From opera and ballet to televised galas and contemporary performances, Place des Arts, Canada’s largest performing arts center, has welcomed renowned productions to its stages for decades. When it came time to modernize its followspot inventory, the venue’s technical leadership knew the replacement would need to meet exceptionally high standards, which they found with the Robert Juliat Arthur LT Long Throw LED Followspot.

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A current Robert Juliat Cyrano followspot user, Place des Arts recently upgraded to the Arthur LT fixtures in two of its busiest venues, marking a significant step in the organization’s ongoing transition toward energy-efficient lighting technologies. The installation includes four Arthur LT units at Salle Wilfrid-Pelletier, the center’s largest theater, and two units at Théâtre Maisonneuve.

“We have always been a Robert Juliat user,” said Guy Levesque, technical manager for infrastructure and equipment at Place des Arts. “We know the reliability, and we know the products last. The challenge wasn’t finding a brand we trust, it was finding an LED followspot that had the power and quality we require for our venues.”

Responsible for the lighting, audio, video, and stage equipment at Place des Arts’ six performance spaces, Levesque understands the unique demands of venue infrastructure. Followspots are often positioned significant distances from the stages and must deliver consistent performance across a wide variety of productions. Television broadcasts, in particular, impose stringent requirements on brightness, beam quality and consistency.

As a publicly funded cultural institution, environmental responsibility is an increasingly important consideration for Place des Arts. The reduced energy consumption of the Arthur LT aligns with broader organizational objectives while lowering operating costs and helping the organization meet its sustainability goals. Additionally, unlike traditional lamp-based followspots that require periodic lamp replacements, the Arthur LT significantly reduces maintenance requirements and minimizes downtime.

“The move to LED checked every box for us,” said Levesque. “Power consumption, maintenance, light quality, and ease of use all improved. It was the combination of those factors that made the decision straightforward.”

The upgrade also reflects the confidence that Place des Arts has built in Robert Juliat products over the years. While several venues across the complex continue to utilize existing followspots, the success of the Arthur LT installation demonstrates the ways in which modern LED technology can deliver the performance required by demanding professional environments without compromising artistic expectations.

In corporate AV, when we talk about innovation, we often look toward displays, AI-enhanced meetings, immersive technology, cameras, and audio upgrades. But increasingly, one of the most productive changes requires looking slightly higher. To the ceiling.

Low-voltage lighting is transforming our corporate spaces, combining studio-quality lighting with low-voltage, IT-friendly power and control. It’s creating a harmony that redefines the creative and operational possibilities of corporate AV.

The most popular approaches to low-voltage control are PoE and DMX. From DMX consoles to wall controls to APP control through PC, Macs, and phones, simple signal converter interfaces facilitate most front-end methods.

Advancements in low-voltage lighting technology now accommodate single cable runs of standard Cat 5 or Cat 6e cable to the fixtures, further contributing to the efficacy and simplicity of the systems.

Low-voltage lighting operates at 24V or 48V DC. With high-voltage requirements eliminated, installations can be completed by integration teams already on site, increasing QC by reducing complexity. Running cooler and less susceptible to voltage fluctuations, low voltage lighting systems can add to system longevity with minimal back up when staying “on-air” is critical in the event of a power outage.

Evaluating Options

The ability of most low-voltage systems to integrate into IP-addressable control creates the opportunity to add lighting to cloud-managed services, supporting client peace of mind while increasing the integrator's piece of the recurring revenue pie. Interface choices should be based on certifications specific to the country of use and the front-end control preferences of the end users.

In a corporate environment, this integration means that lighting is no longer siloed from AV and control systems. Instead, studio-quality lighting can be programmed, automated, and adapted with the same sophistication as an AV ecosystem, creating a unified workplace experience. Companies can create meeting rooms with presets for videoconferencing, presentations, and collaborative work. Lighting can be adjusted to optimize camera image quality and reduce glare and shadows for those calling remotely.

This enables easier installation, streamlined integration, and lower energy consumption. Clients are free to focus on the creativity of their content versus the integration and operation of their video lighting systems.

When evaluating low-voltage lighting systems, look for technology that offers variable white color control, which allows users to adjust the color temperature of white light. This provides significant creative, operational, and technical benefits, including increased color fidelity, practical light source matching, and the ability to mix light sources of different color temperatures.

Today’s lighting systems offer vast creative control and can also be pre-programmed to offer "instant on" operation. When appropriately selected, the array of features, playback options, and adjustments of a chosen system can contribute to the successful video output, increasing both system adoption rate and content absorption.

Why It Matters

For corporate clients, low-voltage lighting brings cost efficiency, flexibility, and a better user experience. Energy savings are immediate, especially when fixtures are paired with LEDs and advanced controls. Operational costs come down as do the costs of reconfiguring a workplace, which is critical when adapting between in-office, hybrid and remote work models.

For AV integrators, low-voltage lighting expands project scope. Installations are simple and often don’t require electrical subcontractors. Networked lighting can be monitored remotely, updated with firmware patches, and optimized for energy efficiency, which could lead to an expanding and continued managed services offering from the integrator.

Brightline, for example, has introduced the AV/720 to simplify low-voltage lighting. It's a 20-port, DMX-controlled, variable white, and easily scalable system that interfaces with IP-addressable control. With pre-labeled light fixtures, cables, and ports, the AV/720 basically brings "lighting by numbers" simplicity to the world of professional video lighting.

As corporations face increasing pressure to meet sustainability goals, low-voltage lighting becomes more than a cost-saving measure—it can be a compliance and branding asset. Reduced power draw, longer fixture lifespans, and compatibility with daylight harvesting all support green building initiatives.

Proposals that lead with efficient lighting options align with clients that require LEED certification or have watts per square foot restrictions. With 90% of S&P 500 companies publishing environmental, social, and governance (ESG) reports, integrators can partner in their strategy with low-voltage offerings.

Transforming Interior Spaces

While good lighting can have an ethereal quality, there is nothing ethereal about the benefits of low-voltage lighting. Positioned as partners in the sustainability initiative, integrators who embrace low-voltage lighting benefit from increased project scope and service opportunities, while their clients realize reduced operating costs, more flexibility, and enhanced video results. Integrating low-voltage lighting with other LV technologies increases workplace safety and efficiency.

Light transforms our outdoor world daily, organically and automatically, and innovative lighting systems can bring the same transformation indoors to your video environments. As AV, IT, and building systems converge, low-voltage lighting will continue to redefine what’s possible in corporate video environments.

Why You Should Embrace Low-Voltage Lighting

• Conserve resources with less work.

• Save clients’ money while making more.

• Eliminate high voltage and ensure safety.

• Reduce cable size and increase aesthetic.

• Produce high-impact video with little power.

Let there be light. elektraLite has introduced a weather-resistant version in two 30-watt and 80-watt configurations, making the new Stingray Mini IP65 an ideal choice for any lighting application, indoors or outside.

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“Many of our customers have really loved the compact form factor and performance of our original Stingray Mini, so we’ve expanded the range with new models for even more versatility options,” said Brandon Tsaptsinos, Group One Limited’s national sales manager for the elektraLite brand. “The IP65-rated versions are perfectly suited for everything from theatrical and retail environments to outdoor signage and theme parks, and their higher wattages and precision camera lensing deliver truly pro-grade operation, rain or shine.”

Boasting a brilliant CRI of 95 or greater, the new 30-watt and 80-watt models each utilize a single-source COB LED module as their light engine, and both are available in Warm White (3000K), Cool White (5000K), Variable White (2700-6600K), and RGBW versions. Fixtures are equipped with interchangeable photographic-quality zoom lenses, offering a choice of 15º to 30º or 25º to 50º beam spreads, and feature camera manual rotary control for precise and fully-adjustable focusing.

Housed in marine-grade aluminum chassis, both new models are IP65 rated and fanless with a convection fin-cooled rear design for silently venting heat away. Fixtures can be controlled via DMX or set for manual operation, and all fixtures have Remote Device Management (RDM), selectable control of Pulse Width Modulation (PWM), and selectable dimming algorithms for incandescent, log, or linear operation.

A four-piece shutter assembly allows for perfect cuts, and there is also a gobo slot for custom gobos, plus a double-slot for optional accessories (gel/color frame, filters, hi-hats, etc.). Products are shipped with a 10-foot extension cable allowing the quick-release power supply to be remotely located, and an optional 45-foot extension model is also available.

Designed in a compact form factor, the 30-watt Stingray Mini IP65 measures only 15-3/4x7-7/8x4.1/4 inches(1397.5x72.5x102.5mm), and weighs a mere five pounds (2.2kg). The 80-watt version features a slightly larger size weighing nine pounds (4kg).

elektraLite has introduced the Aero Mini. This compact and lightweight pro-grade fixture utilizes a single 100-watt, 9000K white COB LED on a liquid-cooled system for optimum temperature control and near-silent operation, perfect for use in quiet environments.

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The Aero Mini is ideal for any environment, from churches and schools to theaters, performing arts centers, and corporate events. Compact enough for tight spaces, it is a full-featured tool that fits the bill when strong intensity, reliability, and diversity are key.

The Aero Mini is big on features, which include a dimmer, strobe, focus, color wheel—with seven colors, plus open white—and a five-facet prism with rotation in either direction. A rotating gobo wheel with indexing capability can accommodate six gobos, making for perfect static positioning of the gobo by using a dedicated channel to position the gobo precisely. Gobo wheels—four steel and two glass—are also interchangeable for any custom gobo requirement.

“Our new Aero Mini is a fantastic little fixture for throwing gobos, and its silent operation allows it to be deployed in sound-sensitive spaces without any concerns,” said Brandon Tsaptsinos, Group One Limited’s national sales manager for the elektraLite brand. “And with its amazing price point, which is approximately 80 percent less than our full-sized Aero, you’d be hard pressed to find another fixture on the market that can match its output and feature set for your money.”

Offering a CRI of 95, the Aero Mini’s beam angle is set at 14 degrees, while Pan (540 degrees) and Tilt (270 degrees) at 16-bit resolution make movement control both accurate and smooth. The fixture’s software has inbuilt pre-programmed shows for instant operational success, and a variety of control options are offered, including DMX protocol, master/slave, automatic (using the inbuilt shows), manual (allowing the operator to “set and forget”), or sound activated. Power consumption is an efficient 115 watts running and AC can be from 100v-240v, 50/60Hz.

Housed in a durable steel H-frame chassis with ABS plastic outer surround, the IP20-rated Aero Mini features a standard U-clamp with quarter-turn cam locks for secure mounting. Incredibly compact, the fixture measures 14.5 inches (37 cm) by 7.5 inches (19 cm) by 10.5 inches (27 cm), and weighs only 14 pounds (6.4 kgs).

A standard IEC Edison plug provides power input, while control is via five-pin XLR in and through. On the front panel, an LCD display provides information concerning the fixture’s menus, profiles, and channel assignments.

When TAD Associates (TAD) relocated its New York headquarters to a new site near Times Square, they sought to create a workspace that went beyond the idea of a traditional office—rather, it was to be a stage for storytelling, experimentation, and innovation. A leading AV consultancy, TAD empowers businesses to create digital experiences that connect, support, and inspire people through interweaving technology, architecture, and design.

The team at TAD envisaged the new office as The Stage: a blank canvas on which different creations can take form and ideas can be trialed. RAIL by KSCAPE, an all-in-one architectural lighting and audio solution from Italian professional loudspeaker brand K-array, proved to be a crucial element in bringing this vision to life.

TAD worked with architects Model Practice to imagine a high-performing, yet flexible space. “Our ambition was to have an office that worked for us and the things we want to do in a flexible and coherent manner,” Daniel Pittman, TAD partner recalled. “This is the brief we shared with Model Practice, who worked closely with us to design this concept.”

A Solution Fit for (Multi) Purpose

A research lab for prototyping and a space to hold events, the new TAD workspace required a unique design approach. “We thought about the space like a stage,” Christopher Lee, partner at Model Practice explained. “Modular furniture, fittings, and other elements can be deployed, and the space can be divided to serve different purposes. Introducing a ceiling grid of KSCAPE RAIL elements allowed us to bring lighting and audio into play whilst reducing visible systems and maintaining the utilitarian aesthetic.”

With a sleek form factor, tunable lighting, and high-performance audio, RAIL represented an easy-to-incorporate solution that fulfilled many of TAD’s major technology requirements in a single device. With RAIL, TAD can benefit from lighting and color temperature control, as well as circadian syncing features, creating unique environments and zones that serve multiple purposes. Working closely with the team at K-array, TAD also had emergency lighting built into the RAIL fixtures, providing a complete corporate lighting solution without additional ceiling fixtures and fittings.

Over 100 units of 1.2m-long RAIL devices were installed in the custom ceiling grid system at TAD, both with and without integrated loudspeakers. The workspace is an open environment, with desks around the edge and an empty stage in the center for experimentation. The ceiling grid is pivotal to the functioning of the space, encompassing not only lighting and audio from RAIL but also data reels, power supplies, and room-dividing curtains, allowing the TAD team to bring utility to any point on the floor and construct or deconstruct ever-changing spaces. Sound and light from RAIL remain a constant.

A Customized, Optimized Environment

While the open workspace at TAD is largely flexible, three permanent zones exist: a studio workspace for employees, a gallery for showcasing the work of TAD and its clients, and the lab space for experimentation and research and development. The RAIL lighting control through Casambi enables TAD to redefine the zones as required, whether switching to brand colors for visiting client demos or syncing the lighting with outdoor conditions to provide optimal working conditions that promote employee wellbeing. Two further conference rooms also feature fully integrated RAIL devices, eliminating the need for adding ceiling loudspeakers and ensuring a coherent user experience across the entire TAD premises.

24 Rumble KU44X subwoofers along with 12 channels of K-array Kommander amplification were deployed to complete the sound system. “We wanted to do the sound properly and ensure we could cater for all kinds of events, so we worked with K-array to select subwoofers that would provide good, high-performance coverage for each of the zones,” Tom Sauter, TAD’s systems engineer for the project explained. “The smaller package of their Rumble subwoofers gave us flexibility in placement, and each unit was painted to match the ceiling, so the units remain discreet.”

Ease of control has proved to be a key benefit for the TAD team in their experience of KSCAPE RAIL. “With Casambi, users can set up zones for events or simply control the day-to-day performance of the lighting,” Sauter continued. “We’ve integrated the RAIL and Casambi controls into our internal app here at TAD, as well as making the technology accessible from an internal touchscreen and self-powered light switches at the points of entry, ensuring everyone can easily enjoy the functions of the space.”

Future-Proof Flexibility

The team at TAD are investigating the development of a RAIL integration with Show Control software. This will enable RAIL lighting to respond to digital signage and sensors in the space, further pushing the boundaries of architectural lighting thanks to KSCAPE’s open and innovative technology, and bringing the benefits of a theatrical lighting system to the space without the usual physical wiring constraints.

Besides the flexibility and functionality of RAIL, TAD’s employees also testify to the overall look and aesthetic that RAIL has brought to the space. Aside from the endless lighting possibilities, the audio quality—even when pushed to high volumes—has been a source of positive remarks throughout the office.

“The creation of the utility grid has given us the complete flexibility and performance we need, whilst the alignment with K-array throughout the journey has been excellent,” Pittman confirmed. “The result is a space that is comfortable and fit for both every day and more complex use. A lot of thought went into crafting a space that is truly functional yet simple, and with the right technology from KSCAPE and RAIL, we’ve achieved this.”

Ayrton—distributed exclusively in North America by ACT Entertainment—released its newly upgraded Nando 502 Wash, the latest in Ayrton’s Multi Sources IP65 6 Series. The upgrade provides an optimum level of diffusion and a significant improvement in luminous flux.

The new Nando 502 Wash is fitted with 12 high-performance 40W LED sources with RGB-L additive color synthesis and a proprietary optical system made up of a unique 210mm cluster in PMMA. This optical combination produces an improved luminous flux of over 11,000 lumens and a highly uniform mixture of pastel or saturated colors.

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Nando 502 Wash is a precision machine that allows high-quality color reproducibility with a color rendering index up to 86, and delivers light without flickering, making it ideal for TV applications and all video recorded events.

