the break up effects in haze. This gives me some great beam effects. By adding in some split colors, I can get even more effects. Now lastly, let’s try using both prisms at once. For this, I would suggest using the beam reducers to start so that you can get used to the effect. Try rotating the prisms in opposite directions. This will give you a very interesting effect that is pretty unique to this fixture. Try moving the focus in and out to do a kind of prism morphing effect. By the time you are done playing with all of these effects, I am sure that you will be impressed.
The ROGUE R2 Beam is the powerhouse of the series. Lamped with the OSRAM 230 Sirius Reflector light source, this fixture has unmatched output for its class. Because of this output, it can smash right through the brightest of video effects to make big visual impacts on your show. This fixture offers brilliant colors, specially selected gobos, 8 facet prism with zoom, frost, and focus. Again, check out all of the gobos on their own. Since this fixture has the output to light a stadium show, we wanted to include not only the beam reducer gobos, but some interesting break up gobos that would create some huge looks as well. Now drop in the prism and let’s go to work. As you start to check out the prism and gobo combinations, run the zoom in and out as well as the focus. You will start to see some very unusual textures that can be used as show stopping effects. Now let’s try the frost. With the frost effect, you can get a very nicely diffused beam of light that can double as a narrow wash effect. Try putting in the prism with one of the beam reducers. Now add in the prism in a slow rotation, the 3200K color correction, and the middle beam reducer with gobo shake. This effect reminds me of the old time movie look. If you work the gobos a little more, it can give you a halogen flicker effect that is really cool. This is something to play with. Try different gobos, different gobo bounce speeds, and colors to create some really interesting textures with the frost. I am sure that you will be inspired.
Since moving lights have been around for years and video effects seem to be taking the industry by storm, it is more and more important that we try to make our moving lights preform tricks that will make the audience take notice. We need to be more creative than ever. Bigger and more pronounced looks are the name of the game. In order to make that happen, we need the power of output. ROGUE will give you that power and more. We added in the feature sets, now you need to throw in your imagination.
It’s time for another TECH TALK featuring Mike Graham, one of the CHAUVET Professional Product Managers. Mike?
Chauvet Professional has recently launched two new LED strobe lights. The STRIKE 324 and STRIKE 882 are both very powerful strobe lights with some really cool effect possibilities, and with a little planning, can fit into almost any show.
Let me preface this article by saying that I am an epileptic. Throughout my childhood, I got it under control with the help of medication, but it is still something that is on my mind every time that I work with strobe lights. This is something to be conscious of when designing shows with strobe lights involved. Mind your audience. In all of the shows that we did when I worked on cruise ships, we always made announcements at the start of every show warning our guests of strobe and pyrotechnic effects. This is something that I do recommend for all shows, but perhaps that is just me.
Using strobe lights in a concert setting is a no brainer. Strobes go great with drum solos in rock and country. They make great blinder effects into the audience, and in electronic dance music (EDM) they are often used in that manner.
A few really cool things that set the STRIKE series apart is the ability to control individual zones of LEDs, as well as to use some built in zone control preset macros that will give you some crazy cool effects. Using these effects across several fixtures will give your audience something to talk about after the show. Because of the ring control, it is possible to use the STRIKE fixtures as more than just strobe lights. They can be audience blinders, eye candy, and matrixed effect lights if you so choose. The STRIKE 324 lends itself to the matrixed effect really well with its 8 rings of zone control in a par style body. These rings can be individually programmed or be run in pre-built macros that can be run at variable speeds to create some really interesting patterns.
Beyond the zone control features, these strobes also have the ability to be run all on at full with no duty cycle, also with no fear of burning out the LEDs. This has been accomplished by making sure that the cooling on these fixtures was designed to be more than just strobe lights, they can also be used as area lights and work lights. This is especially true with the STRIKE 882. Its panel design and 882 LEDs lend themselves to area lights, audience blinders, and work lights. If you are looking for a blinder effect like you would see in a xenon lamped strobe light, check out the 5 channel mode. Run channels 1-3 to full. This will give you that old school blinder effect.
So how do use your STRIKE in other venues besides the concert stage? A few ideas that come to mind include lightning effects on stage performances, attention grabbers and audience lighting for corporate events, and anywhere else that you need some extra punch. But how about you try them out and tell us how you used them. Take videos or photos and send them to us here at CHAUVET! We will post them on our blog site for the world to see how you are using your STRIKES.
