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1. 1 1 1 e M MM r 1 1 1 1 1 Figure B Light intensity curve for the wide beam AYRTON LIVE _ PAGE 34 axis There is no motor in the base they are located in the moving head bracket The two small fans are also Soft mounted to minimise the transmission of vibrations to the frame photo 10 amp 12 THE MOVING HEAD BRACKET The arms of the moving head bracket are quite imposing even though the rounded covers soften the overall look They definitely have a large diameter head to bear But the unusual width is also explained by the integration of PAN and TILT stepper motors one in each arm And the motors used are visibly oversized Could this be the harbinger of fast displacement speeds Testing will tell The movement is achieved in a conventional manner a toothed belt and a crown in a high gear decreaser There is also a motor control board in one arm for the zoom function and the PAN and TILT motor control board is housed in the other photo 13 amp 14 TESTS The tests are performed according to our test protocol dark air condi tioned room projection on a white target increased to a total diameter of 5 metres at a projection distance of 5 metres Brightness and uniformity In narrow zoom mode the i 2 angle is measured at 9 2 which is slightly more than the data provided by the manufacturer
2. 48838 Li m T com ni M 3 5 1 HE a NW 5 x m l WAIS iiki ri iE dn MEAT i mie i E t gg t r M PP eT LD Mini gin k yee ana 2 QU 15 DE OE i L i m 7 600 UIT 7 fe KT Ta di TFI 3 FA unu i B MM ia T HIRRSADRABDEEI UP aR 4 7 1 pr alt hU mN M o AYRTON and ICECOL T M TM Sp 1 ri oy 4 m 4 t Lo ni m In ln i 1 lr is ds H L i Bam P TA gt WIBRHRE Tit iii LI we 5 LA b New am S m 1 i e oe ICECOLOR 1000 3G LED STATIC LUMINAIRE ICECOLOR 1000 has been designed for large spaces giving its overall flux in excess of 20 000 Im unequalled on the market It comes fitted with eight 100 E watt RGBW LEDs modules individually controllable A complete range of Ce filters allows the user to adapt the projector its environement With an IP65 1000 ingress protection it can be used indoor or outdoor and can be controlled remotely through its integrated wireless DMX receiver Le parc de l v nement
3. THE OFFICIAL AYRTON S MAGAZINE ISSUE 3 _ SEPTEMBER 2012 Err rr N M 2 22226 TREET BAN D a LASGLL LG LLL LLLI Photo credit Jo Lope THE VOICE enlightened 7 Phase XU E e 3 T Illuminate your dreams mn 4 e lh _ LEM NL ot Be t Wi NE Specifications subject to change without notice AYRTON and ARGALINE are trademarks of AYRTON ARCALINE registration model pending All rights reserved ARCALINE 2 3G LED STATIC LUMINAIRE ARCALINE 2 IP65 LED static luminaire is the ultimate linear range evolution of AYRTON creations using 16 RGBW Multi chip High Power LEDs as its light source coupled with 10 x 40 High Efficiency optical system With a stunning smooth and sophisticated profile the ARCALINE V2 is meant for any kind of steady applications ARCALINE V2 can be directly powered AYR NI through its own on board power supply unit ARCALINE 2 thus gives an incredible utilisation pliancy in any condition requirements Le parc de l v nement 1 all e d Effiat F91160 Longjumeau France T l 33 0 1 69 10 33 90 www ayrton eu Editorial Dear Readers 2012 has been a very busy year for Ayrton Our company provided a significant number of projectors for some major events and tours around the world First of all we are proud to have many WildSun 500 operated
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5. 5 grandMA Network Signal Processor MA Lighting 1 Pathport Control Distribution System Pathway Connectivity SMOKE E 2 Atmosphere hazer MDG Discover lighting diagrams on the new website soundlightup com AYRTON COMPGNY profile AXENTE French louch Let s look at how Axente is structured a company that has experienced growth since it was formed by interviewing each of the technical and sales managers to get a more in depth look at their roles beginning with the brains of the company J r me Br hard Managing Director whose simplicity is far outmatched by the energy he puts into managing Axente and defining its Strategy Axente the story of a close knit team Soundlightup J r me have a feeling that Axente is the largest French distribution company for lighting Is this true J r me Br hard not sure maybe for the professional range Our turnover for lighting is 15 million and for sound it s 2 million SLU How did you structure the company J r me Br hard We have a common logistics hub for audio and lighting a single admi nistrative centre and also dedicated sales and technical teams for audio on the one hand and lighting on the other The after sales service is the same for both Alain Ren Lantelme heads up the lighting structure department and Alain Hercman manages the Audio department Sandrine Brisach handles logistics which means purchasing and sal
6. More recently this summer we lit the Andre Blondel barrage at Donzere Mon dragon Client Lighting design H T E with hundreds of RGBW Arcaline striplights and a dozen Ice Color units This is a monumental barrage on the Rhone and we illuminated the outside of it There is also the Titan crane on the lle de Nantes Client Nantes City Council classic crane dating back to working port of the city of Nantes Virginia Vou lighting designer chose 150 Moduled RGBs and variable whites among other projectors for the illumination SLU What do they like about this manufacturer Jean Philippe Josserand On an architectural front Ayrton has a very inno vative side It was the first to associate the white with the RGB for example RGB in a multi chip is still not commonplace yet and a multi chip that integrates white is really quite unusual SLU Are there competitors Jean Philippe Josserand We cannot really talk about competition on a pro duct by product basis Even though you can find twenty alternatives to each of our products there is always the illumination level the quality of the colorimetry the beam angle control that really make all the difference AYRTON COMPGNY profile Managing director Jerome got his degree in EMC engineering and on returning from England where he had just finished his studies he took a job in the after sales service department of Robert Juliat lle de France 17 years ago
7. 8 The beam transmitted is then particularly intense and sharp figure In wide zoom mode the i 2 angle is 44 which is above the manu facturer s value The uniformity of the beam is very good regardless of the zoom posi tion selected figure B The brightness of the projector is remarkable given its relatively low power consumption less than 500 watts The machine s optical sys tem obviously delivers excellent performance as a zoom typically has very high flux consumption The concept of Green Power therefore takes on its full meaning As with any LED source the source temperature warms up over time and a decrease in brightness is to be expected we call this derating The Wildsun 5005 left with all sources burning at 100 capacity stabilised quickly showing a decrease in brightness of less than 896 which is a very big plus point guaranteed brightness stability over time figure C Colours and mixtures The projector fully equipped with LED sources has a RGB colour mixing additive by default coupled with a white light source Compared to an equivalent discharge lamp type light source with a conventional subtractive CMY some of the primary or combined colours will be brighter particularly in the case of Green Blue Magenta and Cyan In Specifications subject to change without notice AYRTON and WILDSUN trademarks of AYRTON WILDSUN registration model pending rights reserved E