Versatile by nature, it can switch instantly from beam to wash with an excellent zoom ratio of 15:1 and a zoom range of 3.5-53 degrees. Its black honeycomb and separation of the light sources help to significantly boost the level of contrast. The anti-reflective treated glass window guarantees an optimal visual result and increased performance. Additionally, with individual control of each LED, breathtaking 3D volumetric and 2D effects can be achieved.

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Nando 502 Wash’s new minimalist design ensures full accessibility to all functions. By decreasing the thickness of the aluminum parts, optimizing the cooling system, simplifying lens guidance, and integrating low-density optical components, Ayrton has been able to reduce overall weight by 20%.

Nando 502 Wash is an incredibly compact IP65 luminaire, specially designed for mixed-use stage lighting, both indoors and outdoors, and even in high-saline environments. Measuring 340x474x268mm and weighing 15.6kg, it enhances scenes with elegance and refinement. It is the perfect tool for designers looking for depth of color who want to create unforgettable wash effects.

HARMAN Professional Solutions has launched the Martin VDO Sceptron XB—a compact, high-performance LED pixel-batten, designed for both lighting and creative video applications. The new pixel-batten utilizes all of the VDO Sceptron XB family’s features such as user-friendly mapping, simplified diffuser and lens exchange, and a wide range of available rigging accessories, with enhancements to performance and ease of use.

"We are continually talking with the LD community to better understand how we best support their most impactful designs,” said Wouter Verlinden, product manager of Martin Professional Creative LED, Lighting and Control. “And that feedback was certainly a driving force in the development of the VDO Sceptron XB as well. This fixture is all about giving designers and technicians much more creative control, while being easy to integrate into any project to unlock many new possibilities. We think you’re really going to love this fixture and be able to do a ton with it."

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The VDO Sceptron XB was designed with boosted lumen output, enhanced cabling freedom, and the ability to be controlled as a lighting fixture via Art-Net and sACN, and as a video fixture via Martin P3, or both simultaneously. While compact and lightweight, VDO Sceptron XB is brighter than its predecessor, with more than double the white light output and up to five times as much saturated color output as the VDO Sceptron 10.

The use of RGBW LEDs results in a better spectrum (CRI, TM-30, TLCI), compared to traditional RGB pixel-battens, making it ideal for precision illumination of people, set décor, and other focus areas. The enhanced control options make this fixture easy to deploy, with or without a P3 System Controller.

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The VDO Sceptron XB also features Extended Gamut calibration that ensures consistent performance on whites, offering color temperature and tint control, while saturated colors remain rich and deep. Additional features for the IP65-rated solution include a wide range of built-in effects macros, a stand-alone mode for applications without a Controller, and a full suite of optical and rigging accessories, enabling designers to utilize the series for a variety of uses and mounting configurations. 

Astera is expanding both the creative and technical potential of the LunaBulb with its new LunaBulb Accessory Kit, which will incorporate a range of blockers, diffusors, reflectors, and lenses within a single, lightweight portable case. Designed as an advanced LED luminaire which incorporates all Astera’s core innovations, The LunaBulb Accessory Kit maintains the exact same shape of a 100-year-old traditional tungsten bulb. 

The all-weather LED-based LunaBulb is available with an E26, E27, and B22 fitting and, like a conventional 25-watt bulb, screws directly into an AC-wired bulb socket. A spring-loaded clip allows the light to be converted from a slimline shape to a conventional bulb, granting it both aesthetic and practical value on sets both indoors and outdoors. With fully adjustable white levels (1,750–20,000K) and color (RGB, Mint and Amber, with RGB, HIS, XY, and Filter Gel color selection options), the LunaBulb provides beautiful, flicker free lighting in a variety of settings, and because of its underpinning Titan LED engine, can be coordinated seamlessly with the wider Astera ecosystem using Astera’s intuitive app, whilst configuration and DMX assignment is made simple using the Astera PrepCase.

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Now, the new LunaBulb Accessory Kit will even further extend the ways in which the LunaBulb can be used on set or during an event. Each LunaBulb Accessory Kit includes:

• LunaShade (four): With two Blocker and two Diffusor shades, the LunaShade has a quick snap-on fitting and can be applied to the traditional LunaBulb in order to change the directionality of the light or create a more diffuse appearance. Inspired by James Friend ASC BSC, the LunaShade allows even more precise control over the directionality and quality of light produced by the LunaBulb.
• LunaReflector (four): Fitting the slimline format of the LunaBulb, the LunaReflector increases the light output of the luminaire by reflecting it forward and narrowing its beam angle.
• LunaDiffusor (four): This snap-on dome diffuser for LunaReflector not only diffuses light beautifully but maintains the exact same look and diffusion density as the upper part of the existing Astera NYX Bulb. As such, when a LunaReflector and LunaDiffusor are combined, the LunaBulb ideally emulates the appearance of Astera’s existing NYX Bulb, meaning that both products can be seamlessly combined in a single production.
• LunaLens (four): The LunaLens is a snap-on optical device with a slight diffusion that is added to the LunaReflector, and which imitates the front look of a PAR16 bulb. It blends colors effectively whilst offering only a slight reduction in the output of the LunaReflector.
• White Snoot (four): The white snoot can be screwed onto the LunaReflector to avoid glare in camera or in the viewer’s eyes and is fully compatible with the snap-on LunaDiffusor and LunaLens.

“The market has received LunaBulb incredibly well due to its ‘conventional bulb’ look. It is both practical but also important from a design perspective; shaping mood, granting a particular aesthetic, and conforming with a tradition of lighting production that remains important to cinematographers and audiences," Ben Díaz, head of product management for Astera. "The LunaBulb grants all of this, but does so with all the advantages of LED technology and Astera control: streamlined setup times, perfect color quality, greater precision with wireless control, and unrivalled levels of creative flexibility.

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“Now with the LunaBulb Accessory Kit, lighting crews can be even more precise by adapting the nature, direction, output, and quality of practical lights to harmonize them with the overall mood and look of the production. With these accessories we reinforce Astera’s commitment to providing high-quality and robust tools to our core innovations, maximizing what gaffers, cinematographers, and lighting designers can create within the streamlined workflow of the Astera smart ecosystem. Furthermore, our existing LunaBulb customers will now benefit from an even more valuable solution, optimizing their return on investment with an even more versatile and unique inventory."

CEDIA Expo has become my home electronics candy shop. Two home electronics categories might border on obsessions for me, and CEDIA helps fulfill that: displays and lighting.

If I lived by myself in a 20-room house, I'd have 15 displays. Each would be of the highest image quality available at that time and would be a combination of projectors, flat panels, and video walls. They would be switched out every few years, which admittedly, I do on a small scale now.

In my modest eight-room home, there are four outstanding TVs. I own a combination of LG, Samsung, and Sony. My husband and I thoroughly enjoy watching 4K movies on our Sony 65-inch A95K. Thanks to Sony's XR OLED Contrast Pro, its pure black contrast and a massive pallet of colors, the depth and detail from the brightest colors to deep shadows and everything in between deliver a breathtaking image. Plus, we've also got an outstanding surround sound system with an 18-inch subwoofer. Together, our audio and video movie-watching experience rivals a trip to the cinema.

On the rare occasion, I am willing to share my personal space, I head to my local IMAX theater, where I am reminded of just how spectacular and truly immersive the big screen and big sound deliver. Last weekend, my husband and I saw Beetlejuice Beetlejuice and the IMAX experience was worth enduring, the few glimpses of annoying bright lights from cell phones and the errant chatter.

I like Sony's tagline that was front and center at its booth at CEDIA, "Cinema is Coming Home." For the first time at CEDIA, Sony showcased its Crystal LED (CLED) video wall in a home theater setting. Of course, I've been seeing CLED at InfoComm and imagining how it would fit in my home. Pretty nicely, I'd say. I've got to be more patient for the prices to come down because I don't have the budget of someone who lives in a 20-room home.

Recently, home theater design and integration firm, CinemaTech had an opening at its new Florida showroom featuring Sony's CLED. "It was so immersive that when the dealers saw it, you could hear an audible gasp," said Jeff Goldstein, head of sales for its Custom Integration channel at Sony Electronics. "Sony is uniquely positioned to deliver the best cinema experience." In 2021, Netflix added a CLED video wall at its Los Angeles headquarters.

Fine Tuning My Lighting Obsession

Nearly every August for more than 20 years, I join my editor friends from competitive publications and participate on the panel of judges for the Lutron Excellence Awards.  Since 2003, Lutron Electronics' chief corporate brand ambassador, Melissa Andresko, has spearheaded awards. It's here that I developed my passion for all things lighting.

Custom integrators submit projects for consideration in various lighting and shading categories. The winners are announced at CEDIA. Check out the list of this year's Lutron Excellence Award winners.

Between reviewing and being inspired by well over 100 award entries, meeting with Lutron product managers, and seeing new products at CEDIA, I am even more focused on a new lighting solution for my kitchen.

Lutron recently announced the Ketra D2 and Rania D2 architectural downlights which were shown at CEDIA for the first time. D2 ushers in a new chapter for the company, making Ketra and Rania available in a smaller form factor than ever—a new two-inch aperture downlight.

"Ketra provides the best quality of light out there for white light and it can also do full saturated colors and follow the color temperature that the sun would have throughout the day," said Ben Bard, VP of luxury residential business at Lutron. "We have dramatically reduced the form factor to a 2-inch downlight. It represents a major shift for Lutron.

If color temperature in your home is important to you, you've got to check out Lutron's Ketra. With the combination of Ketra technology and the small form factor of Ketra D2 architectural downlights, I'm getting to work on planning lighting that will transform my kitchen experience.

It's a good thing I am not attending the Consumer Electronics Show (CES) in January. My home budget can only take so much in one year.

Introducing the latest iteration of the elektraLite elektraBar—the Vibe. Just over 3 feet in length, the Vibe sports 128 columns of seven RGBW LEDs for a total of 896 “pixels” each providing 0.3 watts for a combined 268.8 watts of emitter output. 

Boasting a beam spread of 120 degrees, multiple elektraBar Vibes can be linked together via side-panel locking plates to create a near seamless line of visuals for the stage. Fully DMX compatible, the product is controllable in 13-channel, 256-channel, or 258-channel modes, and can be seamlessly pixel-mapped in two columns of seven devices using Art-Net via the Ethernet ports on the back.

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“The colors on our latest elektraBar absolutely pop and its pixel-mapping capabilities mean that there are zero limits on what it can be used for creatively," said Brandon Tsaptsinos, Group One Limited’s national sales manager for the elektraLite brand. "From concert tours to theater to literally any professional environment needing a rich and vibrant splash of eye candy, the Vibe will definitely help set the right mood.”

The Vibe is flicker-free and can be used in a variety of ways for illuminating a stage: as a cyc light, or for side, back, or front lighting. If the 120-degree beam spread is too wide, its width can be cut with an available glare shield for beam control and rough focusing. The product can also be aimed at the audience and used as a light source to project pixel-mapping LEDs, which can be combined into a larger composite image when multiple Vibes are deployed together.

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Housed in a gloss gray aluminum chassis equipped with corrosion-resistant hardware and a rigid flat steel yoke, the Vibe can be mounted from either a single handle point in the center or via its included trunnion feet.

K-array Group and KSCAPE's RAIL, the 4-foot architectural light seamlessly integrated with professional audio, is now officially UL certified under the safety standard UL. RAIL achieved the certification in December 2023.

The certification underscores RAIL's adherence to the highest safety standards, affirming its compatibility with the latest safety regulations and guidelines in the United States and Canada. By obtaining this certification, RAIL ensures not only the integration of other technology in architectural lighting but also a commitment to providing a secure and reliable solution for professionals in the industry.

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"Achieving UL certification represents a significant milestone for KSCAPE, as it confirms the attainment of high safety standards in the United States and Canada for our systems," said Fiorella Riccardi, product manager at KSCAPE. "RAIL stands out as a cutting-edge product as it aims to provide integrated solutions not only from a technological standpoint but also in terms of safety. Collaborating with the UL team to ensure these standards has been and continues to be an honour, as it allows us to develop a product that is always forward-looking. Rail is not just a product, but a compelling experience of emotions'.

Building upon the success of the recently introduced PlutoFresnel, Astera is enhancing its battery-powered, LED-based PlutoFresnel light with the launch of ProjectionLens. This new solution will allow the PlutoFresnel to convert quickly into a powerful Profile Spotlight.

The lightweight, portable PlutoFresnel can be transformed in less than a minute by simply slipping on the ProjectionLens, which then allows the light to become a Profile Spotlight with a range of 16-36 degrees. Projection zoom can be controlled manually by twisting the lens barrel or two Focus Wheels. An E-size Gobo holder also enables custom logo projection. The Profile Lens allows for close control of the light over any distance, with crystal-clear optics and a four-leaf shutter design to facilitate trimming of the beam as needed.

[Let There Be Light(ing)]

"The new ProjectionLens combined with PlutoFresnel, provides gaffers and event technicians with a two-in-one solution in their kit bag: facilitating two different but highly specific lighting types at once; fresnel and projection," said sales and marketing director Sebastian Bückle. "That would be remarkable enough in itself, but even as just single-function lights, Astera lights are more compact, lightweight, energy efficient and creatively flexible than just about anything else on the market”.

With its LED core and concentric circle lens design as a Fresnel the Pluto focuses light output efficiently, producing a sharp yet soft beam that is ideal for a variety of applications across film, TV, and live events. The quick and simple lens transition facilitated by this new projection addition provides even more scope for the lighting base, providing a Profile Spotlight that gives definition and focus to any production. 

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Both lights are founded upon the Titan LED engine, which powers the lights and ensures absolute color fidelity and lighting consistency across a 1,750-20,000 Kelvin range and with Full Spectrum RGB+Mint+Amber color. It allows for full coordination of lighting groups, with quick setup and versatile control options, including Wireless DMX, CRMX or BluetoothBridge connectivity to the intuitive Astera App, alongside the addition of new ‘WhiteRemote’ and ‘FXRemote.

elektraLite has launched its new professional-grade moving light fixture known as the Aero. Designed with churches, schools, theaters, performing arts centers, and other environments requiring a mover, Aero is powered by a 350-watt COB single-source LED delivering a balanced Cool White (6500K) color temperature and CRI of 95.

The Aero is a full‐featured tool that is compact enough for tight spaces but bright enough for large stages where strong intensity, reliability, and diversity are necessary. The fixture’s superior lensing ensures that light output is high and devoid of troublesome hot spots, while its liquid-cooled engines provide near-silent operation ideal for quiet spaces.

[Let There Be Light(ing)]

The new mover also features three dichroics per wheel that offer a palette of colors: Deep blues, deep reds, and greens are there, plus a CTO filter, on a separate channel, for color temperature changes.

It is equipped with nine interchangeable static gobos and seven interchangeable rotating gobos. The rotating gobos are also indexable on a separate channel to give maximum accuracy in positioning. Additional standout features of the Aero include, a rotating five‐way prism, iris, frost filter, and strobe. Zoom (4-35 degrees) and focus both have normal and fine controls for complete accuracy, while the dimmer also has a channel dedicated to different types of dimmer curves.

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The new fixture offers 540 degrees of pan and 270 degrees of tilt, with fine-tuning channels. Control is achieved via a choice of 5-pin or 3-pin XLRs for hardwired DMX, or built-in wireless DMX. There are also “locks” on both pan and tilt for transportation purposes.

The Aero’s Remote Device Management (RDM) and Micro C socket for an external power source, such as a mobile phone or external battery, also allow lighting designers and operators to set DMX channel assignments and set up menus without AC power. This is an obvious advantage when setting up menus for a truss full of fixtures.

Cameo presents the PIXBAR G2 series. The second generation of LED bars is IP65 certified and therefore also suitable for outdoor use. With its combination of sophisticated design features, robust aluminum housing and diverse mounting options, the PIXBAR G2 series is aimed at customers from the rental, theatre and broadcast sectors who want to expand their lighting technology portfolio with particularly flexible lighting solutions. The PIXBAR G2 Series will be launched with the PIXBAR 600 IP G2 (RGBWAUV) and PIXBAR 400 IP G2 (RGBW). Versions with TW (Tunable White) and SMD LEDs have already been announced for October.

[Let There Be Light(ing)]

The new PIXBAR G2 series offers a variety of connection and mounting options that allow users to think creatively in all directions to create seamless lighting effects for unique set designs. For example, the identical PIXBAR G2 LED bars can be quickly and easily connected to each other via the side-mounted magnetic plates. Thanks to the pixel pitch feature, even after connecting different models, the spacing between the LEDs remains consistent to create a symmetrical overall look. An optional STACK KIT is available for vertical stacking of up to three units with mechanical locking.
 