We here at CHAUVET Professional have been working hard to bring you new toys to check out at LDI. While some things were previewed at PLASA last month in England, we thought it would be a good idea to give you a little teaser to what you will see at our booth, #1141.
This year at LDI, CHAUVET is bringing you some very cool new items. Two new LEGEND™ lights that will blow your mind, two strobe lights called STRIKE™ that will be sure to hypnotize you, a new Q-Wash™ that has not only huge output, but an awesome zoom range as well, and a long awaited addition to the OVATION™ line that will make your cyc glow with your favorite colors. Oh, but wait, there is more…. We are also introducing the COLORdash™ HEX fixtures as well as two new additions to the NEXUS™ series, we are even beefing up our tried and tested COLORado™ series. We are even introducing a new hazer. Indeed, toys galore.
First off, the LEGEND 412Z will be making its US debut after being a major hit at PLASA in the UK a few weeks ago. Offering blazing fast pan and tilt speed, twelve 10 W quad color LEDs with quadrant control, and a zoom range that will make your eyes explode, this light is destined to make designers smile from ear to ear. Applications for this light will range from eye candy effects to the most subtle wash coverage applications. A truly versatile light.
Next up is the LEGEND 330SR Spot. This fixture is making its first appearance at LDI this year. Utilizing the Osram Sirius 330 lamp, this light is designed to have massive output appeal. CMY color mixing that can create anything from a stunning red, to a grass green, to a deep blue, it will make even the most discerning of lighting designers happy. Combining that with a fantastic zoom angle and two gobo wheels, a color wheel, iris, and frost, the looks that can be created are only limited by your imagination. Very responsive pan and tilt movement will make sure that you hit the mark even when your talent can’t.
Onward, we will be offering two new strobe lights in a whole new category for CHAUVET called STRIKE. In the STRIKE line we have the STRIKE 324, an LED par style strobe offering eight rings of individual control as well as the STRIKE 882, an LED panel offering six zones of control. Both of these fixtures have one major thing in common, they are blazingly bright. If you don’t believe me, stop by the booth and I will be happy to show you. I strongly suggest sunglasses.
Although this light has been shipping for a few weeks, the Q-Wash 419Z is making its first appearance at LDI after hitting the stage at PLASA. The Q-Wash 419Z offers nineteen 15 W LEDs with segment control and zoom. Designed with the stage and studio world in mind, not only is this fixture quiet, but also offers 16 bit dimming of both the master dimmer, as well each individual color. Overall, this light is a great addition to the already very successful Q-Series of products.
We launched OVATION at LDI last year and have had a stunning year of success with it so far. The OVATION E-190WW LED ellipsoidal won the New Product Award for Technology at WFX this year against some very stiff competition and the F-165WW as well as the F-95WW have also been successful in their own rights. At INFOCOMM this year, we premiered the OVATION C-640FC. This five colored LED cyc light leaves the competition in the dust. Offering two independently adjustable heads and a virtual color wheel (VCW) that includes many of your favorite gel colors pre-calibrated based on a 3200K degree light source, this fixture is sure to please. Compact in size and huge on output, this fixture will make the LED skeptics heads turn.
Bringing in even more innovation, we have the COLORdash Hex fixtures. Starting off, the COLORdash Par Hex 12 – not only is it bright, but offers something different from other LED par fixtures on the market. Red, green, blue, white, amber, and, wait for it….UV! Trust me when I tell you, having UV light in combination with any one color will give you mind blowing results, (you have to see red and UV combined, it is breath taking) but seeing multi-color combinations will leave you speechless. Combine all of this with 16 bit dimming control and fan free operation and you have a hit on your hands. Complementing the par. We are also launching the COLORdash Batten Hex 8. The batten offers all of the coolness that we packed into the par, but in a linear format. And what would a batten be without individual pixel control? How about if we added in 16 bit dimming into individual pixel control? Wonder no more, because you can see it in person at our booth.