8. or who come from the stage and the world of the performing arts and are occasionally involved in fixed projects There are many more consulting firms that deal with lighting My job is to try to get them to recommend our products in the project dossiers The installers can propose the equipment they recommend for public contracts 50 to be recommended is great but to go through with the recommendation is even better laughter SLU What is your approach Jean Philippe Josserand We are present on shows like Lumiville and present the latest developments to the lighting designers through the ACE asso ciation They call me when they have a lighting idea and are looking for the right products have Pulsar and Philips Color Kinetics complementary products in the catalogue that are 10096 suited to fixed installations as well as Ayrton which is more general SLU What are the leading products in architectural lighting at Ayrton Jean Philippe Josserand For the new series it s the Arcaline that works in RGB white And the range extends right to the entry point with a 50 Arcaline that should arouse the interest of the lighting consultants and the Ice Color 250 which fits very well into a fixed environment SLU What are the best examples of Ayrton products in completed pro jects Jean Philippe Josserand here was the Quatre Temps in 2006 where nearly 500 Moduled units were installed to illuminate the front of the shopping centre
9. the entire programme is broken down into three key steps the Blind segment when the singer performs their song facing the judges who are turned away therefore blindly The Battles where the stage turns into a kind of boxing ring and the live Prime segment Andr Mytnik On the selections i e the Blind segment and on the Battles there were many beams with the VL 3000 VL 2000 VL 1000 and 500 as well as the Clay Paky The Prime for its part made way for the beams with the Aloha Beam Clay in 1500 700 and 300 and the Sharpys that were already present during the Battles It is also during this step that the Jarag frames were deployed as well as the new Ayrton LED washes In the end we installed more than 450 pro jectors with few traditional ones 8 follow spots and some 20 profile spots But there were obviously more of them behind the scenes for all the preparation steps and rehearsals SLU Why did you choose the Wildsun 500 C How did you select them Andr Mytnik Very quickly the director of photography Fr d ric Dorieux and Jean Philippe Bourdon our main partners expressed the desire to have an efficient LED wash projector with an interesting look We therefore launched a major testing process in our premises which lasted one day The majority of the LED wash moving heads were represented and the Wildsun played its game well with its C version thanks to highly efficient colour mixing a
10. tiers and the set showcasing the Clay Paky beams Alphas with tele genic Sharpys not to forget Ayrton s new Wildsun LED moving head mixed with the regulars in Fred s design Vari Lite and Studio Color AYRTON LIVE _ PAGE 8 The set of The Voice satisfying international specifications imposed with a stage tiers surrounding it and the four chairs for the merciless judges It is above and on the walls that Fr d ric Dorieux expresses himself 5 5 spots which have become the signature of the Phase 4 supplier Enough therefore to be seen for these budding singers evolving into a nonetheless super codified d cor as it satisfies international specifi cations that standardise the stage the tiers and the four judges chairs We met Fr d ric Dorieux who recalls the imposed constraints and per sonalises them a lighting designer who is nevertheless free to create the lighting he wants for the show and who joined for a new series in 2013 Then we spoke about the great projector kit installed with Andre Myt nik manager of Phase 4 lighting supplier for the programme SLU Fred talk to us about your lighting concept for The Voice Were you given carte blanche Fr d ric Dorieux In fact they didn t ask me for anything special but it has to be said that we have to adapt to a d cor that certainly evolves depending on the country but must always integrate the same basics stage tiers and judges chairs oimilarly
11. with efficient colour mix which is possible thanks to their RGBW mul tichip and the ideal opening 45 max covering more than 9596 of the concert s moods T F1 E 4 Feat e a r 4 i 1 1 1 4 n j io 9 J F i 4 4 1 a i z j J if AYRTON LIVE _ PAGE 13 AYRTON SHOW repor 1 At the top of the ladder supporting the Sharpy Clay Paky the L2D2 from Zap Technology with LEDs and motorised ZOOM on its single arm yoke 2 Wildsun 500C Ayrton VL3000 and VL2500 for stage lighting 3 The PanaBeam XR2 the pan tilt Morpheus wash with continuo s rotation equipped with an MSR 1200 CMY progressive CTO and zoom E F j bd AYRTON a RE mpar J _ y Todd Ricci Lighting director Todd Ricci lighting director He is the one who follows the tour and who adapts the lighting kit to the venues and Jeff Ravitz s concept to the old titles that the artist chooses to sing y 9 by m i m 3 JA t4 i hg 4 F 8 T i U if 7 p a FF 1 i Why did you opt for the Wildsun 500 C Todd The particular aim with these Wildsuns was to use their white which could be a little warmer than that of most LED products we have therefore defined a white that is more halogen like So am
12. 1 all e d Effiat F91160 Longjumeau France T l 33 0 1 69 10 33 90 www ayrton eu LH AYRTON AYRTON fest WASH LED MOVING HEAD LUMINAIRE AYRION WILDSUN 5005 There are now three models in the Wildsun 500 moving head wash family of luminaires The 500C the first in the range RGBW with a 11 45 zoom and an average white of 4000K has met with true success and has already been adopted in the Dushow and Phase 4 parks among others and has also been included in the kit for the Bruce Springsteen tour with Morpheus There is also the 5005 5 for Stage RGBW with a tighter 8 to 40 zoom and a cooler white at 6700K to provide extra pep to the beams It is this model that we have chosen to look at more closely Text and photos f www soundlightup com Ph Pa There are also the K ultra bright white light with one very high power 3000K warm white diode under each optic for the K3 a single cool white 000K diode for the K and four white chips two of which at 3000 K and two at 000 K for the KD which offers a range of whites PRESENTATION This is quite an impressive device not necessarily in line with the current trend There is no miniaturisation here one senses that the focus was on the effectiveness of the device a bulky head with a large diameter AYRTON LIVE _ PAGE 30 Obviously oversized optics and a large and sturdy mo