The combination of VERTI-MOUNT and M20 adapter also allows the PIXBAR G2 to be set up vertically on a base plate. At the same time, the VERTI-MOUNT adapter can be used in conjunction with the OMEGA BRACKET to hang up to three LED bars vertically on a truss. Horizontal truss mounting is also made easier with the innovative adjustable feet of the PIXBAR G2 models. The patented Cameo SPIN16 adapter for the integrated 16mm TV spigots is also included.

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Both PIXBAR G2 models feature 16 individually controllable LEDs. While the PIXBAR 400 IP G2 is equipped with 4-in-1 RGBW LEDs, the PIXBAR 600 IP G2 with its 6-in-1 RGBAUV LEDs expands the color space to include amber and UV light. The beam angle of 24 degrees (PIXBAR 600 IP G2) or 25 degrees (PIXBAR 400 IP G2) can be extended up to 70 degrees using optional filters. The filters are mounted quickly, easily, securely and without tools via the insertion mechanism of the filter rail. For noise-sensitive use in theatres or TV studios, the PIXBAR G2 series has a fanless cooling design for low-noise operation.

Stage Audio Works recently completed a successful installation of a new house lighting system at Unite 180 Church's new 2,500-seat capacity space in Pretoria. The project, which commenced in April 2023, aimed to provide the space with a controllable RGBW house lighting solution that would enhance the ambience and overall experience of the congregation.

The decision to specify Stage Audio Works' Stage Plus house lighting solution was driven by the client’s desire to achieve superior control, zoning capabilities, and a wide range of color options to create dynamic lighting effects within their budget.

[Let There Be Light(ing)]

"We are thrilled to have partnered with Unite 180 Church to deliver a cutting-edge house lighting system for their new venue," said Lee Thomson, sales manager at Stage Audio Works. "Our team has been working closely with Unite 180 on a number of projects over the past two years and were pleased to be able to recommend the Stage Plus house lighting solution for this latest project."

Stage Audio Works specified and deployed a bespoke system to enhance events and services at Unite 180. At the heart of the system are 75 Stage Plus house lighting fixtures. This system emits powerful and vibrant beams of light and is intelligently controlled using Sonoff Relays and 10-zone control, allowing for precise management of different areas within the church. To facilitate user-friendly operation, custom Windows touch panel PCs have been installed, providing an intuitive easy-to-use interface. Ensuring seamless integration and overall management, the QSC Q-Sys platform serves as the central control hub. Additionally, a Miktotek router enables IP control and remote support for the lighting system. Finally, a Visual Systems B-station acts as a dedicated lighting control station, allowing the Unite 180 production team to effortlessly orchestrate the entire lighting setup.

[Lighting Fit for a King]

“The house lighting solution from Stage Plus stands out due to its RGBW capabilities, DMX controllability, and exceptional cost-effectiveness,” explained Thomson. “It provides Unite 180 Church with the flexibility to create captivating lighting scenes and adapt the atmosphere accordingly.

"Providing a value-engineered, controllable house lighting solution for Unite 180 Church has been an important undertaking for us. We’re pleased to have contributed to the enhancement of their worship experience.”

Lighting is one of the most important details, yet often the last to come to mind when setting up a home office. Correctly done, natural illumination transforms the workability of a space and the on-screen appearance of a person. Inadequate lighting can lead to eye strain, stress, lack of visibility of presented materials, and lack of confidence in one’s appearance. To maintain equality amongst video participants, all subjects on a conference call should be well-lit, preferably with matching systems.

You Can Create an Equitable Meeting Experience

 The best way to produce equitable meetings is to foster the illusion that we’re sitting next to one another. Just a little knowledge goes a long way when it comes to improving the video image with a properly balanced camera and lighting. If we look more vibrant, not only will we feel more vibrant, but we’ll appear more natural to other video callers. High-color rendering LED lighting is the best source to enhance both the accuracy of color and its saturation.  

IT organizations supply employees with cameras, monitors, keyboards, mice, and a docking station, but no lights. If lighting is provided, the quality of the light and how the light and camera will work together is rarely considered. And there is no instruction on how and when to use it. The lighting/camera integration is paramount to achieving a professional on-screen image. Following simple level and color temperature adjustment and white balancing steps can make everyone wonder what you did to look positively cinematic on-screen.

The Simple Science of Lighting

Color Rendering Index (CRI) measures the ability of a light source to correctly reveal objects’ colors, measured by comparison with a natural light source rated at 100 percent. Color temperature measures the color of light, existing on a scale between a lit match (1700 Kelvin) and a skylight (10,000 K). Color temperature conveys a feeling or mood and serves as a distinct tone that delivers information like what time of day it is. Lights that have a high CRI mimic the appearance of natural daylight, causing us to look more ‘life-like’ on screen. Light sources with a high CRI are best when you want to ensure that key human elements, such as skin tone and hair color are accurately reproduced. When a video call involves reviewing products, like clothing or furniture, color rendering is vital, and in applications like telemedicine, accurate color reproduction is critical

Along with a high CRI video light, white balancing the camera image optimizes the video result. White balancing sets the reference for the camera based on how the eye perceives white, creating a reference point for all other colors. If you have ever been on the opposite side of a call with somebody with a white wall behind them, you can quickly see how off their complexion is. A white background makes it difficult for your camera to auto-adjust correctly. To remediate this, you should spend a little time manually adjusting the camera’s white balance. Ideally, a background wall that’s not white and not blank will help your camera auto-white balance correctly.

Cameras may be set to automatic or manual white balance. When time allows, manual white balance may provide a more nuanced result. As we white balance a camera, we instruct it to compensate with available light, so it renders an object white. The better the light provided to the camera, the less compensation it needs to do, saving that energy for video quality. 

Feeling “near” can be especially compelling for telemedicine applications where color accuracy is vital to communicate and help diagnose patients. It is equally important for their patients to see their provider in good lighting to help relieve any anxiety and concerns they may have.

The Lighting

ZELo offers several convenient and easy ways to adjust the lighting. You can use the simple touch sliders on the base of the device. The ZELo app is available on iPhone or Android. With its built-in Alexa and Google Assistant, you can tell your light, “Hey Google, turn ZELo on. Make ZELo 3200 degrees Kelvin.” Or “Alexa, make ZELo warmer. Make ZELo brighter.”

ZELo can even be programmed to cycle through adjustments designed to combat Seasonal Affective Disorder (SAD). So, if you are in the northern hemisphere, not only will you look better, but you can increase productivity and happiness too.

A typical setup with a laptop connected to a Logitech Dock, and webcam, and standard streaming light atop the monitor provides flat lighting. Facial contours are easily lost. By replacing that streaming light with a ZELo, the subject is separated from the wall and looks vibrant on screen. 

In most spaces, a ZELo should be positioned horizontally and parallel to the top of the monitor, above the camera. You can also place a ZELo on each side of the screen, running vertically at a 45-degree angle to give a film-quality image. 

All spaces are different, a kitchen has different requirements than a bedroom, garage, or she-shed. Windows could be to one side or behind you. Natural light may require adjusting ZELo to a higher, and therefore bluer, color temperature to balance against the sunlight. There could also be a floor lamp. Each of these set-ups requires slightly different lighting parameters to render maximum video results. Blinds are an easy solution to limit light from windows, with black-out blinds being the ultimate option. Whenever possible, turn off overhead lights. Adding effects lighting, like accents on paintings, plants, or art, will add depth to an image.  

As the workforce and professional services, like concierge video medical care, continue to evolve towards remote realities, small investments in high-end camera and lighting systems will make large impacts on their collaborative effectiveness.  And as the remote workforce grows, presenting your team with a superior and consistent video image translates to market advantage, and is fundamental to credibility for companies in the communication and collaboration sphere.   

This article was contributed by Kathy Katz, co-founder of Brightline, and Adam Berns, senior technical Alliances Manager at Logitech.

Whether you’re working from home or sitting in the office, good lighting can make or break a video call. At home, for example, any number of problems, from unwanted shadows to harsh lighting, can wreak havoc on your webcam’s automatic settings. And while you may think your office is equipped with “good" lighting, video’s version of good lighting is another thing altogether. Overhead lights in conference rooms can provide too much light, washing out the features of participants in a video call or creating a glare when combined with large windows. 

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The best way to avoid these pitfalls is by thinking of your space as a “studio” built for filming. Let's explore some of the specifics of optimizing your office and home spaces for video calls, from simple positioning to professional lighting and managed video systems.

Start with the Basics

Most conference rooms are designed for in-person collaboration—literally. Even though countless businesses are switching to hybrid working models, their physical spaces will remain architecturally unchanged. This can pose a problem for video calls, because most offices have uneven lighting composed of various overhead lighting sources and windows.

In a perfect world, all participants would be lit by both front and back lights, with the front light always brighter than the back. Office-based video calls are usually plagued by a lack of front lighting, sometimes because of excessive backlighting, which can come from a window located behind a desk. A lack of any lighting other than overhead can also cause problems; this common type of office lighting has the tendency to create unwanted shadows during video calls because of its placement directly above users’ heads. 

Following some general guidelines will ensure that any conference room is well lit. For starters, most of the light should be focused on the video subjects themselves. Limit light that goes into the camera as much as possible. In practice, this could mean positioning the camera so that windows are behind the lens. Evenly distributed light is best, which means that ceiling lights should be diffused rather than “spotlight” style. The last rule of thumb is simple: The more lights, the better. While a window behind the camera will do wonders, multidirectional diffused lighting that evenly highlights your features is even better.

Ironically, larger conference rooms may encounter fewer issues, but only if they use a single camera for the whole space. When participants are more spread out, the camera is farther away from each individual, which leaves far more area for the ceiling lights to diffuse throughout the space before reaching the camera.

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Some of the most impressive conference rooms are all windows—beautiful, sure, but how can they be adjusted for optimal videoconferencing? Solutions range from simple to complex. Automatic shades, blinds, or screens can be installed on windows, allowing occupants to easily control the quantity of light that enters with the touch of a button.

If you’re looking to achieve the highest quality and most consistent results, an AV integrator will likely recommend a professional managed lighting system that leaves nothing to chance. These can be controlled both from a central interface and from control panels in each room. Managed systems can include a range of technology to optimize video calls, including window shades and light dimmers, for any sized conference room.

In an especially large conference room or auditorium, managed systems should include a series of strategically placed lights used for dedicated purposes. Be sure to illuminate the podium, stage, or wherever main speakers will be positioned with more than one type of light (ideally from more than one angle). The key to such a setup lies in properly using it, which means businesses will likely need the on-site support of AV technology professionals.

Lights, Camera, More Lighting

Some lighting problems can be fixed by considering the relationship between the lighting itself and your camera. Most employees use the webcam in their computers for daily video calls, so explaining to them how it works will go a long way toward improving appearances.

A standard webcam auto-adjusts to focus on the brightest light detected. This means a single, bright overhead light will become the focus of the camera, rather than the person sitting under the light. Neither laptop cameras nor external webcams provide much in the way of manual adjustment options, which is why lighting and placement are crucial to create your desired effect.

The easiest way to work with your webcam is to pay attention to front and backlighting. Don’t position your desk with a window behind you. The incoming light will wash out the video frame, making you appear ghost-like (or at best, glowing). If you have little room for adjustment, try sitting on the other side of your desk as an easy switch. Otherwise, consider adding some sort of shade, blind, or screen that will filter the incoming light and make it appear less harsh.

If you can’t move your desk to account for a window or extreme overhead light, this is where an additional light source on your desk can be useful. When in doubt, add more light—but be sure to balance the light sources evenly if you want to avoid harsh shadows. Placed diagonally behind your computer, a ring light provides bright, even light to illuminate your face. While these are popular solutions for their portability and cost-effectiveness, ring lights can be too bright for some and can also cause an unpleasant reflection for those who wear glasses.

Portable LED lights are a great alternative to ring lights. Miniature, soft LEDs with a plastic cover provide dimmable, diffused light and color variations to eliminate shadows on your face. These are a great option for amateur and professional videographers alike, as they range in price to fit various needs and can even be used as a primary lighting source, depending on their size.

In an office setting, a good integrator should look at a camera’s settings and adjust lighting and placement accordingly. Conference rooms fitted with a PTZ camera need evenly diffused light that will ensure every speaker is appropriately lit. LED lights are a versatile option and may already be installed in your conference room, because they’re becoming the modern standard. However, there’s more to consider than the type of bulb. For a truly professional appearance, look at the color temperature and intensity of each light, and consider lighting that allows you to adjust these settings.

LED lights have color temperature options, ranging from bright white (higher on the Kelvin scale) to a warmer glow (lower on the Kelvin scale). Lights that are lower the Kelvin scale appear more natural and are the best option for conference rooms that will be hosting frequent video calls. Looking for even more customization options? Professional managed lighting systems will include the ability to adjust lighting intensity, providing the flexibility to choose stronger or softer light depending on the time of day or other factors.

Let's Get Small

You don’t need to be a video production company to want good lighting. The correct type and placement of lighting can go a long way in putting your best foot forward on a video call. When hybrid work models are becoming the standard, and employees may find themselves on video calls for several hours per day, good lighting is more important than ever.

[How BYOD Is Impacting Today's Conference Room Connectivity]

If you think that being ready for video calls or filming means having a large and expensive studio space, think again. Adding professional-grade lighting to your office doesn’t have to be a sizable investment.

“Side table spaces” are gaining popularity as a simple but valuable solution for any type of business. An AV technology professional will tell you that all you need is a camera, some lights, a small space—it can be a corner of your office, a break room, or even a closet. With the correct setup, even the smallest space can be transformed into a professional studio ready for use at a moment’s notice.

The open-air production of the Wagner opera “The Flying Dutchman” in the historic Paul Willy Lindenau shipyard in Lithuania was broadcast live on the OperaVision streaming platform. Lighting designer Andrius Stasiulis and event technology service provider Baltic Production Service relied on more than 200 outdoor-ready Cameo spotlights for the lighting production of the spectacular stage.

The Wagner protagonists performed on a 164-foot (50-meter) stage, and often moved far from one another on the ship and the laterally rigged superstructures, sometimes being up to 131 feet (40 meters) apart. In addition, Andrius Stasiulis and Baltic Production Service were faced with the challenge of creating a lighting setup that was equally suitable for live and camera use. The team used a total of 38 OPUS X Profiles for spot and front lighting, while the 32 OPUS H5s were primarily used for show elements.

[Lights, Camera, Action]

With the OPUS X Profile moving head, Baltic Production Service was particularly impressed by the enormous brightness of the 33,000 lumens, as well as the even color mixing. The OPUS H5 also impressed with its CMY color mixing, making the beam-spot-wash hybrid the ideal choice for theater productions for Baltic Production Service’s Jurgis Uborevicius.

The ZENIT W600 and W300 models and the ZENIT P130 LED PARs were used for wash and uplight tasks. Here in particular, the magnetically interchangeable diffusers played to their strengths when it came to adapting the lighting to different scenarios.

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For the provision of the Cameo spotlights, Baltic Production Service was able to rely on the support of NicLen. “In a small market like Lithuania, it’s very important to have a dry-hire partner like NicLen in order to successfully pull off the biggest shows here as well,” confirmed Uborevicius.

Having launched RAIL in 2019, KSCAPE has had the luxury of providing exceptional solutions for large offices to solve noise pollution as well as provide a complete audio and light solution for video conferencing rooms, museums, training facilities, and residential projects where sound and illumination are essential. RAIL is the world's first architectural lighting system with integrated professional audio.

At ISE 2023 Barcelona, KSCAPE presented a new model of RAIL with a complete 'plug-and-play' lighting and audio solution via Casambi Smart Lighting control. The Casambi solution is based on the state-of-the-art wireless technology, Bluetooth Low Energy, creating an optimal solution in terms of ease of installation and functionality with minimal additional hardware and deployment costs. On top of Bluetooth Low Energy, the Casambi technology provides a mesh network where all the intelligence of the system is replicated in every node.