Last year at LDI, we introduced the 2013 Parnelli Award nominated NEXUS 4×4 and tipped the industry on its ear. Since then, we have launched the NEXUS 4×1 and NEXUS 2×2. This year, we intend to outdo ourselves by introducing two more NEXUS products, the NEXUS AQ 5×5 and the NEXUS AW 7×7. The NEXUS AQ 5×5 is a matrix of 25 quad color RGBW LEDs that are controllable with DMX, ArtNet, and KlingNet. The NEXUS AW 7×7 is a matrix of 49 warm white LEDS, that again, are controllable by the same triple threat as the rest of the NEXUS series. Both of these new products also feature load rated coffin locks for vertical linking, and very cool horizontal linking system for easy pixel alignment.
The COLORado series is gaining two new members of the family. The COLORado 2 Quad Zoom Tour and COLORado 2 Quad Zoom VW Tour. The COLORado 2 Quad Zoom Tour offers fourteen 15 W quad color RGBW LEDs and a huge zoom range as well as an even field of light distribution, the COLORado 2 Quad Zoom VW Tour offers fourteen 15W Variable White LEDS that can be tuned from 2,700 K to 10,000 K and offers the same zoom and light distribution as the RGBW version. Both fixtures also offer 16 bit dimming and the signature COLORado tough body that this series is known for.
But you need a way to see all of these effects in the air. Not to worry, CHAUVET proudly presents the AmHaze II. The AmHaze II gives you all of the haze output that would expect in a professional hazer, and will also work with a wide variety of haze fluids. Compact in size, the AmHaze II can fit into small spaces or be suspended utilizing it’s built in M13 threaded insert (perfect fit for our CLP 15 clamp). We will be using a few of these hazers in our booth at the show, While you are checking out all of the collective stunningness of the light show, take a moment to appreciate the atmospherics as well.
So, stop by the booth and at the very least say hi. I will be easy to spot. I will be the one wearing the grey CHAUVET shirt with a big smile on my face. Jim Hutchison from JimOnLight.com has also come on board with CHAUVET Professional; he’s leading our Social Media, Blogging, and Customer Outreach. He and his very bald head will be at the LDI booth, so come by, chat us up, and snap a picture!
I also want to also say thank you to all of you out there who have supported CHAUVET and CHAUVET Professional over the years. Without all of your feedback and comments, we could not have been able to create all of these new and amazing products, nor would we be where we are today. As I enter my sixth year at CHAUVET, I thank you all for your continued support.
Chauvet Professional’s own Mike Graham is back for another issue of TECH TALK! This time, Mike brings us insights on the pitfalls of convenience with respect to lighting design and programming. Mike?
Without the ability to make our senses work together, designing a show is impossible. In today’s fast paced “Information Now” world, it is really easy to let our senses get dulled by superficial glitz provided by the dreaded interwebs. I think that it is important to unplug and rethink the approach that we take in show design.
In my second semester of college, I took a (please, do not hold this against me) sound designers class. I wanted to try to have a better understanding of what sound design actually was, and it was a required class as part of my curriculum. In that class, our instructor would give us each a cassette tape with a song on it. Our job was to learn how to pick out individual sounds from those recordings. Essentially, to stop listening to the song, and start listening to the sound of the instruments, the hiss on the tape, and any other noises that were present. This exercise went on for the entire semester. Every week it was a different tape with a different song. By the end of the class, the goal was to be able to pick out the smallest details of sounds. Goal achieved.
The obvious question is how does this apply to lighting design in today’s world? The truth is that we as a species is becoming much less detail oriented because of the instant gratification of being able to Google an answer to any question. The fact that we can use software like WISYWIG or Vectorworks to design shows, then use a control platform like the Hog 4 or GrandMa 2 to program and execute the same show is a great thing, but be careful of the pitfalls of convenience. I am by no means putting down these state of the art technologies, but what I am saying is that they are tools in the same way a good Crescent wrench (spanner for my UK friends) is a tool. Don’t let these tools decide the show for you. While I do realize that time is a commodity that we are typically very short on, slow down and listen to the show that you are designing. Just because you can pixel map every LED on your stage, does not mean you have to run pixel effects for every single cue. Take a deeper look and see if you can program a slight nuance into a look that will spark the imagination of your audience. Design is not all about hitting your viewers with a sledge hammer. Sometimes it is about the slow and subtle cue change that takes two minutes or more to complete. You don’t need to use the effects generators to create every look. Take some time and add in some personality to what you are trying to accomplish.