13. SLU Do you have any spontaneous requests Fabian De Brucker No it all takes place during the conversations listen to their needs always try to go to at least one date of their concerts Wildsun The star of the stage and TV scenes SLU Which Ayrton products really cry out to the designers Fabian De Brucker It s the Wildsun500 version C that really has what it takes to create beautiful pastels through a 4000K white Jeff Ravitz the lighting designer for Bruce opringsteen Fred Dorieux recently for the show The Voice and Dimitri Vassiliu have all used it partly for this reason They would obviously like to have a faster zoom however the quality of the light is exceptional thanks to very precise and oversized French optics They also love its flux The Wildsun 500C gives more light and a very beautiful light at that This is what they are saying SLU Which products do you find you are competing with Fabian De Brucker We play the role of supplying pro ducts that the designers really need Rollapix are one of a kind for example Obviously with a wash like the Wildsun we are competing with the established products on the market and a supplier will prioritise their own products That is understandable SLU With which designers do you have this kind of privileged contact Fabian De Brucker have a close relationship with Jean Philippe Bourdon Laurent Chapot Alain Longchamp Fred Peveri Dimitri Vassiliu a
14. With from left to right L2D2 from Zap Technology two Morpheus Fader Beams a VL 2500 Vari Lite under the third FaderBeam two tungsten VL 1100 and a Panabeam XR2 7 Light control with an Avolites Diamond 11 or Todd adjusts the projectors dimmers live whose colours and movements are programmed in the full size Grand MA and called by John Hoffman AYRTON SHOW repor 8 The four trusses and their marvellous machines Notice at the top of the image the three LED flowers designed by Morpheus with the helo of Chauvet Colorado RGB sources Three of the five foreground Topaze follow spots the V_1100 and VL3000 can also be seen 9 Three trusses packed with very nice machines and notably a slew of Wildsun 500C which are easily recognised even from a distance 10 Mac Aura Martin on and under the piano podium A highly appreciated source at Morpheus for its small size its feather weight and its output or even intimacy with his audience the Boss first and foremost wants to be seen by all That is why his lighting designer attaches a lot of importance to skin tones shadows and the performer s telegenics filmed nonstop by a host of cameras that do not lose even an instant of the live performance in order to reproduce it on the giant screens surrounding the stage SLU Working the foreground and the faces seems to be very important to you Todd We have VL 3000 in the air and 2500 that are nonetheless the key t
15. big musical moments and to visually illustrate the mood of his words and music Bruce s performance and songs can be very dramatic and are quite conducive to highly theatrical lighting Bruce is a fan of good film cinematography and photography and he has instilled the appreciation of those art forms in me 50 it becomes a matter of revealing Bruce and the E Street Band members in ways that depict a point of view a unique way of presenting them for any particular song that they are playing We use the psychology of color to make a statement about the emotions and the story line of a song We use texture and broken up beams of light And we use the angle of light very deliberately sometimes to make the musicians look good natural and happy and sometimes to make them look troubled or angry and so on Finally the music has many expressive accents and rhythms which we try to play along with SLU Does Bruce Springsteen has specific demands regarding the lighting of the team of public and of itself Jeff Ravitz Yes he insists that the band member get a lot of attention and care with lighting They are part of the overall stage picture and even though they sometimes can be more in the background when Bruce is doing something where he needs to be the main focus they always need to be given the proper lighting treatment Bruce loves the audience and their energy makes him work and play and perform harder for the
16. by our US partner Morpheus Lights traveling with Bruce Spingsteen and the E Street band Ringo Starr and his 13th All Star band were also lit Wildsun 500 during their summer US tour Furope has a large number of events concerts and TV shows using Ayrton LED fixtures and you will discover some of them by reading the tollowing pages Last but not least our WildSun K series began a brilliant career with a massive order from the entertainment lighting provider NAT who has invested in 375 WildSun 500 K7 2013 will probably be as busy as this year with important new releases to come more information in Las Vegas at the LDI from the 19th to 21st October Do not hesitate to contact us for further information AYRTON profile Val re Huart International Sales Manager CONTACT 05 Le parc l v nement 1 all e d Effiat F91160 Longjumeau France Tel 33 0 1 69 10 33 90 Fax 33 0 1 69 10 33 91 GLOBAL INFORMATION contact ayrton eu TECHNICAL SERVICE technic ayrton eu SALES NETWORK sales ayrton eu MARKETING marketing ayrton eu AYRTON LIVE _ AYRTON SHOW eporn AYRTON SHOW repor AYRTON tesh Summary AYRTON JEWS zl Ec OS 4 Morpheus supports Ringo Starr 4 New Advanced Technology goes wild tor Ayrton Wildsun 4 Marineland in Antibes 5 Ayrton qualifies for The Voice tour 5 Singing in the rain 5 Ayrton makes big impact at Prolight So
17. min Temps Figure C Light intensity variation over time DIMMER VARIATION Illumination in 30 40 50 60 70 aow 90 VALUE OF DIMMER DMX CHANNEL IN 10055 Figure D Dimmer variation central plateau It is therefore easy to coat a large area quite uniformly with colour even at a short projection distance Note that the effects achieved by the separate control of the LED light rings are especially visually effective in narrow zoom as in the wide zoom position the light emitted by an LED light ring tends to leak into the optics of the neighbouring light ring if it is off which may impair the desired effect if you look at the device front on rather than its projected beam As regards the zoom speed this is adjustable on the device via the menu but not via the DMX On the pre production test sample the zoom has a best of 2 1 s for its total excursion as opposed to 3 2 s for 15 slow speed The manufacturer has indicated that it will be the speed zoom of the K7 that will be applied on the final series which is a total excursion in 0 9 sin rapid mode and the slow speed at 3 2 s which should allow for stunning pumping effects AYRTON LIVE _ PAGE 38 COLOURS Illumination Relative Lux Red only R 930 11 04 Green only 6 3620 42 84 Blue only 390 4 62 Warm White only WW 0 0 00 Cold White only 4730 55 98 Amber only 0 0 00 Yellow Red Green 4580 54 20 M