[Pro AV 2023: Trends to Watch] 

With RAIL, you will be able to control all your lighting needs through Casambi’s easy-to-use app with a smart user interface or with DALI. Casambi can be connected seamlessly into the internal smart building automation system such as Crestron, Lutron or Control 4 via a remote gateway. KSCAPE can now provide the ultimate ‘plug n play’ light and audio solution when combined with the new K-array KA-04 amplifier with 4x 150W channels at 4Ω, the KA14 or the KA28 capable of providing high quality sound via cloud technology.

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In addition to Casambi, RAIL will offer tunable white that enables designers to significantly improve interior environments such as offices, residential and commercial. Light can be automated to follow the natural circadian patterns of daylight with dynamic LEDs that can illuminate from 2700K to 5000K; softly rising in the morning, gradually brightening to a midday peak, then dipping down to a warm glow in the evening. Programming light levels in such a way have proven to bolster employee attentiveness, productivity, and even physical wellbeing. Tunable white enables forward-thinking companies to lean into these findings, and demonstrate their commitment to creating a healthy, happy workplace while avoiding costly and time-consuming retrofits and reinstallations.

The latest additions to the RAIL family combined with K-array technologies provide a simple solution for designers who face new challenges where audio and light are essential to the project.

AVL Media Group introduced the Spotlight Hyperion series 700W LED Fixtures and Followspots for the first time in the United States at the 2022 LDI Show in Las Vegas. The latest from the Italian manufacturers of professional lighting solutions expands the offerings of the Hyperion range into fixtures and followspots perfect for arena-sized venues and larger film and television productions. 

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The Spotlight Hyperion series was initially launched in 2018 and as with all Spotlight products is 100% designed and manufactured in Milan, Italy using the finest components and workmanship for years of trouble-free operation and reliability. The Hyperion series features the latest updated LED sources, flexible and intuitive control software, and the use of up to 8 color sources for a richer, more accurate palette of color options and improved rendering. The 700W Fresnel, PC, Profile, and Followspots are the latest editions to the range and are ideal for large-scale productions that require powerful, flexible lighting.

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“Spotlight has been on the cutting edge of professional lighting product design and manufacturing for more than fifty years and the Hyperion series is our most exciting product line yet,” said AVL Media Group lighting product specialist Claude Viens. “Our new 700W Fixtures and Followspots will ensure that the largest venues and film/TV productions will have all the power and flexibility that they need in a robust, easy-to-operate package that will serve them for decades.”

HARMAN Professional Solutions recently introduced the Martin ELP PAR IP static LED wash fixture with IP65-rated outdoor protection.

“The ELP PAR significantly raised the brightness bar in the compact class, producing up to twice the lumen output of its predecessors,” said Mark Mercer-Buss, Martin product manager, entertainment lighting. “The ELP PAR IP takes this versatility to the next level with integrated IP65-rated outdoor weather protection that makes it ideal for lighting outdoor or indoor theatre productions, festival, exhibitions, or corporate events.”

[Executive Q&A: Lights, Camera, Action]

Joining its sibling, the ELP PAR, this fixture features class-leading lumen output with high-intensity zoom, full-gamut color calibration and smart rigging and control functions and is ideal for indoor or outdoor applications with an IP65 rating for protection against dust and water ingress. And its sealed design supports fewer maintenance cycles. The ELP PAR IP and ELP PAR are extremely versatile workhorse lighting solutions for rentals, installs, and touring.

Product Highlights

• Brightness that goes the distance: The ELP PAR IP delivers 3,350 lumens of output thanks to its newly designed 7x40W RGBW light engine. It’s perfect for covering larger stages that require long throw distances.
• Smart setup features: Streamline setup with smart rigging and control features, including omega-bracket-connectivity, and bright angle of projection indicator marks for quick and repeatable installation. With the push of a button, the fixture temporarily switches to full-power/open-white/adjustable-zoom settings to instantly confirm projection and focus.  
• High-intensity zoom: ELP PAR IP’s next-generation zoom system excels at creating both broad washes and high-intensity mid-air effects, bringing new flexibility to the lighting designer’s toolbox.
• All-weather IP65-rated protection: The ELP PAR IP is ideal for outdoor applications. It’s IP65 rated for protection from water and dust. And the ELP PAR IP’s robust, sealed design supports fewer maintenance cycles.
• Ultra-quiet operation: Both lights feature a low-noise Theatre mode, which operates at a whisper-quiet 33 dB.

elektraLite is expanding its cost-effective Mini family with the addition of the new 60-watt, DMX-controllable Stingray Mini and Fresnel Mini, which now join the manufacturer’s existing 20-watt Stingray Mini.

“Our original Stingray Mini COB LED profile spot fixture proved to be such a popular choice among lighting designers that we decided to also make the product available in a 60-watt version, as well as simultaneously add a companion Fresnel wash fixture, both of which deliver professional-grade features and performance,” said Brandon Tsaptsinos, national sales manager for elektraLite. “These new fixtures are unique in the field due to their size, power, and ability to be controlled by DMX, and a number of LDs have already quickly come to depend on them to light high-profile museums, houses of worship, and TV studios around the country.”

Like its 20-watt predecessor, the 60-watt Stingray Mini DMX 60W is available in Warm White (WW, 3200K), Cool White (CW, “daylight” 5600K), and Variable White (VW, 3000K-6000K) versions, with the addition of a fourth RGBW model for versatile color mixing applications. With its sophisticated zoom lensing system providing a packed punch of light in beam spreads from 20 to 40 degrees, plus four independent shutter blades giving perfect in-focus cuts to the beam, the Stingray Mini is ideal for any show, event, or display in a museum or gallery.

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This powerful, well‐rounded LED fixture has a rugged all-metal design, and its onboard interface and programming makes it easy for anyone to bring clean, rich white light or vibrant color to a wide variety of public spaces. The fixture’s front barrel and zoom assembly rotates 360 degrees allowing for the shutters to be in any position, and the barrel can easily be removed for shutter and lens cleaning. Control of the Stingray Mini 60W is via DMX, and the fixture can be set to run manually or even automatically.

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The new Fresnel Mini DMX 60W LED wash fixture also brings vibrant color mixing (RGBW) and versatile white light (WW, CW, VW) to elektraLite’s compact yet powerful Mini line. Similarly utilizing a 60-watt COB LED, this fixture can nicely bring the right splash of color or a specific white temperature to any stage, studio, or installation.

The Fresnel Mini’s zoom lensing system supplies an intense concentration of light in beam spreads ranging from 35 to 50 degrees with the twist of a knob, and with the supplied barn doors, perfect cuts can be easily and precisely achieved. This powerful, well‐rounded LED lighting fixture also has a rugged all-metal design and its onboard display and intuitive programming makes it easy for anyone to bring bold colors or crisp whitewashes to a wide variety of settings.

At the heart of the Stingray Mini DMX 20W is a 20-watt COB LED. Available in WW, CW, and VW versions, this compact ellipsoidal provides the same clean, rich, beautiful white light audiences have grown accustomed to, making the Stingray Mini profile spot fixture ideal for countless applications and productions. The built-in accessory clip and included color frame allow for diffusion and color media, as well as gobos, to be used.

[AV Network's top stories, product news, and expert insights] 

The Stingray Mini’s sophisticated, proprietary diffraction lensing system provides a variety of beam spreads. The fixture comes with a 19-degree lens installed, while interchangeable lens tubes offer the user a choice of optional 26, 36 and 50-degree beam spreads with no chromatic aberration, and four independent shutter blades give perfect in-focus beam cuts. Silent in operation, the Stingray Mini delivers 0-100% dimming via DMX control and an incomparable level of intensity for its range.

Brightline has introduced a new series of profile spotlights. Used for more focused and shaped lighting, profile spotlights contain an ellipsoidal reflector designed for controlled, long throws.

The new Brightline Mako and Minnow fixtures are well suited for a variety of applications, including broadcast studios, production studios, and large and mid-sized presentation rooms. The profile spotlight LEDs offer noise-free, fanless conduction cooling and are available in tunable Variable White and RGBW (Red, Green, Blue, White) versions. The Mako spotlight uses interchangeable, prime lenses and is designed for longer throws within large rooms or studios. The Minnow covers a shorter throw and is ideal as a key and accent light. Brightline Minnows have a compact zoom lens, enabling precise and continual adjustment to create the desired beam size. 

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“This new family of fixtures provide lighting designers with a new tool set that fits hand in glove with the rest of our product line,” said Kathy Katz, co-founder, Brightline. “The Mako and Minnow can be used as variable white spots, as well as color changing effects.”

Setting the Mako and Minnow apart from competitive products is the fact that the fixtures are conduction cooled. With conduction cooling, heat is transferred from the COB (Chip On Board) LED to the heat sink and then to the mass of the fixture. “We build all of our product lines around fanless designs,” added Katz. “When a fixture has no moving parts, its continual use is extended dramatically, which is the case with many of our studio fixtures that continue to operate after 20-plus years of daily use.”

The Mako and Minnow series feature a variable white LED (3200K-6000K) and 95+ CRI tunable white chip. Tunable white applications enable the user to independently control color temperature. The Mako and Minnow RGBW models provide full color spectrum performance and feature a 4-in-1 LED RGBW for the brightest output and boldest color rendering.

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“Our new profile spotlights give lighting directors additional tools to satisfy the scenic demands of today’s innovative set designs found in small and large studios,” explained Katz. “The ability to control the size, shape and intensity of the beam of light presents lighting directors with a wealth of innovative options. We’re thrilled to offer our customers four new fixtures to help them fulfill their creative vision.”

Motivated by the rapidly decreasing availability and forecasted discontinuation of most fluorescent components, Brightline now offers the uniquely engineered LED light, the L1.3X. Joining the SeriesONE studio series, the L1.3X has the same accessories and hardware as the L1.4X studio fixture, and is an ideal complement to the L1.2X and L1.4X family of directional, soft lights. 

The new light was developed in response to existing component shortages and encouraged by the popularity of Brightline’s LED upgrade kit. Late last month, Brightline announced a retrofit package to upgrade its S1.2 and S1.4 fluorescent fixtures to LED lighting. With the DIY kit’s simple design, it takes minutes to start enjoying the energy savings of LED technology. A “How To” video guides the customer through the step-by-step process.

[Brightline's New Lighting Fixture Ideal for the Hybrid World: Facts and Features]

“Interest in our LED upgrade kit is intense,” said Kathy Katz, co-founder, Brightline. “The SeriesOne L1.3X has interchangeable features to the L1.4X. It’s a fantastic soft light with many of the same features and hardware as the L1.4X and S1.4D. And it’s available today.”

Like others in the SeriesONE family, the L1.3X delivers improved performance, with a richer color saturation of 97 CRI (color rendering index) at 5600K color temperature. Onboard DMX dimming control is standard, and users can even continue to use existing accessories such as a mounting yoke and hardware, power and DMX cables with pass-through connectors, light intensifier, and control screen, so there’s no need to buy replacements if accessories are already in place.

[AV Network's top stories, product news, and expert insights] 

Motivated by the rapidly decreasing availability and forecasted discontinuation of most fluorescent components, Brightline is now offering a new all-in-one retrofit package to upgrade its existing S1.2 and S1.4 fluorescent fixtures to energy-efficient LED lighting. With the DIY kit's simple design, it takes just minutes to start enjoying the energy savings offered by LED technology. A quick “How To” video guides the customer through a simple, step-by-step process.

The upgrade kit costs 25% of the purchase price of a new LED fixture. Brightline offers a disposal program for the old fixtures and a $75 refund for each unit. Given the extended life of an LED fixture, maintenance savings are another key benefit.

[Brightline's New Lighting Fixture Ideal for the Hybrid World: Facts and Features]

“Brightline’s LED upgrade solution helps fulfill our core principle of providing the best economic and technical solutions to our partners, with minimal impact on the growing energy demands of our global environment,” explained Brightline co-founder Kathy Katz. “Upgrading to LED brings with it a full spectrum of benefits including reduced energy consumption, extended lifetime, lower operations and maintenance costs, and enhanced aesthetics. Brightline is proud to offer this kit which enables our video lighting partners to easily make the move to LED.” 

The easy-to-use DIY kit contains everything needed to upgrade Brightline fluorescent fixtures—regardless of age, type of dimming or control – to the latest in LED technology. Each kit covers all the bases with a new fixture back, front cartridge, diffusion, mounting bracket, and all necessary screws. The user merely needs to supply a Phillips screwdriver and wire cutters.

[AV Network's top stories, product news, and expert insights] 

The upgraded LED fixtures deliver improved performance, with a richer color saturation of 97 CRI (color rendering index) at 5600K color temperature. Onboard DMX dimming control is standard, and users can even continue to use existing accessories such as a mounting yoke and hardware, power and DMX cables with pass-through connectors, light intensifier, and control screen, so there’s no need to buy replacements if accessories are already in place.

No matter the colors used or brightness levels set, lighting is an ideal way to evoke a variety of emotions and provide a more immersive experience within larger AV installs and projects. Everyone is looking for ways to bring foot traffic back to their locations—and the Nashville Zoo at Grassmere and the Mariners’ Museum and Park in Newport News, VA, are using innovative lighting projects to bring new life to their attractions.

[DiGiCo Consoles Power Chicago's Museum of Contemporary Art]

Klip Collective, a visual art firm that specializes in hyperreal projection, lighting, and audio design, collaborated with the Nashville Zoo on a concept to increase visitation at night, creating a unique opportunity for engagement while most of the animals were asleep. The concept quickly became known as “Night Visions—A Wild Display of Light and Sound,” an immersive celebration of art and nature through the use of vibrant imagery, projection mapping, and immersive audio.

Nashville-based event technology provider DWP Live was brought on board to take the idea from concept to reality, helping to manage the install process, selecting the best technology, and providing ongoing support. The program will continue to run Thursday-Sunday nights through mid-July.

Sights and Sounds

As the sun sets and the animals settle into sleep, a combination of light and sound create a breathtaking spectacle. As visitors make their way through the different areas of the zoo—including the Entry Village, Festival Field, Expedition Peru: Trek of the Andean Bear, and the Jungle Gym Playground—pathways, trees, and bodies of water are transformed through the imaginative use of projection and audio for an experience that seamlessly bridges technology and storytelling. Using an upgraded audio system consisting of outdoor rated Crown amplifiers and QSC and JBL speakers, a musical score created specifically for the project adds an extra element of immersive engagement amongst the animal-themed imagery. 

Epson Pro Series laser projectors, including four EB-PU2010B, three Pro L1755UNL, and six Pro L20000U, use 3LCD technology to create lifelike images with outstanding brightness and vivid color depth. The projectors were selected for the project due to their size, which allows them to be hidden better during the day and are unintrusive to the visitors and animals, as well as their lower maintenance costs.

“One of the biggest challenges with these kinds of installations historically is budget for maintenance,” said Danny Whetstone, founder, DWP Live. “Lamps are expensive, and you run a projector for 800-900 hours and then you have to replace the lamp. With the new laser technology, you have got a 25,000-hour laser lifetime on the light engine, and that’s really allowed more opportunities to develop for these kinds of projects from a budget perspective and not have those incredible maintenance costs.”

[Epson Projectors Create Innovative Immersive Experience in Nashville]

To protect them from the elements, the projectors are installed in IP65-rated housings that are waterproof and weatherproof. All control elements, including audio, media servers, networking, and video distribution, were also housed within their own AV system racks in an environmental enclosure. None of the enclosures are located within animal exhibits, but are still able to be hidden in a way that allow them to go unnoticed by visitors.

Klip Collective was also responsible for all elements of the projection mapping, including the creation of content, renderings, and warping and blending of content. The firm spent eight days on site using its own custom warping and projection software through TouchDesigner to design content ranging from small creatures emerging on rock walls to beautiful, colorful projections appearing through a waterfall.

This is the first big integration at home for DWP Live, and Whetstone was thrilled to have the opportunity for their friends and families to be able to experience this unique install alongside them. “It is a real joy for us to have this opportunity to support Nashville directly as a Nashville-based company, and to be able to do something right here at home that supports our local community,” he said.

Spotlight on the Sea

Home to one of North America’s largest maritime history collections, the Mariners’ Museum and Park recently upgraded its lighting control system to the Strand NEO CONSOLE from Signify, helping to enhance overall storytelling capabilities through the use of dynamic colors and visual effects within its theaters and exhibits.

Throughout the exhibition areas, the museum can tailor individualized lighting settings based on the emotions and feelings the exhibition team is hoping to evoke for the visitors. For example, dynamic and somber lighting is used within the theater spaces, which helps create the sense that visitors are experiencing the action for themselves.