As a test to yourself, try this; Sit outside and close your eyes. Take a deep breath and listen. Pick out every noise from the birds singing, the breeze blowing, cars in the background, to a dog walking by. Now feel the sunlight on your face and imagine what that scene should all look like. With some practice, your mind will once again become the best visualizer you have ever used. By accessing your imagination and linking it to your senses of sound, sight, touch, taste, and smell, you will become a better designer.
Its, funny, but I was just reading Justin Lang’s Blog (http://www.prolightingspace.com/profiles/blog/list?user=3hylm036yw15r) and came across the below:
While it is totally true, we can’t ever totally understand everyone’s vision, you can absolutely control yours. By having a better understanding of how your senses work, you will start to associate your senses to colors, effects, and light cues. It will make designing shows much easier and much faster.
Every time we look over at Mike Graham, one of our resident human walking awesomesauce packets, we can’t help but wonder how he fits all of that knowledge into one polo shirt wearing container. Mike provides great articles for Tech Talk here on the Chauvet Professional Blog, full of insight and hard work from his years in the business.
We decided to look through the last few years of Tech Talk articles and pick our five favorites. Check them out!
Stay tuned for more Tech Talk articles and more from the Chauvet Professional Blog!
Ladies and Gentlemen, it’s that time again — Mike Graham, our Moving Heads Product Manager, has written another excellent Tech Talk article for the Chauvet Professional Blog! Check it out below, and welcome Mike Graham!
One of the happiest times of any show is the completion of load out. Especially if it is complete before last call at the nearest bar. However, load out is also, in my opinion, is often an overlooked event of show planning. By organizing your load out in the same fashion as your load in, you can be sure that there is a cold beer with your name on it waiting for you.
The best time to start thinking about load out is during your show design. At the same time you are thinking about how cool your show will look, and how much it is going to cost to load it in, you have to already be thinking about how much it is going to cost to load it out. Typically, your goal is to make sure that your rig can come down in less than the four hour minimum that you often time have to pay your crew. So, in the same way you can estimate how long it will take to load in, estimate the load out as well.
During your show pack, keeping track of exactly what goes into what box is really important. Having a complete and accurate packing list as critical for load out as it is for load in. Knowing what needs to go back into every box will greatly assist you in keeping your pack time down. This will also help you to make sure that everything that you brought to the show goes home with you. It is also a great idea to label each case that you take with you. On that label, you should have the following listed:
When you get to the venue and start setting up, As you empty cases, use the empty cases to store your truss carts. Make sure that you label the cases your truss carts are in so you can easily find them, but this will keep them all in one place and save you time in looking for them at the beginning of load out. Making sure that all of your cases are prepped to return in the order that you will need them is also really helpful. I also suggest that having all of your spare items in its own case so you can easily find them if you need them.
As you get to load out and your cases start showing up, keep them in order. As you load one up, the next one you need is there for you to use, this will also keep your “case clutter” to a minimum. Once you load a case, get it moved away from your work space and staged for packing back into your truck, then load the next one. As to cables, I suggest taking all cables that five feet and under and bundling them in packs of 10. This will make counting them easy and they can be easily stored. Typically, the most common lengths of cable are 5ft and under, so you will save tons of time by not rolling them up individually. As you get to your trussing dollies, set them up and keep them to the side until you need them. Always load your cases outside of your rig s footprint. This way, you can keep dropping your rig to the ground without having to move a bunch of half full cases around.
Keeping the process moving is important. By the time that load out comes, everyone is getting worn out and could be getting a little complacent. Keep an eye on how your gear is being packed is important, especially if you are working with a local crew that is not going with you to the next show. Firstly, you need to know where your gear is getting packed, but you also have to make sure that they are not just jamming it in a case with no care. Also, because it is the end of a long day, or in many cases, a long few days, your crew will be tired. Make sure that they are still following safe practices and not standing on the “OSHA approved chair” for taking lights out of the rig.
Remember that load out is not complete until all of your gear is on the truck and the door is dropped. It is important that not only is all of your gear in on piece, but so is your crew. Keep safe and stay organized and you will all make it before last call.
Stay tuned for more Tech Talk articles from Chauvet Professional — we’re here to help you own the road!