18. p WILDSUN 500 S LED MOVING HEAD LUMINAIRE Created to meet the entertainment industry s needs the WILDSUN 500 S was designed with a narrow beam minimal angle as well as deep colours and high centre beam intensity The choice of colours was made in collaboration with LD and was aimed at achieving saturated hues The stringent selection criteria for the LEDs used on the WILDSUN 500 S AYR NI also allow for the greater homogeneity of luminaires It enables the individual control of each light ring with the option to only use the central LED Le parc de l v nement 1 all e d Effiat F91160 Longjumeau France T l 33 0 1 69 10 33 90 www ayrton eu AYRTON fest WIDE BEAM MEASUREMENT ON 4 AXES 5 metres Hot Average illumination per practice this notion 15 true with luminosities measured respectively at light ring at 5 m lux 42 4 6 16 and 47 of the total light emitted by the projector m 400 400 is i j ea 398 398 398 398 398 e red is ep 625 632 nm the green 521 527 nm mE the blue relatively dark 449 453 nm but still bright data collected Light ring 2 396 396 396 396 396 from the manufacturer from the OSRAM data sheet As for the white Light ring 3 393 393 393 393 393 it provides the necessary power for many lighting applications by itself 250 220 239 sd Moreover the choice o
19. safety sling FUNCTIONS Pan and Tilt Zoom Dimmer Shutter Colours Speed settings 2 zoom speeds 4 Pan Tilt speeds 1 DMX channel speed movement mode GENERAL MEASUREMENTS 305 mm depth of the base 446 mm width of the moving head bracket 544 mm head at 90 angle 22 8 kg manufacturer data WASH type moving head luminaire 110 240 V 50 60 Hz 480 W NO IP20 protection classification Forced ventilation Via DMX512 Integrated DMX Wireless System 1 channels Basic 24 channels Standard Mode 49 channels Extended Mode 31 LED light sources in 4 colours red green blue and white 6700 K of the OSTAR type by OSRAM NO Instant control of light sources in all applications Electronic Primary collimator mobile lens zoom in 31 sources Via removable cover secured with 4 screws 1 cover per arm 6 screws per cover 1 front panel 4 screws 1 rear panel 4 screws 2 metal plates 8 screws Easy access the only mechanical effect is the zoom 5 stepper motors 2 x XLR 5 2x XLR3 Colour graphic LCD display equipment buttons V1 2 YES via wired DMX connection 2 x 1 4 turn omega quick release removable fasteners YES 2 positions in PAN 180 range and positions in TILT 45 range 2 on the base YES under the base 540 PAN 270 8 to 32 linear zoom YES 8 or 16 bit electronic dimmer control strobe up to 25 flashes sec R G B CW four colour additive and virtual colou
20. to speak with the man himself Jeff Ravitz lighting designer for the Wrecking Ball tour JEFF RAVITZ A DEVOTED LIGHTING DESIGNER SLU Can you tell me your story how you started in the show lighting desing Jeff Ravitz While was a student worked in summer theatre and was influenced by the great lighting designers met Then shortly after finished college saw a Grateful Dead concert that changed my life The lighting was visible unlike theatre lighting which we were taught should be invisible That show was so exciting beautiful and expressive that dreamed of doing something like that myself Three weeks later answered an advertisement in a local arts newspaper for a position as a lighting designer for a recording group going out on tour jumped at the opportunity and got the job We toured all over playing clubs and universities but we also were the opening act for many headline groups and that experience was invaluable A few years later toured with Kiss as a technician which furthered my education And then my major break was the chance to design for the rock group Styx We created highly theatrical shows and in 1977 they were the biggest American touring band It was fun and it propelled my career forward SLU What is your idea of light Jeff Ravitz Light is what reveals our world to us visually And the way it reflects off an object whether that is a person or a wall can strongl
21. very very slight amount of haze in the air just to enhance the effects of patterns and light beams in the air Management is very happy with the results and Bruce has not complained that it has bothered him or his voice What do you think about Ayrton Wildsun why did you select it Jeff I m a big fan of the Ayrton Wildsun think it s a very good fixture have been wanting to explore the use of a high quality LED fixture to replace our automated wash lights because the new technology offers many advantages Lower power consumption and less maintenance are important issues as well as the benefits of additive color mixing and very fast color changes Our previous wash lights had tungsten lamps Bruce liked the warm natural color that they provided The refore wanted an LED light that would offer a similar foundation of color balance AYRTON LIVE _ PAGE 18 Bruce does not like to look flat meaning he likes the lighting to create interesting shadows on his face and body Many of the LED fixtures are smaller in size wanted a slightly larger LED fixture to add a sense of bigger scale to the overall appearance of the lighting system Morpheus Lights heloed me to choose a fixture by setting up a very extensive comparison demonstration of all the best LED moving lights We spent two days metering and comparing color appearance speed and smoothness of movement and brightness levels The Wildsun s white LEDs are wa
22. which also illuminates the audience and we have individual positions on the mem bers of the band with the VL2500 The foreground is taken care of by VL1100 halogens with which we are very satisfied In fact all of the Vari Lite equipment has worked rather well this year Under the stage we have more Sharpys under the stair riser and in front of the amplifiers allowing us to achieve various views from different sources in several locations On this tour we have replaced the audience blin ders with customised Par LED Morpheus called CP7 using 7 Chauvet COLORado RGB petal shaped assemblies to illuminate the audience We have made a lot of major changes for this tour compared to the three previous ones The presence of LED projectors is important does this technology appeal to you Todd Yes we have wide rows of LEDs We considered everything that technology had to offer for this tour We have many stage components marked out by LED products such as the ColorBlaze We also use ColorBursts just to provide a number of silver effects and lastly we have the ColorBlasts You could say that we have quite a few Philips products on the show We have also introduced Mac Auras into the kit just to add visual content that we were unable to achieve with bigger projectors TOP QUALITY NEWCOMERS With no fewer than 50 yokes Wildsun 500 C are rigged above the Bercy stage the kit allows for 20 more in stadiums Ayrton washes