Eventually, the center will also use the lighting system to highlight artifacts from the USS Monitor wreck. The USS Monitor Center, which was added to the museum 15 years ago, is one of the largest conservation projects of its type, with more than 3,000 artifacts actively being conserved by the museum. Currently, the museum is replacing all the LED lighting within its exhibition spaces in an effort to conserve and highlight the items.

One of the main reasons the museum selected the Strand NEO CONSOLE was its ability to transfer show files from their old system with ease. Tim Kines, audiovisual expert technician for the Mariners’ Museum and Park, was worried he would have to rebuild all their old show files when moving over to a new system—and was relieved to learn the NEO system would act as more of a plug-and-play option.

“We needed to upgrade our control console to add dynamics and effects via a simple-to-use interface, and the NEO fit perfectly,” said Kines. Its ease of use also allows for museum IT and security staff to learn basic settings for turning the lights on and off, helping them perform those functions on those early mornings or late evenings when the AV staff isn’t present.

The timing of the project sadly coincided directly with the pandemic, with the initial site visit with contracted lighting design firm Available Light taking place right before the shutdown. With Available Light unable to be on site, Kines was left to do a lot more of the work than he was expecting, including installing the hardware himself.

Available Light assisted him remotely with the transferring of files and adjusting of levels until the firm was eventually allowed to return to the museum. Kines operated as the eyes and ears on the ground for the contractors and even worked with Strand directly to figure out issues concerning timing of lighting within the theaters.

[Extron Enhances Capabilities at the Dallas Holocaust and Human Rights Museum]

While the user experience is as close as possible to the old system, Kines is excited for what lies ahead. “The future possibilities are there—and the ability to change light intensity and cues in real time will be very useful,” said Kines. “The level of control we now have with the NEO is impressive. We are in the process of training people to become power users of the software, and then the sky's the limit for creativity. As we change our exhibits and get ready to display additional USS Monitor artifacts as they are fully conserved, we will most likely change the lighting schematic in a radical way.”

LynTec is providing simple, web-enabled, on/off power control, and monitoring for FirstBank Amphitheater's concession and perimeter lighting and future broadcast studio. Integrated Production Solutions (IPS) installed LynTec's patented RPC Breaker Panels, RPCR Relay Panel, and XPC Series XRS 20 Rack Sequencer to ensure the proper power up and shut down of the venue's lighting system and other audio and video components.

"This isn't like leaving one light on in your restroom," said Bryan Levy, project manager for IPS. "With a project this big, it's 97 lights in the restroom. If you have hundreds of fixtures, do you want to wonder if you've got everything off after everyone's gone home? With LynTec, you can log into the interface from anywhere, click a button to shut everything down, and call it a day."

The Franklin, TN venue's LED lighting features are numerous. The installation includes architectural lighting that illuminates the jaw-dropping cliff, as well as perimeter, concession, step, VIP seating, and emergency lighting. With all the lighting systems required throughout the space, it was critical that each fixture be powered down completely after each performance. Although LEDs are built to deliver incredible brightness, years of use, and cost savings over incandescent fixtures, they must be fully shut down to reap those benefits. Otherwise, they can fail prematurely and drive up energy costs unexpectedly. Another obstacle for the amphitheater was that lighting components were yards away from each other, making the task of turning them off manually time consuming.

[LynTec Unveiled New RPC Family of Power Control Solutions at InfoComm 2022]

No stranger to lighting systems, the operational costs behind them, or the management they require, IPS relies on LynTec power distribution and control solutions to bring power control efficiency to lighting—as well as audio and video systems. For FirstBank, IPS first pulled roughly 7.5 miles of fiber cabling, which would provide the venue operators with the infrastructure to control everything, from the d&b audiotechnik VIP PA system to the lighting. From there, the company installed a LynTec RPC 383 84-circuit main panel—along with two RPC 329 42-circuit secondary panels mounted 600 feet away for the concession and perimeter lighting from Cameo—which illuminates more than 800 feet of rock face. The emergency lighting panel is running high-voltage power that's fed from a generator through a transfer switch to the third RPC 329. In addition, IPS installed an RPCR-8 8-relay panel and an XRS 20-rack sequencer to bring power to the rack of the artist's studio, which the owners have plans to expand in the future with broadcast capabilities.

LynTec's patented RPC Series of advanced, self-contained controllable breaker panels, and its RPCR Series of controllable relay panels, all deliver easy remote setup, control, and monitoring. With web-enabled control and monitoring, they allow remote operation of up to 168 motorized circuit breakers—or up to 12 breaker group zones—using a single controller. The XPC 1RU rack-mounted XRS 20 Rack Sequencer is powered from a 20-amp circuit, to provide control to three separate duplex receptacles with independent relay switches for onboard sequencing. All solutions feature LynTec's built-in browser interface to control and monitor the systems from any remote location via a smart phone, tablet, or laptop. The programmable software platform includes built-in scheduling along with sequencing and voltage protection that can be customized for optimal power management. Further, it grants flexible lighting and AV control across multiple control zones and multiple control protocols, including HTTP, Telnet, sACN, DMX, RS-232, or contact closure control systems. From LynTec's GUI, users can select the protocol for each zone as well as set up, troubleshoot, control, and monitor the status remotely across existing networks from any connected computer or handheld smart device. The system also can send alert notifications via text or email to warn of panel anomalies.

 [Big-League AV Comes to Single-A for Gameday at Chukchansi Park] 

"FirstBank Amphitheater emphasizes the evolution to sophisticated AVL systems that make efficient and effective power distribution and control a must," said Mark Bishop, president of LynTec. "Whether it's a large venue like FirstBank with a multitude of lighting fixtures or a small house of worship needing to optimize their budget and the longevity of their AVL components, our affordable power solutions deliver the simplest way to manage the power going to these systems."

This is a shout out and with the greatest respect to those in our AV industry who started their careers in AV by volunteering at their local church, and to the many who have full-time day jobs still find the time to lend their expertise.

On this Easter Monday, I thought it was a perfect time to look back at some inspiring house of worship case studies and interesting announcements from AVL suppliers.

Historic House of Worship AV Upgrade Includes EAW Audio System

Since 1877, the Antioch Baptist Church North has stood in Atlanta as a beacon of hope and a place of refuge. Church officials recently approved a full remodel of the historic house of worship, and nationally recognized AEE Productions was tasked with designing and integrating all the new audio, video and lighting systems. As part of the audio upgrade, AEE president Yergan Jones chose the new KF810P system from Eastern Acoustic Works (EAW). 

Natalie Grant Discusses How Immersive Sound Connects Emotionally in Houses of Worship

Nine-Time Grammy award-nominated Christian & gospel musician Natalie Grant and Shure partner to elevate the worship experience. Shure and Natalie are setting out to help more worship leaders create reliable audio environments so congregations can more deeply connect to their worship experience.

Sony Helps the Gateway Church Bring a Cinematic Look to Worship Services

One of Sony’s cinematic camera options, the HDC-F5500 4K Super 35mm system camera, and the HDC-3500 4K camera are bringing enhanced production tools to worship services at Gateway Church in Southlake, TX. 

QSC Uplifts Audio Experience at Resurrection Church

When pastors Jeremy and Catherine Teague arrived at Resurrection Church, they faced an immediate challenge in engaging their congregation with their sermons and the music of the church’s praise band—a woefully inadequate P.A. system. Jeremy, who is well versed in audio, knew a complete AV makeover was in order. After consulting with account manager Derrick Ramirez of Irving, TX-based Sound Productions, he went all in on a QSC active line array system consisting of a total of four KLA12 cabinets and two KLA181 subwoofers.

Daktronics Provides a Stunning New View to Our Savior’s Lutheran Church

Daktronics of Brookings, South Dakota, in conjunction with Mid States Audio and Video, has delivered two new LED video displays to Our Savior’s Lutheran Church in Sioux Falls, South Dakota. The displays were installed ahead of the holiday season at the end of 2021.

With Stage Audio Works In Its Corner, South Africa's Rivers Church Grows with Yamaha

Opening in 1992 with a modest attendance of only 70 worshipers, Pastors Andre and Wilma Olivier have seen Rivers Church develop into one of the fastest growing congregations in South Africa. Its followers number in the thousands, and the church boasts multiple campuses located in Sandton, Kyalami, Centurion, Durban North and Ballito. Self-described as a "dynamic church," Rivers offers inspirational messages and community to all age groups, with their online streaming service further widening their reach, particularly amidst the pandemic.

Moody Church Vocal Team Retools Monitoring Needs with ASI Audio 3DME System

The vocal team at The Moody Church in Chicago, comprising four to seven people a week including pastor of music ministries Tim Stafford, has recently adopted ASI Audio x Sensaphonic's 3DME Music Enhancement IEM System. "When the pandemic hit," says Stafford, "and we transitioned to broadcasting church services online only, we had to retool our monitoring needs for a virtual environment. Even more practically, when we started opening back up, we couldn't have more than one vocalist using a floor wedge because of distancing. IEMs were the obvious solution, but I have heard volunteer vocalists struggle with IEMs because of the experience of extra bass pressure and over-isolation while singing. It's easier to play an instrument with headphones/IEMs than to sing with them because of head resonance and isolation." 

Woodlands Methodist Church Greets Old Friends for a Sound System Upgrade With L-Acoustics Gear

With a 14,000-plus-member congregation, The Woodlands Methodist Church is one of the largest in Texas. Back in 2001, when it moved into its new 2,200-seat main worship campus in The Woodlands, a suburb just north of Houston, the sound system was designed by consultancy Idibri, a Salas O'Brien company--then known as Acoustic Dimensions--and installed by integrator LD Systems. Twenty years on, both the church's and the companies' commitment to advanced worship technology remains unchanged. Just ahead of The Woodlands Methodist Church's annual Christmas stage production last December, Idibri and LD Systems came together once again to keep the church at the forefront of audio technology with the design and installation of L-ISA immersive technology using L-Acoustics A Series loudspeakers.

Navigating Transitions in the House of Worship Market

Matt D. Scott discusses how AV professionals can prove their value to house of worship customers by helping them transition their temporary, ad-hoc solutions cobbled together at the beginning of the pandemic into permanent AV systems ready for the future.

QSC Premieres House of Worship Audio Training Series

QSC shared the success of their online House of Worship Audio Training Series, which offers basic knowledge and techniques for sound production in houses of worship. The training series is offered free to all participants, and is AVIXA accredited, with 4 AVIXA CTS Credits awarded upon completion of each section and subsequent quiz.

How Audio Helps Houses of Worship Regather with Confidence

As houses of worship open back up, congregations will expect the audio experience to be clear and consistent, no matter where they worship. Some will be eager for an in-person service, whether in a socially distanced church, a park, or the parking lot outside. Others who can’t be there physically or who are hesitant to attend in the current climate will continue to join from home.

A New Way to Worship

Houses of worship that had little AV other than a microphone and speakers before the COVID-19 crisis are turning to AV integrators to help them get set up and streaming, and existing HoW clients are reaching out for additional support.

SCN: How long have you been with Brightline, and what are your responsibilities?

Kathy Katz: As a founding partner, I’ve been on the Brightline since its inception in October 1997. Today, thanks to the growth and talent of our employees, I’m able to focus most of my time on company strategy and messaging.

SCN: How has your background prepared you for your role?

KK: My TV and film production background helped to train me for a tireless approach to accomplishing goals. One example: As a young commercial producer with damaged reels of film from a leak in the camera's video assist, I walked from post house to post house in a New York City snowstorm. Each time I was told the film was ruined. Late at night, I arrived at my last option—an edit suite with a DaVinci color corrector.

Hope manifested as the team rebuilt the images pixel by pixel. While they couldn’t rebuild the commercial in full color, they were able to provide “sepia-toned” images that I used to build the commercial for Cadillac. The ad won first place at the local Addy Awards. The judges said that their decision was based on the “creativity and appropriateness of the sepia-toned imagery choice.” Lesson learned. Don’t give up. Find the right help. Realize that mistakes can lead to innovative solutions.

Also, after traveling the world for decades to develop Brightline sales, I’m more enlightened as to the products the market needs and the most efficient paths needed to delivering them. 

SCN: What are some of the common lighting mistakes you find on corporate campuses?

KK: Video lighting principles don’t change, regardless of the venue location. The lighting level requirements and control to produce optimized video are consistent. All-hands training and meeting spaces, for example, need high-quality lighting for proper content retention and engagement. And basic human nature dictates that the better we look on-camera, the more comfortable we’ll be. This directly translates to increased videoconferencing adoption rates that are proportional to the quality of personal imaging.

[SCN Stocking Stuffer: Brightline ZELo]

Professional lighting provides higher color rendering for truer, richer color. Adequate light levels enhance video clarity. Fortunately, good lighting comes in many shapes and sizes, from products that suspend from a grid, to those that recess in a ceiling, to those that mount on a desktop or light stand.

Providing consistent lighting within conference rooms and remote videoconferences creates virtual equality, where all participants feel valued and engaged. Many of today’s lighting products provide variable color temperature, so lighting can be adjusted as environments change due to ambient and outdoor light shifts. 

SCN: How can companies proactively help improve the appearance of remote or at-home workers during videoconferences?

KK: Providing a technology budget to remote workers is gaining popularity. Most remote workers need a monitor, camera, and microphone/headsets (or an all-inclusive video bar), video lighting, an ergonomic chair, desk, and either a physical backdrop or virtual background. Blinds to control daylight entering a room are also advisable. While most companies don’t mandate specific technology within the home AV sphere, doing so could contribute to a consistent company identity that extends to remote workers. 

SCN: Why is LED technology the best choice for corporate video lighting?

KK: Currently LED technology is the safest, most efficient, and best-performing light source available for video. With recent developments, video lighting can now effectively be PoE-controlled, which enhances efficiencies and simplifies installations. 

SCN: What are the short and long-term goals for your company?

KK: Over the last two years, Brightline has focused development on remote desktop lighting (ZELo) and our control app (Brightline Smart), and will continue to respond to its clients’ needs with innovative solutions. Our next product release, the cMe3, addresses the increased need for high-performance, low-profile, huddle room lighting. With the new hybrid work model, the ability to be spontaneous across video through small meeting spaces has become critical to collaboration.

SCN: Where do you see the Pro AV industry heading?

KK: A few years back, everyone was correctly talking sports growth and gaming for the Pro AV industry.

[Proper Lighting Absolutely Matters During Meetings, Videoconferencing and More]

Recently, we’ve experienced exciting developments in the medical and medical home care arenas, where AV technology enables safer environments for independent rehabilitative living. AV will continue to play a critical role in the development of effective AI technologies for everything from entertainment to health care. For Brightline, the advancements in areas of light therapy for Alzheimer’s, SAD, and cell regeneration are vastly rewarding.

More and more services are now being conducted virtually, from medical appointments to job interviews. Each industry currently adopting video is realizing the necessity of investment in Pro AV technology. As to the project facilitation side of the AV business, we anticipate more involvement in software-based specification and design boards.

SCN: What new initiatives are we likely to see from your company?

KK: Brightline recently expanded its own videoconferencing capabilities and streamlined its communications to offer a stronger and more consistent video training program to its partners.

SCN: How can systems contractors better position themselves to profit from products and/or services you have to offer?

KK: If system contractors remember to embrace the “lights, camera, action” adage versus making the common mistake of assuming adequate light is in place, they can enhance the performance of every component in the integrated AV package (and the final video). They will also improve the clients’ adoption rate, while increasing their profitability on every AV project. In addition to hardware and software lighting solutions, Brightline provides lighting direction and commissioning services, both virtually and on site.

We all spend way too much time in front of monitors. The BenQ ScreenBar Plus computer monitor light won’t reduce your screen hours, but it might help minimize eye strain while eliminating the glare on your screen from your traditional desk lamp.   

The unit comes in three pieces—the lamp body, mounting fixture, and tabletop controller—and includes an illustrated quick start guide. No tools or additional hardware are required. Setup is literally a snap. Align the lamp’s power socket with the opening on the fixture and it snaps into place. 

Next, clip the mounting fixture to the top of your monitor. According to BenQ, the ScreenBar Plus is compatible with monitors that are as thin as 0.4 inches or as wide as 1.2 inches. Finally, using the controller’s integrated cables, connect the USB-A to a port on your computer (or a 5V USB wall charger) for power and the USB-C to the back of the light.

Convenient Control

The tabletop controller is roughly the size of a headphone earcup, and its center is dominated by a large power button that doubles as a tuning knob. Press the knob for on/off, and rotate the knob left or right to adjust brightness (up to 950 lux) or color temperature, which ranges from tungsten to daylight (2,700-6,500K). A button near the edge toggles between brightness and color temperature control; small icons with even smaller lights indicate which mode is active. 

BenQ also includes an auto dimmer option on the controller. Press that button and an optical sensor (also on the controller) will adjust the brightness of the ScreenBar Plus based on the ambient light in the room. Be advised, however, that the auto dimmer will also adjust the color temperature. If you like your light warmer or cooler, it might be best to use the manual settings. When you turn the unit back on, it automatically returns to the last manual setting or auto adjusts, so you don’t need to reset your levels every time you use it. 

The light fixture features a row of dual-color, flicker-free LEDs, a reflective surface to improve light output, and a protective lens to keep probing fingers (like mine) from touching and/or damaging the LEDs. It is just shy of 18 inches long in an aluminum alloy housing with an anodized, dark silver finish. The mounting fixture includes a solid counterweight for the lamp, so the unit feels sturdy when positioned on top of your monitor. The bracket that holds the light is plastic, though, so I would avoid needlessly taking the fixture in and out. Just set it and forget it. 

[Digital Signage: The Future Is Bright]

There is a little “wiggle room” for you to adjust the light angle and control the spill across your desk, but the USB-C connector prevents you from completely rotating the ScreenBar Plus. No matter where you set it, there is no distracting glare on the screen. 

Sharing Space

It is important to note that the ScreenBar Plus is a desk lamp, not a video light. Granted, if you turn the fixture upside-down in the mount, so the LED lights are almost directly facing you, it can provide some illumination. I had to try, of course, but don’t do it—you’ll generate some pretty substantial shadows behind you, the LEDs will reflect badly if you wear glasses, and you’ll be staring at dozens of LEDs, which even at their lowest setting are distracting and way too bright to look at for any extended length of time. (Remember, this product is supposed to reduce eye strain.) Best to stick with its intended purpose. 

On my 34-inch Samsung monitor, the ScreenBar Plus fits with room to spare, but on a more standard 21-inch monitor, it eats up a lot of real estate, which can be a problem when used with an external webcam. Because of the design of its adjustable clip, I was able to perch my Logitech C270 webcam on the light bar (on either side of the mount), but you could have a problem with other models. You’ll also have an off-center webcam, which may cause camera framing issues.

[Proper Lighting Absolutely Matters During Meetings, Videoconferencing and More]

There’s a lot to like with the ScreenBar Plus. It illuminates an area about a foot deep and two feet wide, which is ample space for a keyboard, mouse, and paperwork. As advertised, there is no glare on your monitor. The controller is compact and easy to use. And the light quality, with a CRI of >95, is pleasing no matter what color temperature you choose. As long as it can cohabitate with the webcam on top of your monitor, this is a winner for master control workspaces, home offices or cubicles, and some portable production units that need controlled crew lighting on location.

AMPD Lighting and Audio Visual in Spokane, Washington has purchased 24 versatile, feature-rich Ayrton Diablo-S profile luminaires and a grandMA3 light console from MA Lighting to add to the company's rental inventory and use for professional event production. AMPD Lighting and Audio Visual offers high-end production, rental, sales and installation services to a wide range of markets in the Pacific Northwest.

 [Jackie Shemesh chooses Ayrton Diablo for White Noise at The Bridge Theatre]

The company's investment in the Diablos and grandMA3 light has been paying dividends since the products arrived. ACT Entertainment exclusively distributes both brands in the U.S.

 [Ayrton Diablo – Lights that Don’t Go Wrong]

"We saw the Diablos at a trade show and had our eyes on them for a while," says Justin Haas, owner of AMPD Lighting and Audio Visual. "They checked a lot of boxes for us: a compact and lightweight form factor that can fit in cars; an easy-to-navigate menu; great output; a full feature set, including framing shutters. Plus, they have a low cost of ownership and give us the ability to offer them at an affordable rental price."

The Diablos mark the first Ayrton acquisition for AMPD Lighting and Audio Visual. Soon after their arrival six of the fixtures quickly became part of the house lighting package furnished for the Riverfront Park Summer Concert Series in Spokane. "We mounted them on the upstage truss to provide backlight and effects lighting for the artists," Haas explains. "Some concert participants commented that they had seen a lot of Diablos on their tours and were happy to find them in Spokane."

 [grandMA3 Used for Hillsong Event]

The Diablos have since been rented for other concerts, including a Billy Idol gig at an area casino. They were also a popular rental choice for churches staging big holiday services.

 [Carrie Underwood Launches First Vegas Residency With Control by grandMA3 Software]

The grandMA3 light is AMPD Lighting and Audio Visual's first MA Lighting console. "Both of our lighting guys use grandMA consoles when they do tours, and everyone in the industry knows grandMA so we really needed one in our inventory," says Haas. "There's only one grandMA2 for rent in town, so now we offer another choice and can support grandMA users who have their own systems."

The new grandMA3 light also saw duty at the Riverfront Park Summer Concert Series, and Haas expects to see demand for it grow as tours and concerts return this summer.

 [BCT Entertainment Expands Lighting Inventory With Ayrton Diablo Fixtures]

"Last year was the biggest year we've ever had for rentals and production," he notes.  "This year we're hoping for the same result.

"We expect the Diablos to be our number one moving light rental, and we're hoping to add more Ayrton products to our inventory.  We're looking at the Perseos next," Haas said. "Since we have four seasons in Spokane, we'd like to have some IP-rated fixtures that deliver a lot of power. We're also looking forward to working with ACT again. They've been great--so helpful getting product to us and supporting brands new to our inventory."

After experiencing the performance of Brightline Flex-T lights within the Executive Committee Press Room at the previous Prince George’s County Council building in Upper Marlboro, Maryland, county officials wanted the same setup when they moved into their new digs in Largo.

The lighting installation grew in scope beyond the Flex-T lighting. 

Let There Be MORE Light

Colin Sandy, of Sandy Audio Visual in Laurel, MD, led the design and build of the county’s new Hearing Room/Legislative Chambers, Press Room and Committee Room at the new building in Largo. Each room has 22 Flex-T broadcast-quality lights, with some serving as flood lights and others providing spot beam directional lighting. In addition, each council member and their staff have ZELo desktop lights, for a total of 50 ZELo’s at the new headquarters office.

Ease of install, physical appearance, and performance of the lights are what make them so well regarded at Prince George’s County Council. “Their [Flex-T lights] performance is phenomenal. They create a nice, even wash that looks great on video,” Sandy said. “The lighting is nicely diffused, so there are not a lot of shadows or fall off from light to dark. It’s just a very even lighting pattern, even over as large an area as we have.”

[ Brightline Promotes Erin Nath to U.S. Manager of AV Solutions ]

The versatile Flex-T lights can be installed in any type of ceiling. The patented articulation feature makes them the only fixtures that can be rotated into a desired position during use and returned flush to the ceiling between sessions or for general task lighting. “We put the Brightline lights into the existing ceiling grid. There’s no custom furniture fixture, attachments or mounts that you need,” Sandy said. “The fixtures integrate seamlessly with the ceiling grip. The 2x2-inch speakers look like return vents, and because it’s all flush with the ceiling grid, it doesn’t look like a theatre.”

Previously, the County used a more traditional theatrical lighting approach. “They used Tungsten lighting, which in comparison to what the county has now, uneven lighting,” Sandy explained. “The Council members really liked the lighting we did in the County Executive Press Room in 2020. We used nine Flex-T fixtures in that room. So, we did a very similar but much larger set up in the new building’s Committee Room, Press Room, and Hearing Room.”

The County Offices in Prince George’s are well equipped for local and national media, as well as internal communication. In addition to the 66 Flex-T and 50 ZELo lights, PTZ cameras in the Press Room are connected to a switcher and used for live streaming and a feed sent to a local news channel. Lights are positioned over a retractable green screen curtain. A Crestron control system with a Brightline interface controls the Flex-T lights individually or as a group. In the Committee Room where more informal meetings are held, Brightline fixtures illuminate Council members and guests seated in a board room-type set up. Four PTZ cameras in this room, along with the lights, are also controlled by a Crestron system.

[ Brightline Partners with ANC on Miami Central Transit & Retail Center ]

The ZELo personal video light has gotten rave reviews from Council members and staff who use it for daily videoconferencing. It has soft and adjustable lighting that can be tilted for the most flattering angle. Built-in manual controls make it easy to change brightness and color temperature, but users can also make adjustments using Brightline’s free app for iOS and Android portable devices. ZELo also supports voice control through Alexa and Google Assistant devices.

For the second consecutive year Singapore welcomed the new year with "Shine a Light," an inspirational light display that illuminated the Marina Bay skyline and this year featured 60 Claypaky Mythos 2 spot and beam lights arrayed in a circular formation around The Promontory. Acoustic & Lighting System Pte Ltd. is the Claypaky distributor in Singapore. 

"Shine a Light" was part of the iconic Marina Bay Singapore Countdown 2022 presented by the Urban Redevelopment Authority (URA) in support of the Singapore Together movement. It is also a collaboration with local philanthropic organization The Majurity Trust to raise funds for people struggling in the community. 

 [Claypaky launches Sharpy X Frame]

The light display represented strength in diversity as Singaporeans supported one another during the pandemic. It also shone the spotlight on frontline workers, ground-up groups and charities meeting the needs of communities during these difficult times.

[Claypaky is back at LDI 2021 with a large range of new unique versatile products]

Each week in December "Shine a Light" was illuminated in a different color to showcase a particular cause. From December 29-31 the display was lit in magenta to represent the harmonious spirit of Singapore Together and celebrate the partnerships forged to create a caring, just and equal Singapore with opportunities for all.

Aux Media Group was responsible for the execution of the light display and chose 60 Claypaky Mythos 2 for the stunning display at the Promontory for their reliability and flexibility as both spot and beam lights. The 60 fixtures were positioned in a circular array of 10 sections with six lights in each section. They were mounted inside third-party air-pumped outdoor enclosures to protect them from the elements.

"The performance of the fixtures was great as was the technical advisory support we received from Claypaky," reports Choong Chyi Kei from Aux Media Group. "We had the chance to try out the various fixtures available in Singapore to decide what we could use; we hope to have a chance to use Claypaky Xtylos in some other projects."

"It was a pleasure working with Claypaky for the last two years on 'Shine a Light,'" he adds. "We hope to enhance our relationship to create more and better visual experiences in the years to come." 

In addition to the display at The Promontory, the "Shine a Light" campaign included a weekly roll out of activities and online content designed to spark conversations and create awareness of social issues while celebrating those working tirelessly on the ground. Funds raised through "Shine a Light" were channeled to grants for frontline workers, at-risk families affected by COVID-19, people living with dementia, youths struggling with mental health issues, migrant workers and other initiatives or charities meeting emerging needs.

To provide the International 2021 Dota 2 World Championship with a dazzling visual display and premium broadcast lighting, lighting designer Alex Berry partnered with Christie Lites and THiNC Worldwide to deploy a complex Martin by Harman lighting rig, including state-of-the-art Martin MAC Ultra Performance fixtures.

[ Seattle Space Needle Receives a Modern Visual Upgrade with Martin Professional Lighting Solutions]

The International is a major annual championship tournament dedicated to Dota 2, a popular multiplayer online arena battle (MOAB) video game from developer and publisher Valve. Since its inaugural event in 2011, Valve has hosted The International every year (with the exception of 2020, due to COVID-19) in global cities as diverse as Shanghai, Vancouver and Seattle. Originally scheduled to be held in Stockholm's Avicii Arena, the 2021 championship had to be relocated to Bucharest's National Stadium on short notice when it became clear that many of The International's players wouldn't be allowed to enter Sweden due to visa reasons.

[Case Study: CMET Creates Versatile Auditorium with HARMAN Professional Solutions]

In order to ensure a smooth transition from the previous plan to the event's new venue, Berry worked closely with Christie Lites and THiNC Worldwide to design and deploy a massive lighting rig that would not only deliver eye-catching visual designs and concert-inspired effects sequences, but also provide adequate broadcast lighting in a challenging daylight situation. To overcome these challenges, Berry built the rig around brand-new Martin MAC Ultra Performance fixtures for their unmatched brightness and versatile effect beams.  

[TMP Pro to Distribute Martin Professional]

"We had a design completed and ready for Stockholm 2020, but that didn't happen because of the pandemic," said Berry. "In 2021 we started planning to do the show in Sweden again, but we found out that there was no way that Sweden was going to give visas for the players to come in. We had to find a country that was going to allow us in. We ended up at Bucharest's National Stadium, which is an outdoor arena. Because of the venue change, we needed a game plan to convert the lighting rig from an indoor show to an outdoor show."

The move from Stockholm's indoor Avicii Arena to Bucharest's outdoor National Stadium presented certain challenges to the production. The lack of overhead rigging options forced Berry and the THiNC team to deploy key fixtures in the highest points of the stadium's seating areas, resulting in an unusually long throw distance of 100 meters. The lack of an overhead roof also meant that Berry's lighting rig would have to compete with natural sunlight.

 [XTEN-AV Strengthens AV Platform with Harman Professional]

"For indoor shows, we usually need the lights to operate in the 80 foot-candle range," Berry explained. "Since we were in a daylight situation, I needed to provide lighting in the 250 to 300 foot-candle range. Because we were in an outdoor stadium, there weren't a lot of options for rigging lights overhead. We ended up with two rows of arches in the very top of the 300-level seating with a 100-meter throw to the stage. Luckily, the MAC Ultra Performance is unbelievably bright and handled the throw distance beautifully. With a throw distance that long in a daylight situation, there's no way we could have gotten the brightness we needed with any other fixture. It was the savior of the day."

Competing with sunlight and long-distance throws wasn't the only challenge Berry faced. In addition to delivering stage lighting and dazzling visual effects, Berry's lighting rig also needed to provide adequate lighting for more than 30 video cameras. The versatility and speed of Martin MAC Ultra Performance fixtures enabled Berry to alternate between delivering ample broadcast-level lighting as well as producing beautiful gobo stage looks with the same fixture sets.

[ JBL Professional and Martin Lighting Soar at Summerfest 2018]

"Because of the nature of the show, lighting an Esports event is sort of a balancing act between providing 'in-your-face' concert-style flashing lights and ensuring neutral corporate-style key lighting for the video cameras," continued Berry. "The back light was equally important because the camera operators were doing a lot of 360-degree moves around the players. We also used the MAC Ultras for low eye fills and back lights, which was fun because I could do a gobo wash over the entire stage when the area wasn't on. Then the fixtures could brighten up really quickly when we needed video light. We also used the built-in frost feature to kill out the gobos. It worked really well and got clean video-level lighting."

Berry has been successfully using Martin lighting fixtures since the beginning of his 30-year career in lighting and scenic production. For this reason, he was excited to be one of the first lighting designers to incorporate the brand-new Martin MAC Ultra Performance fixtures into a show. 

"I've been using Martin gear as video-level lighting for more than 20 years," related Berry. "I just knew the MAC Ultra Performance was going to be really great. My programmer Darien Coop had one shipped to us during pre-programming and we played with it to see what it could do. A few fixtures come close, but nothing can actually touch it in terms of brightness and zoom capabilities. It's also super quiet, which makes me look forward to using them in a theater environment. I will definitely be requesting and specifying MAC Ultra Performance fixtures in the future from here on out!"

Anaheim-based BCT Entertainment, a leading AV production company with a full inventory of lighting, video, pro audio, lasers and staging available for rental or sale, has invested in a large complement of Ayrton Diablo fixtures.  ACT Entertainment, Inc. is the exclusive distributor of Ayrton lighting in North America.

"We have expanded our lighting inventory with the purchase of our first Ayrton fixtures," said BCT owner Brian Longhofer.  "We had a gap in small-format fixtures with framing capabilities, and the Diablos checked all the boxes."

[Creative Lab's New Ayrton Mistrals Go to Work Right Away and Kudos Follow]

ACT Entertainment introduced Longhofer to the Diablos, which he later saw at LDI.  "We considered other fixtures, but ultimately decided on the Diablos because of Ayrton's name recognition, the fixture's feature set, and its high quality compared to its price," Longhofer added.