23. ILDSUN 200 S LED MOVING HEAD LUMINAIRE WILDSUN 200 S integrates the new 4G AYRTON technology which allows for the individual control of each LED source Its boasts a motorised linear zoom from 8 to 32 Fitted with twelve 15 Watt LED modules it provides an overall luminous flux in excess of 3500 lumen W LDSUN 200 S is the ideal AYR I C3 NI luminaire for your designs concerts television sets and any other application in which the power performance volume ratio is critical Le parc de l v nement 1 all e d Effiat F91160 Longjumeau France T l 33 0 1 69 10 33 90 www ayrton eu AYRTON SHOW THE LIGHTING ON THE VOICE Beams colours and voices While awaiting season 2 of the first talent show based solely on the candidates voice judged blindly by professional judges we take the opportunity to return to the first edition of this programme which was a success Fact is that it involves listening before seeing but we the privileged audience discover performers on the screen before the judges even deign to look back at their notes Text and photos www soundlightup com And we can see them clearly under the amazing lighting implemented by Hr d ric Dorieux and the Phase 4 supplier who remind us that the programme is first and foremost a show which is watched as much as it is listened to Not surprising therefore that a large lighting kit is rigged all around the
24. IX trademarks of AYRTON ROLLAPIX registration model rights reserved ROLLAPIX 100 LED LINEAR LUMINAIRE ROLLAPIX 100 is the first motorised linear LED luminaire fitted with a 4 1 100 double zoom system patent pending The motorisation of the Tilt axis allows the addition of numerous options to this luminaire such as the creation of partitions barriers or mobile virtual doors The ROLLAPIX 100 is the ideal tool for the creation of virtual lighting decors Le parc de l v nement 1 all e d Effiat F91160 Longjumeau France T l 33 0 1 69 10 33 90 www ayrton eu AYRTON
25. MPGNY profile SLU Is there competition between the brands that you distribute J r me Br hard No our brands com plement each other If you think about Robe and Ayrton for example these are two complementary product lines that meet different needs Ayrton is the first company in the world to develop a mo ving head LED and its technical solutions are different to Robe s Robe is very well established and deve lops sales projectors in very large quan tities It takes fewer risks than Ayrton a manufacturer that deals with more original higher risk products It has the courage to manufacture something really different based on a crazy idea from its designer Yvan Peard Today we have a complementary quality range which is comfortable and have no intention of taking on other brands Illumination of the facade of Les Quatre Temps shopping center Paris La Defense lighting design by Voyons Voir performed by VD by using 500 MODULED 150 RGB projectors SLU What has been the development in sales with Ayrton products J r me Br hard With the arrival of the Ice Color and Wildsun their sales doubled in 2011 compared to 2010 In 2011 we sold more than a hundred Ice Color 500 units two hundred Ice Color 250 and three hundred Wildsun 500 units in a little over six months since the pro ducts didn t come onto the market until June This year we tripled the sales of the entire range of Wildsun500 Ice Color Versapix and R
26. TILT movement is achieved by a toothed belt drive and wheels in a high gear decreaser controlled by a recessed motor and a printed circuit board for controlling the zoom function 14 The other arm This arm houses the PAN and a relatively simple printed circuit board To be noted that the cables that go to the head cross through a Teflon conduit to avoid any risk of abrasion during repeated rotations AYRTON fest NARROW BEAM MEASUREMENT ON 2 AXES at 5 metres Illumination in lux Hot Average illumination EI oon verterem ud Centre 8450 8450 Light ring 1 8120 7960 8020 8070 8043 Light ring 2 7100 7050 7100 7260 7128 Light ring 3 5920 5650 5780 5680 5758 Light ring4 4440 4140 4280 4250 4278 Light ring 5 3100 2910 3050 2940 3000 Lightring6 2050 1870 1999 1840 1940 Light ring 1260 1190 1270 1170 1223 Light ring 8 769 736 807 712 756 Measurements at 1 10 Beam diameter 1 56 m Measurements at 1 2 Beam diameter 0 81 m Corresponding angle 9 26 Corresponding angle 17 68 Illumination at the centre when switching on 9126 Illumination at the centre when switching on 9126 lux lux Illumination at the centre when hot 8450 lux Illumination at the centre when hot 8450 lux Flux when switching on 3917 Im Flux when switching on 6727 Im Hot flux 3627 Im Hot flux 6229 Im INTENSITY Figure A Light intensity curve for the narrow beam INTENSITY
27. agenta Red Blue M 1410 16 69 Cyan green blue 4040 47 81 R G B only 4900 57 99 all LED R G B W 8450 100 Movement and noise The Pan and Tilt movements are vivid and sharp we really like the generous choice of motors The reaction times are almost instant The PAN TILT speed is adjustable on the device via the menu 4 speed These settings primarily affect the absorbers at the end stop The go return speed of the 360 PAN varies from 2 3 s to 3 4 5 while that of the Tilt for a 180 go return varies from 2 3 s to 3 6 s very good results As regards the slow movements such as the diagonals the projector performs decently and the results are good As for the noise levels the device really impressed here it is particularly silent It has several control modes for its fans but for standard use the Auto mode did the job nicely the maximum threshold during move ment measured at 1 metre is only 41 dB which is 33 1 dB ambient When the device stopped moving with the LED lights on the noise dropped to 39 5 dB finally falling to 36 dB shortly after the LEDs were extinguished the head fan stops at this point Finally when we press our ear to the device we can faintly hear the base fans and as in all the scenarios tested the head fan is almost inaudible No annoying audible frequency was noticed CONCLUSION The Wildsun 500 is an atypical device at first glance that shines by its build quality and i
28. alongside Jean Louis Pernette and Christian Rezgui He maintained Avab organ stops for a year and a half before leaving for Impact Diffusion where as sales manager he was put in charge of distributing MA Lighting and Prolyte products Jerome is brilliant with an insatiable curiosity for technology of all kinds and a big fan of robotics He built up the distribution department by taking a number of emerging high tech brands in the fields of LEDS lighting control and sound When the company decided to go it alone five years ago under the name of Axente he was the natural choice for Managing Director Sales director Alain is a walking encyclopedia Mother Nature has gifted him with an exceptional memory and a boundless curiosity He knows everything there is to know about lighting technology including all the catalogue products and beyond He started his career at Audiocom and Masterlight and then moved into distribution with HTD before joining Impact diffusion in 1998 He is head of sales in the lighting and structure department and manages the sales and technical teams Sales manager for the south and relations manager with stage lighting designers Fabian began his career at the age of 16 at a local radio station Indulging his passion for all things technical he went to work in a Spiral Flash company in Mayenne in 86 He learned everything he knows about sound lighting and video with Christian He met with suppliers