ACT will use the Diablos primarily for corporate events, where their small format is especially desirable.  "Unlike concerts where lighting is part of the show, corporate clients like the lighting to disappear," said Longhofer.  "Diablo's framing shutters are also a big plus: They are in demand for just about every corporate show and give a lot more control over the beam."

[University of Alaska, Anchorage Uses Ayrton GHIBLI Fixtures for Department of Theatre and Dance]

Additionally, the Diablos' LED source means "a significantly less amount of maintenance, cooler temperatures and lower power consumption."

Earlier, BCT purchased four grandMA3 light consoles from ACT Entertainment, which also exclusively distributes MA Lighting products in North America.

"Our grandMA3s are now being used pretty extensively in the MA3 software mode by large corporate customers, including Disney," Longhofer noted.

Laval, Québec-based Creative Lab, which creates lighting and visual installations of all kinds, has invested in 24 Ayrton Mistral-TC LED spot moving lights. The new fixtures have already been put to work on the Montreal Canadiens' "Les Samedis FANatiques" ("FANatic Saturdays") pre-game show and on a glitzy auto dealership event. ACT Entertainment is the exclusive distributor of Ayrton lighting in North America.

"The Mistrals are our first Ayrton fixtures but certainly not our last," said Creative Lab president/founder Francis Aubin. "They are also our first moving light purchase. We decided to go with Mistral because the fixtures are well known in the industry by lighting professionals. Mistral is compact, versatile and powerful --the ideal first moving light to add to our inventory and bring more creativity to our design."

Putting Mistrals to the Test Immediately

Creative Lab's Mistrals have already been hard at work. They are used for the NHL's Montreal Canadiens' live streamed promotional programming, "Les Samedis FANatiques" ("FANatic Saturdays"), before each Saturday home game. Featuring a specialist hockey guest and a DJ performance, the shows are staged in the Creative Lab studio and live streamed on Twitch as well as displayed on the jumbo screen at Bell Centre, home of the Canadiens. The 30-minute programs entertain fans and ramp up excitement before the team hits the ice.

[University of Alaska, Anchorage Uses Ayrton GHIBLI Fixtures for Department of Theatre and Dance]

Creative Lab plays a 360-degree role on "Les Samedis FANatiques," acting as executive producer of the show for client Groupe CH.  The Mistrals are used in front of the artists at center stage to envelop the performers in light and to create effects with columns of light that change to match the musical ambiance.

"The Mistrals were chosen for their versatility and for the visual quality they bring to the video capture," said Aubin. "Their different gobos and the vividness of their colors also made the Mistrals the fixtures of choice for this application."

A Key Role in GM Marketing Pitch to Top Execs

The Mistrals played a key role in a corporate project with high production values. GM Paillé, an auto dealership in Berthierville, Québec, staged a student competition in which participants were invited to present an innovative marketing pitch to the company's top executives. Creative Lab served as technical supplier for the show working with production company Axe Media Evénements and lighting designer Julien Laflamme, who used the Mistrals to create textural effects on set. 

[ACT Entertainment Makes 1st Public Appearance at InfoComm 2021]

The Mistrals lived up to their expectations on both projects.  "These were the first uses of the fixtures, and everything went perfectly!" Aubin reported. "The results that we achieved on set and on camera speak for themselves."

Aubin added: "ACT Entertainment supported our purchase in a very important way: We received the fixtures in under four days, and less than 24 hours later everything was installed and ready for use."

At ISE 2022 Lutron will reveal its plans for expanded services along with showcasing HomeWorks lighting control updates and an expanded line of luxury products including wire-free Palladiom exposed roller shades. Also at ISE, visitors will be able to attend CEDIA's comprehensive professional development program, including a "Roller Blind Fabrics--Form vs. Function" session with Lutron's European training manager Chris Yorgey.

In the realm of expanded services, Lutron continues to support AV installers and electrical contractors with innovations that simplify the installation process and empower them to work more efficiently. Lutron brings wire-free flexibility to products that are already installer favorites, while improving remote monitoring offerings. Ultimately, Lutron aims to enable installers to earn more with expanded offerings for customers, while boosting the efficiency of the installation process. Along with the HomeWorks and Palladiom shade spotlights, Lutron will be showcasing its RA2 Select smart home wireless dimmer system.

[Extron, Lutron Partner on Workspace Control]

At ISE, Lutron will be launching the next generation of HomeWorks, offering both wired and wire-free options. HomeWorks has enhanced the E-tools needed to design, quote and commission a project, including remote monitoring and diagnostics that allow integrators to upload changes without physically going onsite.

Continuing to expand its line of luxury products into 2022, Lutron will be previewing the wire-free Palladiom exposed roller shades. This wire-free product update enables an easier, faster and lower cost installation of the Palladiom shades, which have become a favorite in luxury projects and will launch in Europe later in 2022.

[Empire State Building Company Selects Lutron]

Attendees will be able to attend CEDIA's comprehensive professional development program, including a "Roller Blind Fabrics--Form vs. Function" session with Lutron European training manager Chris Yorgey. For registered attendees only, this workshop with Lutron's training expert will provide insights into how proper fabric selection can balance view preservation with the need for privacy and manage glare and heat gain while optimizing natural light.

German audio technology and solutions company d&b is strengthening its service-focused d&b solutions business with the acquisition of U.K.-based Audio Visual, Lighting and Media (AVLM) business White Light.

Established in May this year, d&b solutions enables the d&b Group to offer end-to-end expertise to customers in the areas of system planning, installation, maintenance and managed services. The acquisition of White Light expands these offerings even further

d&b solutions has entered into an agreement with the owners of White Light to acquire 100 percent of the White Light shares. The transaction is scheduled to be completed in January 2022.

"White Light is a strategic addition to the d&b Group. Their technology and expertise significantly increases d&b solutions' capabilities to offer complete and flexible audio, video, lighting and XR solutions,'' said d&b Group CEO Amnon Harman. "Driven by accelerated market trends during the pandemic, this is another step forward in d&b's strategic transition. d&b solutions will become a premium one-stop-shop for the AVLM needs of our customers in the U.K."

Founded in 1971, White Light is a complete production solution specialist operating in a range of markets including theatre, corporate events, broadcast, concert touring, leisure, education and trade. Following the acquisition, the company will become part of the d&b Group and be known as White Light, a d&b solutions company, with all existing staff remaining with the company.

One particular area of focus for d&b solutions is White Light's SmartStage technology, which has been in development since 2017. SmartStage is an immersive video environment that uses XR technology to replace the traditional green screen element of a virtual studio. The potential for XR technology, in combination with d&b's Soundscape immersive audio platform and White Lights expertise, will open new market potential for immersive AVLM solutions, that will benefit all partners and customers of the d&b Group. 

“Good enough” lighting is generally not good enough for videoconferencing. Bad lighting is bad for business—and with so many people working from home, you never know what kind of lighting you’ll get. Your next Zoom may be populated by people that they look like they’re in witness protection, with back lighting washing out their features. Even office lighting can look dull and lifeless on camera.

For your sales staff, instructors, and anyone else who is on camera way too much, consider ZELo, the desktop studio light from Brightline. ZELo delivers broadcast-quality lighting in a solid fixture that can be raised, rotated, and angled to help you look your best. You can also adjust brightness and color temperature manually or through Brightline’s free app.    

Plus, Brightline recently introduced two accessories to save on workstation real estate. The ZELo Clamp replaces the light’s base plate with an adjustable clamp, while the ZELo Grip attaches to the light’s adjustable telescoping arm and holds your mobile phone so you can create better camera angles.

SCN Stocking Stuffers is a seasonal series highlighting affordable tools for professionals on your “nice” list.

PTZOptics has purchased Tally-Lights, LLC. Tally lights are an essential component of professional multi-camera video production. Through this acquisition, PTZOptics empowers its customers to create better production environments and professional-quality content. The brand name going forward will be TallyLights.

TallyLights offers a flexible, affordable tally light system that can be incorporated into nearly any studio configuration. TallyLights has advanced integrations with a wide range of existing PTZOptics partners, including NewTek, OBS, vMix, Wirecast, Blackmagic, Roland, JVC, and NDI®. They offer free-standing, rack-mountable, and wireless controller options, as well as adapters for multiple TriCaster units. TallyLights controllers can connect to up to eight camera tally lights simultaneously and can be configured to work with the majority of commercially available switchers and Camera Control Units (CCUs).

“As a brand, TallyLights is completely aligned with our goal of helping our customers make the best possible use of their existing video ecosystems,” said PPTZOptics Marketing Director aul Richards. “Broadcast studios, houses of worship, event producers and more can instantly improve production by adding TallyLights into just about any system.”

As a PTZOptics company, TallyLights will have access to expanded product engineering, marketing, and technical support. TallyLights will also have access to expanded distribution through PTZOptics’s global partner channel. PTZOptics plans to continue manufacturing TallyLights products in the United States from their headquarters in Downingtown Pennsylvania. Their centralized approach to engineering, manufacturing, and product support will enable global growth and innovation for the TallyLights brand.

PTZOptics will begin selling TallyLights products in January 2022. Interested dealers and distributors are encouraged to reach out to partners@tallylights.com.

ETC’s Nick Wurzel, a long-time industry veteran, died on September 27 following a long battle with substance abuse.

Nick’s family and friends wish to honor him by raising funds to assist others in their struggles, through the work of the Behind the Scenes Mental Health and Suicide Prevention Initiative. By donating to this initiative, you will provide resources to assist others with their substance abuse struggles and save lives.  Follow this link to make donations in memory of Nick Wurzel.

Nick graduated from Lawrence University in Appleton, WI, in 1990 with a degree in Economics, then began his career touring the country with various theatre productions.

He spent most of his career in sales positions at Electronic Theatre Controls (ETC), most recently as the Entertainment National Sales Manager. He began his ETC career in the Quotations department where Mark Vassallo, VP Global Sales, gave him the nickname “Pencils,” which stuck with him throughout his life because he always had sharpened pencils stuck behind his ear while he was crunching numbers as a human calculator. “Trust in Pencils” was so often heard by his customers that one sent him a box of pencils with the quote printed on them. 

Nick married Jessie Dunham Wurzel on October 11, 1997.  Jessie also worked at ETC in the Finance department, and they met at an ETC Christmas party on the stage of the Memorial Union Theatre. From that night forward, they were an inseparable pair until his disease parted them. They have two children: Emily and Alex.

Heidi Bowers, Southwest Regional Sales Manager, said, “Nick was a mentor to me and many others and had a knack for finding and fostering talent in people. We traveled together throughout ETC’s Southwest and Latin American territories and, as my friend and boss for 17 years, he would listen to my ideas as we worked together as a team. He loved to sell, always with the win/win attitude and always the salesman, he would ask his reps and dealers to keep those cards and letters coming!  He called me ‘Sherpa,’ which some may take pause at, but I knew he meant he trusted me.” 

Michael Gonzales, Lighting Controls Specialist at Lighting and Electrical Associates, remembers Nick “as the mentor and friend who helped facilitate my first job as manufacturer’s rep. I always admired how knowledgeable and confident he was when we made sales calls together with his soft spoken, but enthusiastic approach in teaching consultants, designers, technicians, and students, showing them the latest and greatest products. ‘What have you sold for me today?!’ is how Nick would start a call. You never wanted to disappoint him when you saw his name come across the phone. His competitive yet kind and understanding nature is instilled in me. You wanted to tell him you landed the next big job. I’m going to miss those calls from Nicky Pencils.”

Nick’s struggle with alcoholism is a reminder to all of us of the toll this disease takes on people, not just on the addict, but also on family members and friends. They suffer right along with the addict and pay a very dear price. Identifying and treating alcoholism is not easy, however; when left untreated, the results are predictable. In Nick’s case, while his loss is devastating, it is not a surprise. We grieve Nick’s loss and stay hopeful that his family can heal. 

Founded in 1967, the Parker Playhouse is a fixture of the local Fort Lauderdale, FL, arts community, hosting a variety of Broadway shows, plays, concerts, dance, and educational events. Last year, a $30 million renovation and restoration project transformed the building from a historical playhouse into a modern live music venue.

Now known as The Parker, the theater has more than 1,100 seats and began welcoming audiences back this fall with a variety of events. As part of the effort to transform The Parker into a multifaceted venue equipped to serve the needs of modern live productions, The Broward Center for the Performing Arts, which has managed The Parker since 2005, upgraded its loudspeaker and stage lighting systems.

Joshua Delasant, CTS, who served as project leader for contractor Peerson Audio, said the renovation was completed in two phases. Phase 1 included the integration of a new AV system for the back-of-house area and existing lobbies, while Phase 2 included the overhaul of the auditorium AV and the addition of expanded lobby areas.

[Making Magic at the Frankfurt Opera with d&b Soundscape]

Chris Carlton, owner of Carlton Audio Services, developed the d&b loudspeaker system specification to meet venue’s budget while providing excellent coverage. It includes 16 V8s deployed eight deep left and right, a single custom red Vi7P point source loudspeaker at center, seven 8S units for front fill, and three SL-GSUBS subwoofers under the stage in a horizontal array. D80, 30D, and D20 power amplifiers along with DS10 signal conversion and distribution complete the audio package.

The three-way passive V-Series comprises both line array and point source systems for medium to large-scale sound reinforcement applications, with complete efficiency and broadband directivity control to low frequencies. “The choice of the d&b V-Series system was easy for us,” explained Anton Foresta, head engineer for The Parker and director of production – affiliated venues. “The goal was to put a system in place that would meet any rider’s requirement. Nine times out of 10, d&b is on every rider as the first choice, so we wanted to provide the first choice.”

The Stage Equipment & Lighting (SEAL) division of Pro Sound Inc. designed The Parker’s lighting system featuring Martin ERA 800, MAC Aura, and ELP CL lights. The main component of the new lighting setup is the Martin MAC Aura single-lens wash light, with 16 on electric line sets and four on a motorized truss. Featuring a broad RBGY color spectrum and eye-candy Aura effects, the MAC Aura combines multicolor beam LEDs with a backlight LED array to generate deep washes, subtle shades, and more.

“The Auras are our main wash,” explained Robyn Allemand, technical coordinator, The Parker. “We placed them on most of our electric line sets to give an even wash and also because they can zoom in really well. It’s great to have the option to provide movement. We wanted to make sure the line sets were even in rows that fit onstage to allow for a fun look or a general overhead wash look.”

[Soundworks Doubles Up on Martin Audio WPL at Norfolk Jazz Fest]

Eight Martin ERA 800 Performance LED profile fixtures were installed in a V-shape pointing upstage for wide washes, powerful beams, and eclectic patterns. The CMY color mixing and six-slot color wheel provide numerous blending options, while static and rotating gobos, as well as full stage framing blades with +/- 60° rotation, make the ERA adaptable to any production.

The Parker’s lighting system also includes 38 Martin ELP CL LED ellipsoidal profile lights. The ELP is equipped with the gear-driven Fine Focus, which allows for adjusting and locking in the focus instantly, as well as an RGBAL Luxeon Rebel LED engine for a vivid color palette.

“One of the primary goals of the renovations was that concerts hosted by The Parker started getting bigger and requiring higher production values for today’s touring artists,” said Foresta. “When people see that you have Martin fixtures, that's as far as they need to go. Everybody already has the profiles for it. It makes it really easy for touring companies coming through with their own consoles to take over and merge the system to their files.”

Having been part of the entertainment lighting industry for over a decade, LumenRadio has developed the next generation with a focus on the changing needs of industry professionals. With the improved feature set and radio design, the next generation meets industry demands regarding universes and features without compromising reliability or range.

Powered by LumenRadio’s CRMX technology, the three new indoor transmitter units—Stardust, Aurora, and Luna—increase flexibility and set a new standard for wireless DMX.

Stardust is an eight-universe CRMX transmitter featuring Ethernet and Wi-Fi, with a web portal and color screen for operation. Aurora is a single-universe flex unit with Wi-Fi and color screen, while Luna is a single-universe flex unit with push-button interface. All units have a Bluetooth interface and can be equipped with V-mount battery, rack- and wall mounts.