29. ded effects The 2 carrying handles on the base have a nice rubber finish and the underside reveals a plate for fixing a pair of Omega clamp rings This plate can be removed when for example the device is mounted directly on a standard support with 4 screws The interior contains the motherboard display onto which a small green card is grafted this is the OEM Wireless Solution module On remo ving this we discover 4 driving cards used to control the four LED rings Independently Then the electronic power supply 15 located at the centre consisting of 2 distinct blocks housed on both sides of the PAN AYRTON LIVE _ PAGE 33 10 The power supply The AYRTON moving head luminaire has a dedicated electronic supply consisting of 2 separate blocks in the centre of the base 11 The connectivity of the device The basics are there Direct power supply XLR 3 and 5 pin In and Out DMX connectors on the bases on off switch fuse holder and the retractable antenna for the wireless DMX system well protected against impacts in its housing 12 The electronics Almost all of the printed circuit boards are housed in the base of the device with easy access The motherboard complete with display and buttons is at the bottom capped by a green card which 15 the wireless DMX module The 4 boards at the top are the drivers for the 4 light rings containing the LED sources 13 One arm Traditional the
30. e forming the base Under the influence of heat the mixture contained in the tubes becomes gaseous and therefore pumps the calories It then disperses in the pipes to the other end where the fins are installed which in turn are ventilated and cooled by the single fan fitted to the device head This cools the mixture which becomes partially liquid and returns to the heat source and so the cycle continues This closed circuit system should not require any special maintenance The fan used for the heat pipe is mounted on flexible fastenings in order to avoid transmitting its vibrations to the device and to reduce noise THE BASE On one face the base comprises a connector panel equipped with classic XLR 3 and 5 DMX IN and OUT connectors the power switch fuse holder and a retractable antenna system for the wireless DMX solution installed on the device at source a very useful little refinement 13 The front panel on the base 15 dedicated to the man machine interface In addition to the colour LCD graphic display that really looks great albeit a little small out the device menu is still legible there are 6 keys for the menu navigation and a dedicated button to start the display when it is running on battery power As the device has this accessory integrated the settings can be selected in a hurry on removal from the flight case We also notice a tiny hole for the microphone for the audio trigger function for the recor
31. ed its aperture Jeff The Wildsun pans and tilts are extremely fast Our movement ef fects and the ability to quickly change focus from one location onstage to another are now greatly improved The Wildsun zooms to a wide 45 degree flood which covers a lot of territory And it s gives a smooth field of light At 11 degrees of spot focus the light is extremely bright tight and results in a very strong beam of light During the show often change the zoom of the lights as needed for any particular cue But do prefer a medium sized zoom sie that works for most cues SLU What is exactly the mission of Wildsun 500 Jeff use the Wildsun 500 as the base layer of color and ambience for the overall onstage lighting The Wildsuns are used to make a very AYRTON LIVE _ PAGE 20 12 Exceptional depth thanks to a multitude of sources and to Jeff Ravitz s know how 13 The audience is used as a backdrop for an effect Different lighting for the band and the Boss which does not set off the instruments 14 The Wildsuns treat us to wonderful colours This time the concept places the band in the background in order to focus on Bruce Springsteen AYRTON SNOW repor strong full stage color statement that can change quickly as the music or mood changes It s the soft texture use in counterpoint to the quality of the sharp profile fixtures SLU Will you select this Wash on TV sets Jeff can make use o
32. el makes it perfectly suitable for both outdoor and indoor use MORPHEUS SUPPORTS RINGO STARR AND HIS 13TH ALL STARR BAND WITH AYRTON WILDSUN 500 C Morpheus Lights was selected as the lighting vendor for legendary musician Ringo Starr on his summer 2012 US tour Morpheus is providing personnel and equipment for the project Veteran lighting designer Jeff Ravitz of Intensity Advisors has in particular chosen Wildsun 500C LED fixtures by Ayrton Asked for comment on the performance of the new Ayrton LED fixtures Ravitz says The Wildsun 500C gives the Ringo Starr show a base of strong intense color love the natural warmth of incandescent sources and that is not lost using the Wildsuns Also we can reach far into the blue side of the spectrum as we never could before Sleek modern fast and capable of interesting effects without exaggerated visual pixilation they also fade and bump in a way that allows incredibly elegant and crisp cueing With less weight and power consumption in a compact fixture that mounts comfortably in our truss system they are a welcome addition to our tour package MARINELAND IN ANTIBES Marineland a beautiful aquatic park situated on the French Riviera offers amazing synchronized dance show performed by Orcas This ballet takes place during the summer season and plays obviously during the day but also at night with loads of floodlights washes and follow spots in order to miss nothing of these fr
33. ending Equipped with continuous double rotation in PAN and TILT mode it is able to display media on the display side or reflect light on its mirror side The display is made up of 36 12 Watt LED RGBW modules fitted with high output 45 mm optics the unit runs on a sophisticated and particularly quiet cooling system and offers an overall luminous flux in excess of 15 000 lumen for a consumption of 450 Watt This new luminaire integrates the new 4G AYRTON technology that allows the individual control of each LED source in expanded FULL COLOR mode RGBW MAGICPANEL 602 offers the option to display numbers letters graphic effects or images but it is also a fabulous lighting projector which can also be used as a dazzling projector The MAGICPANEL 602 can be used in groups to create rotating screens on the two axes and produce completely novel effects 7 000 K 20 000 Lumen 380 Watts The Wild Efficiency AYRTON Light in action Ayrton 1960 likes 516 talking about this v Jaime Ayrton 71 960 About Photos Videos Notes Likes Likes 1 960 09 30 2012 Audience 42 033 from 09 17 2012 to 09 23 2012 Most popular publication 8 958 AyrtonLive 3 Coming soon www facebook com pages ayrton 209728302396312 AYRTON LIVE _ PAGE 6 ie even gt Am I Ff LI m UN ions subject a W