“Twelve years after the release of our first CRMX products, it is now time to present the next generation of wireless DMX. In collaboration with industry professionals, we will now deliver products for the professionals pushing the envelope of what’s possible, setting a completely new standard for wireless DMX,” explained Niclas Norlén, CTO and founder of LumenRadio.

“We are proud to present the next generation of Wireless DMX with three new products that will respond to the demands of the most advanced users. With the next generation, we have pushed the limits of what is possible, without compromising on reliability or range,” added Michael Karlsson, product development manager at LumenRadio.

The new indoor units will be shipping in December 2021.

LumenRadio products are available in North America through A.C. ProMedia. Stardust, Aurora, and Luna can now be pre-ordered.

When the newly refurbished Sondheim Theatre reopened its doors in December 2019 to welcome back the West End’s longest-running musical, Les Misérables, the excitement was unfortunately cut short following the swift and unexpected impact of the pandemic. 

But hope was once again restored when a staged concert version of the musical opened at the same theatre—first for only 10 shows in December 2020, and now for a limited season until September 5. Award-winning video designers Finn Ross of FRAY Studio and Jonathon Lyle were brought on to adapt the original show’s video design to its new concert format through the help of disguise’s pre-visualization software that is powered by a disguise solo server. 

Despite being thwarted twice by COVID-19 restrictions (in the initial opening and then by a UK lockdown ahead of Christmas), the show has enjoyed critical acclaim as theatre-lovers gather every day to “hear the people sing”.

“What we’re doing with video is containing the space and tuning into the emotional temperature of the scene,” explained Ross. “We chose disguise because of the excellent support and the solo specifically for its suitability for smaller theatre shows from a form and cost perspective, while still offering power, flexibility, and the full disguise experience.” 

The new design is much more simplified in comparison to the musical production as it removes scenography and choreography, while lighting plays a much bigger role, tuning viewers in with the emotions of the performers. 

[Stage Lighting Technology Accelerates]

“A subtle hand was taken to create this unique concert experience," said Ross. "The connection with the performer and the stage is very intense, as we tried to find a sensitive way to support the atmosphere and the work of the performer without overwhelming them.”


Unlike the musical, which uses projection mapped images that bind to the action and movement on stage, the concert relies on an LED wall to playback subtle elements of the original images, designed by Matt Kinley, inspired by the paintings of Victor Hugo. Ross added: “We were able to take the original show file in disguise pre-vis and edit it down to condense it to the shorter duration of the concert. Luckily we were operating within the same system and in the same building as the musical, so it was so easy to reconfigure things in the background. disguise certainly made the shift very painless.”


The team was also working with the LED screen brightness extensively, adapting it for very dark or very bright scenes. With disguise at the core of the production, integrating lighting and video, the team was also able to use the software as an LED screen control solution to streamline their workflow.


[The Integration Guide to Video Walls]

“We always feel reassured when working with disguise. It’s a reliable piece of software that doesn't get in your way and lets you create without having to fight with it,” Ross concluded.

Crestron has become a lighting control vendor for Lambeau Field, the home stadium of the Green Bay Packers in Green Bay, WI. After an extensive evaluation, Crestron was selected to replace and upgrade the stadium-wide controls. The Crestron installation is a cohesive lighting automation system that allows stadium management to easily update lighting preferences and closely monitor and control energy expenditures for the facility.

In operation since 1957, Lambeau Field is one of the most legendary and longstanding sporting venues in the United States. The stadium underwent a significant renovation in 2001 and has added several upgrades and expansions since then. As a result of these two decades of changes, there were over 12 disparate lighting control systems from different manufacturers that were not fully integrated. This sparked the search for a single technology provider that could unify and standardize solutions into one ecosystem. 

[Flexibility at Forefront as Stadiums, Arenas Welcome Back Fans]

Lambeau Field transitioned the vast majority of lighting in the stadium to Crestron, which now controls concourses, suites, club seats, event spaces, parking lots, and façade lighting from a single platform. The stadium also implemented robust information security standards that Crestron built into the makeup of its solutions using Active Directory Credential Management, which integrates the authentication on a Crestron device with the stadium’s enterprise-wide IT infrastructure. Through Crestron monitoring, facilities personnel can proactively keep track of their system instead of having to react to situations, ensuring that on gameday, they know the system will work as intended. 

“The decision to standardize on Crestron was an easy one,” said Anne Larson, facilities office coordinator for the Green Bay Packers. “It was evident that Crestron could handle every aspect of the project, including meeting required IT security standards using Active Directory. We now have one vendor and one system that is easy to use and update.” 

Lambeau Field is exploring the renovation of several other areas, and Crestron provides extensive flexibility for growth. “Crestron is capable of so much, that as we renovate areas of the building, we’ll have the option to create unique lighting scenes that will only add to the fan experience,” Larson said. “With Crestron, the Green Bay Packers are confident we can provide a world-class experience for our fans for years to come.”

“We’re thrilled to partner with one of America’s most beloved stadiums to implement cutting-edge lighting solutions aimed to deliver the ultimate fan experience on gameday,” said Bill Schafer, vice president of Commercial Lighting at Crestron. “When designing the new system, our focus was on creating a truly unified ecosystem and single point of lighting control that helps streamline stadium operations and reduce energy consumption. In the last year, stadium usage and capacity changed dramatically. The new Crestron system is highly scalable: it can be configured and built upon as the stadium’s needs change and we look ahead to the future of live events.”

The What: ETC launched two new theatrical fixtures—Source Four LED Series 3 and Desire Fresnel—designed for theatres looking to successfully launch themselves into the modern day with brightness, color mixing, and wireless DMX/RDM features. 

The What Else: Source Four LED Series 3 is the third generation of the color mixing LED fixture. Now boasting an eight-color mixing system that includes deep red LEDs, users can create nuanced colors with this fixture. 

ETC also adds a redesigned classic to its portfolio with Desire Fresnel. A full eight-color array, wireless DMX/RDM, an intuitive user interface, and NFC configuration from a mobile device using ETC’s Set Light app are a few of the features that come standard with Desire Fresnel. 

The Bottom Line: ETC has reworked how the lamp and lens work together so users get more light through the entire zoom range; ETC says Source Four LED Series 3 and Desire Fresnel are the perfect pairing for any theatre.

The What: Martin P3 System Controller Software Version 5.2.0 is now available as a free update for the entire family of Martin P3 System Controllers.

The What Else: Martin P3 System Controller Software Version 5.2.0 comes with a range of new features and improvements that benefit newer products such as the MAC Aura PXL and VDO Atomic Dot, as well as long-time Martin favorites like VDO Sceptron, VDO Fatron and Exterior PixLine.

The new software features a P3 switch to istantly toggle individual fixtures between video control and DMX control; it also receives PixelMap input from a lighting desk for up to 128 universes, drive fixtures with a video feed from a media server or dynamically switch between the two.

The Bottom Line: Users can set incoming video streams as the background in ‘Setup View’ and map fixtures directly onto the video in the same window and also preview a render of the incoming video stream on an imported drawing or picture of the stage or building.

The new software updates can be downloaded on the company's website, www.martin.com.

Polarization is a fact of life. Not polarization in the scientific sense, but the kind where people pick one side of an issue and dig in their heels. In times of crisis, though, like the COVID-19 world we’re all learning to navigate, it’s nice to have general agreement on core issues.

One thing we all agree on is that LEDs have come a long way in a relatively short period of time.

“To be honest, the first LEDs that were out there, they were shit,” said Markus Klüsener, global product line manager at Martin Lighting. “I mean, they were really, really, shit. You wouldn’t even want to light up your garage with one.”

But today the technology has matured to the point at which virtually any lighting device that used to run on halogen or discharge can be replaced with LED.

[The Latest in Office Lighting]

“If you bought an LED at Home Depot, the first range was kind of blah and greenish, the dimming was terrible and everything looked kind of sickly,” said Matthias Hinrichs, product manager, Elation Professional. “In five years, that technology turned from so-so to replacing almost everything out there. We only benefit from that on the stage lighting side.”

Fred Mikeska, vice president of sales for A.C. Lighting, a supplier of multiple brands and product lines to the North American market, said stage lighting fixtures that combine efficiency, versatility, and reliability are enjoying demand as high as they ever have.

“There are so many benefits to choosing LED fixtures for lighting applications,” he noted. “In addition to the obvious savings in electricity, infrastructure savings can be substantial as LED systems allow for smaller mains power and HVAC systems when the facility is designed from the ground up around an LED-based lighting system.”

One of the developments Elation Professional has integrated into its stage lighting portfolio is multicolor LED engines such as the kind used in its Fuze family of pendants, spots, and framing lights.

“We used to have multi-engines [with] all individual lenses [and] some optics on there to handle it,” said Hinrichs. “Now you actually have very tiny engines instead of the color-mixing elements. Color mixing all happens in the engine. You eliminate a lot of stuff and the fixtures can get incredibly compact.”

In the installation market, Hinrichs noted, being able to offer a product that will reduce maintenance and downtime is a big deal. By eliminating the mechanical elements typically needed to fade color—several motors, glass, and the parts that make them work in concert—you remove a lot of variables from the equation.

“The color mixing quality is phenomenal on these,” he added. “The color rendering is really high, so they’re very well suited for key lighting for illuminating people and objects, which is something you do a lot if you’re doing a church or theater.

Martin Lighting is merging lighting and video with its P3 Pixel Push Protocol technology, which has long been used in its video products. This fusion happens in real time in the P3 processor, so the lighting and video feeds from the consoles and servers are automatically synchronized. The tech not only eliminates the complications of manual sync, but it reduces stage and programming time to the push of a button.

“In most use cases, you have sort of a separated flow in terms of programming, designing, and outputting video versus lighting,” Klüsener said. “You will have a lighting guy who is controlling the lights, and you will have a video guy controlling the video with content.” They have to communicate on the dominant colors and themes, and then execute the timing together in order to achieve a cohesive, blended stage.

“It becomes very easy to have a common look and feel to the show without having to even think about ‘what color tint is the video now, and how do I need to adapt that fixture?’” he added. “Because it’s also dynamic.”

The Martin MAC Aura PXL product line uses this technology to create tight beams and wide wash fields for lighting designers working in the concert and nightclub market, as well as for television and corporate applications.

The team at Chroma-Q, one of the key brands in A.C. Lighting’s portfolio, is focusing on designing versatile fixtures that allow spaces to transform—from an entertainment environment to a broadcast-ready room, for example.

The Chroma-Q Color One 100X is a compact LED PAR with “a fully homogenized optic, which eliminates the color separation and shadows synonymous with LED lighting while providing a smooth, even beam,” said Mikeska.

“This allows the Color One to be used as traditional stage wash and front light in HD broadcast settings. The Color One’s RGBA LED engine provides a wide color range with deep blues, vibrant reds, and soft pastels, allowing the Color One to match any corporate color.”

Mikeska noted that the COVID-19 health crisis has led many businesses to embrace virtual and online models, including educational institutions and studios that have reconfigured to live HD streaming. The Color One, he said, has a “CRI of 93 that accurately renders skin tones on camera, and adjustable frequencies that go up to 6,000 Hz to avoid flicker and ensure superb performance on camera.”

The developments in LEDs and stage lighting technology in general over the last two decades have elevated the standards of quality and efficiency across the board, said Klüsener, raising the stakes for manufacturers that are continually looking for ways to differentiate themselves.

“Everybody has learned, so it’s really hard to find products that are non-usable,” he said. “And with budgets being tight, which is something we will see when we are leaving this COVID-19-related crisis, customers are going to be very price sensitive about where they’re going to spend their money.”

As for the next big thing, Klüsener points to laser-driven LEDs that produce every color at the same brightness, like those currently produced by Clay Paky, as a technology to watch.

“That is definitely going to intrigue lighting designers because there was always the problem of ‘Oh yeah, how bright is your mixed red, or your primary red?’” Klüsener said.

“That is definitely going to intrigue lighting designers because there was always the problem of ‘Oh yeah, how bright is your mixed red, or your primary red?’” Klüsener said.He added, however, “with laser engines, you have a lot of candela, you have a lot of high intensity, but you don’t have lumens. And if you want to spread a beam wide, you need lumens. So that’s the next step that will be requested by lighting designers and users—to make this kind of technology widely available and usable for wider-spread applications.”   

Based on the recent decision by Governor Polis to close the Colorado Convention Center this fall, LED Specifier Summit show management today announced that it will move the Denver event, which was originally scheduled to stage October 15, 2020, to the spring of 2021.

LED Specifier Summit is a regional one-day immersion in lighting education and solutions geared toward specifiers of commercial, architectural and decorative LED lighting products. The event helps lighting professionals stay current on the latest LED lighting trends through registered seminars and face-to-face access to 100+ leading international lighting and controls manufacturers in a relaxed, casual setting. Access to the show floor is free to qualified attendees who register prior to the show. A nominal fee is charged for the conference sessions, which offer a variety of learning units - AIA, BOMI, IDCEC, IES and NCQLP.

More details will be available soon. Interested participants can check the event website for updates or add themselves to the Show News email list.

For more information about the Denver LED Specifier Summit, visit https://www.ledspecifiersummit.com.

The Office of the Permanent Secretary for Defense recently upgraded its headquarters with new Harman Professional Solutions AV, lighting, and control systems.

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Part of Thailand’s Ministry of Defense, the Office of the Permanent Secretary is responsible for determining strategic goals, executing plans, drafting policy, and the inspection and monitoring of the Royal Thai Armed Forces. Occupying a nine-story building with multiple wings outside Bangkok, the organization’s headquarters includes a multipurpose hall that can seat 1,500 and be divided into two separate spaces on demand. To ensure high-quality sound, video, lighting, and control for presentations and events, the Office of the Permanent Secretary deployed a range of solutions from JBL Professional, Crown, Soundcraft, BSS, Martin Professional, and AMX.

"The client needed cutting-edge AV and stage lighting systems for the multipurpose hall that seats 1,500 people,” said Pongsakorn Kanchanachayphoom, director of project, Mahajak Development Co. Ltd. “A robust and flexible solution was necessary to facilitate different types of events. Evaluating these requirements, we designed a system with Harman's industry-leading networked AV and lighting solutions, providing the client with the required flexibility and allowing them to upgrade the platform in the future."

To achieve clear sound reinforcement in multiple room configurations, the Office of the Permanent Secretary installed a range of JBL loudspeakers in the main hall. When the hall is divided, 15-inch JBL AM7215 speakers serve the larger half, while 12-inch AM7212 models serve the smaller half. The speakers can be combined for maximum coverage across the entire hall, and the entire system is augmented by STX828S dual 18-inch bass reflex subwoofers. JBL PRX800-Series monitors provide clear sound for speakers and guests onstage. JBL Control 328CT 8-inch coaxial ceiling loudspeakers provide additional coverage outside the hall.

Crown amplifiers power the sound system, including the advanced XTi 2 Series and the CDi 1000. Two Soundcraft Si Expression 3 digital mixing consoles were installed, which provide a flexible, streamlined solution with a color-coded FaderGlow interface for ease of use. Networked together via a BSS Soundweb London BLU-100 signal processor, the two consoles can be configured to function independently or together, depending on the room configuration.

To illuminate the stage efficiently, the Office of the Permanent Secretary deployed energy-saving Martin MAC Quantum Series LED lighting fixtures. The MAC Quantum Profile serves as a main spotlight, while the MAC Quantum Wash provides washes of color. Both fixtures feature Precise CMY color mixing and a variety of effects controlled by DMX. The hall also features 350- and 300-inch screens as well as 4K HMDI projectors equipped with projector lifts for accurate positioning and stowing when not in use. To control the integrated AV and lighting systems effectively, the facility is equipped with AMX touchpanels. The control room, located next to the stage, features a 4.3-inch AMX wall-mount touchpanel, while the facility’s main meeting room features a 9.7-inch panel.

"We wanted a system that would enliven the atmosphere of the multipurpose hall during seminars, performances and other events for our guests,” said a spokesperson for Office of the Permanent Secretary for Defense. “Harman's diverse portfolio of products are easy to learn and manageable to support. They fulfilled every criterion of our request."

"Harman is honored to be associated with the Office of the Permanent Secretary for Defence, and to be able to extend customized, multifaceted solutions through a unified platform," said Ramesh Jayaraman, VP & GM Harman Professional Solutions, APAC. "We thank Mahajak for providing exceptional audiovisual and lighting solutions, and for creating an exceptional space that heightens the audience experience while encouraging participation."