34. er and respond to the constellation of Phase 4 projectors 2 The walls of the set are alternately clad with LED video components Jarag Chromlech frames and Ayrton Wildsun 500 C LED washes 3 Of the baton beams and colours a winning recipe AYRTON SNOW epo 4 A scene from the Prime segment during rehearsals with LED and lamp sources video and Wildsun 500 in perfect harmony Lighting team Director of photography Fr d ric Dorieux GrandMA operator Jonas Mytnik Master electrician Thierry Conduto Automated lighting technician Thomas Roussel Images and media servers Olivier Weber aka Blondin List of lighting equipment PHASE 4 supplier 24 VL3000 Vari Lite 66 VL2000 SP Vari L ite 38 VL500 Vari Lite E 5 Sharpy Clay Paky E 25 Alpha Beam 1500 Clay Paky E 13 Alpha Beam 700 Clay Paky E 13 Alpha Beam 300 Clay Paky E 26 Wildsun 500C Ayrton E 88 Studio Color 575 High End system 23 Jarags Chromlech E 24 ShotLight Clay Paky SLU The kit leaves a lot of room to the Clay Paky range with beams and Sharpys but also with the rarer albeit very beauti ful ShotLights Why did you choose them Andr Mytnik It is true that we have many Clay Paky beams in this arrangement and we are very pleased with them Of course the 1500 has minor shutter issues that we are aware of but overall the range is interesting just like the Sharpys obviously which for their
35. ers often need to give us a quick call for a quote or to check on their order We are in a profession that requires personal contact am a big fan of technology and ultra robotics and although plan to set up a bar code system to improve on the quality of the deliveries the interface with the customer will always remain human Yes customers will soon have a business account and will eventually place their orders via the internet but it will be an add on tool for convenience LED vs Bulb which wins today SLU If we talk about trends in lighting and therefore LED products wash products in particular what is the proportion of sales of bulb projectors compared to LED projectors J r me Br hard would say 8096 LED to 2096 bulb The scales have tipped This is a recent development It all happened a year ago It was the quality of the products that accelerated the process Adam et Eve the musicals written by Pascal Obispo lit by LD Dimitri Vassiliu who selected Ayrton WilaSun 500 C wash for coloring the stage Contractor Dushow group Photo Renaud Coriouer LEDs have been around for years Axente started dealing with Color Kinetics 13 years ago for example The LED revolution started with the ability of LED products to compete with 5 5 W discharge lamps the most commonly sold on the market even on a global scale The benchmark products are still Studio Color and the Mac 600 It also happened with the RGBW m
36. es AYRTON LIVE _ The ideal distributor With 35 brands in a catalogue that combines audio lighting and structure and a team of 33 people led by Jerome Br hard Axente is an intuitive distributor who quickly realised that the future of lighting was in LED and focused on sound values to ensure its success optimum customer service and loyalty to its suppliers The brands have in the main been selected from conception in the halls of the international fairs by this team of technology enthusiasts and most have become world leaders in their preferred market Prolyte MA Lighting Robe and Philips Color Kinetics to name but a few Proof indeed that the Axente team has no shortage of flair Now it is Ayrton who seems to be throwing their hat into the ring of stage lighting 200 Arcaline Ayrton has been installed by Laurent Hattinguais from Cam l on Dushow group in the Th tre du Chatelet under the direction of LDs Jean Luc Choplin and Jacques Ayrault Photo Arnaud Legue But Axente is primarily the story of a team effort We should really talk about the people who built it mainly Sandrine and Alain Rene who joined me 14 years ago and Thierry in the depot 13 years ago sandrine is in charge of sales administration and is my double professionally speaking manage strategy and she applies it to everyday life Alain Rene oversees the lighting structure team in other words six sales reps for France Alain Hercman
37. f cool white at 6700K as 4th source is unique 28 388 293 293 22 to the Wildsun 5005 If it favours the impression of light power expe TENSIUNE Sus ace 23 Su see rienced by the human eye it can come at the expense of a colour Light ring 384 384 384 384 384 palette that is rich in warm hues and ambers Light ring 8 383 383 383 383 383 The multi shadow adverse effect generated by the beam of a projec Light ring 9 382 382 382 382 382 tor equipped with multiple sources is naturally present here although Light ring 10 300 300 300 300 300 only slightly Light ring 11 373 373 373 373 373 The quality of the colour mix is very good the colours are uniform and Light ring 12 365 365 365 365 365 do not have the tendency to vary on the periphery of the beam The Light ring 13 348 348 348 348 348 colour palette that can be obtained is very rich and the addition of white Light ring 14 324 324 324 324 324 allows for the most subtle of pastel shades Light ring 15 313 313 313 313 313 Light ring16 293 293 293 293 293 Effects Light ring 17 275 275 275 275 275 The dimmer is progressive see its response curve It is very good Light ring 18 257 257 257 257 257 at low levels without any visible plateauing effects it is controlled in Light ring 19 234 234 234 234 234 16 bit mode figure D Light ring 20 213 213 213 213 213 The Strobe function has a maximum throughput of 25 Hz which is Light ring 21 192 192 192 192 192 normal given that the function
38. f old school components and innovations It is one way of balancing it all for Jeff BETWEEN RADICAL CHANGES AND SURE BETS And since Todd and Jeff like to combine innovations and safe bets the house projectors run with new sources in a show reproduced on two lighting consoles which also blend old and new school thanks to a Pathfinder interface allowing an Avolite Diamond ll and a GrandMa to be linked to manage the intensities by using the dimmer its Todd s job and the effects and colours on the automatic console Do you have a lot of encoded memories Todd We have just programmed more materials than necessary today We like to regularly refresh these basics During the last tour we catalogued some 260 different songs that Bruce has performed oince we have to have a wide array of positions to send whenever he decides Hey I m gonna sing this song since haven t done it for 30 years whilst this song is obviously not encoded We have to find the best general approach in order for it to appear to have been custom made for him ABOUT FOLLOW SPOTS AND MEN With 11 follow spots to ensure the performer s and his band s front and back we were only mildly surprised to see seats fixed on the galleries catwalks trusses very close to the stage in the front but also at the back the stage surrounded by the audience just like in an arena AYRTON SHOW repor showcasing Bruce Springsteen in great form b
39. f this light for TV shows Since our shows are shot in high definition for the screens can see that the Wildsuns work well on camera And between the screens follow spots other spots the new LED sources and the old Morpheus moving heads not to mention the strobes that also made their debut during the 2012 tour some 350 projectors illuminate the Bercy stage tonight And even if sometimes the Sharpy s batons or spot beams are not really recognised due to fog they are certainly present for the first time near the Boss but still very discreet this is not the goal pursued by the lighting designer Jeff Ravitz in fact designed traditional rock concert lighting Ameri can style multiplying the scenes with few lights dimmed favouring a constant mood highly coloured and nuanced helped by the superb Wildsun colours which form an integral part of the show By truly showing us all of the performers present on stage thanks to the nume rous profile spots and the VL1100 installed in fore and background he creates a certain intimacy enhanced by a very warm ambient colour temperature 50 yes we are surprised not to find ourselves amid beams galore and radical changes between songs but we are filled with wonder about the consistency of it all and the integration of new LED sources next to the traditional Var Lite spots and Morpheus projectors we discover Big L2D2 LED moving heads are spectacular and the whites of the Ayrton moving
40. glish and acts as an interface that learns the technology quickly He then started freelancing and continued his career in Switzerland where he became a technical and artistic lighting technician He returned to France with a strong background in consoles and media servers He was hired by companies that outsourced the technical amp creative parts to him on sites such as amusement parks He later moved into fixed installation by creating Boreal Vision with a team that of up to 21 people In 2006 he joined Axente as product manager AYRTON LIVE _ PAGE 27 AYRTON profile SLU Do you feel the appeal of a green approach Jean Philippe Josserand t was felt enormously with the emergence of LED and some municipalities have been seduced by the very smooth sales pitches on lighting levels particularly for lamp posts and the life soan of LEDs only to be later disappointed But this is not our market It is important not to lose sight of the fact that an LED projector is still elec tronics with a power supply that is always the weakest link in LED projectors SLU So what is the lifespan of a power supply Do you have any figures for fixed systems Jean Philippe Josserand can t really speak in a syste matic way but what is certain is that it is possible to replace the power supply when it fails in our products They are not put in the bin which is not the case for all brands Let s take the example of Quatre Temps tha
41. he Netherlands Thanks to its succesfull range of static and moving head luminaires Ayrton products has been recently selected for several major concerts shows and events Bruce Springsteen Wrecking Ball tour The Voice Ringo Starr US summer tour Julien Clerc european tour and many more Ayrton was the first company to introduce a LED moving head on the market in 2002 and still continue to innovates today thanks to its dynamic approach of the entertainment market WILDBEAM 302 LED moving head using 19 RGBW 15 Watt Osram light sources coupled with an ultra fast 8 to 48 zoom An innovative and advanced optical system allows ultra bright very concentrated beams to travel far and wide with deep and colorful wash capacity Concentric circles are individually controllable allowing special effects an interesting characteristic showing the versatility of this projector The WildBeam 302 benefits from a large color screen an internal battery to run the unit when without access to power distribution and new Neutrik PowerCON True One power connectors The internal structure is made of steel and aluminum which makes the WildBeam 302 road ready An elegant design for a very compact lightweight efficient and truly powerful motorized projector MAGICPANEL 602 Firstborn in a family based on the use of continuous rotation MAGICPANEL 602 is a modular LED luminaire allowing for a broad range of diverse visual effects patent p
42. he brands out between us Jerome Br hard of course Sandrine the product managers the sales people and myself There are about a dozen of us who work on it The prices for example are updated and checked by Sandrine and we have two graphic designers who take care of the DTP It can be downloaded from our website as you know and is available in print over some 500 pages and that s just for lighting and structure SLU Do you also get involved in customer events Alain Ren Lantelme Yes we like to participate in local events open houses or birthdays We bring a material and human contribution in this case On the 25 year anniversary of Spec taculaire we provided the material and at their request gave them a little talk on LED products SLU Do you have a preference for Ayrton because of their proximity Alain Ren Lantelme We apply the same treatment and care to all brands Our basic aim is to offer the best product to the customer We do demos and the customer is king in all cases Fabian listening to the lighting designers Fabian De Brucker is the salesman for the South of France for lighting products and structure He has a special relationship with the stage lighting designers based on trust and a shared AYRTON company profile is a formula 1 simulation center in Lyon Facade highlighted with Arcaline Ayrton Lighting Designer Bruno Guillemin Contractor Audio Visual Solution ERG E The Light
43. heads truly add value to a lighting design which attaches as much importance to the accuracy of the colours as to the variations of white We had gone to see a great performance and we discovered a whole way of working light of moving the artist and his audience to the heart of the show and to take up a large venue such as Beroy to our great delight truly enjoyable and generous live performance B AYRTON LIVE _ PAGE 21 List of Wrecking Ball tour equipment AUTOMATIC PROJECTORS E 24 FaderBeam Morpheus Lights E 22 PanaBeam XR2 Morpheus Lights E 12 BriteBurst 2000E Morpheus Lights E 52 Wildsun 500C Ayrton E 28 Sharpy Clay Paky 1 MAC Aura Martin 8 21 VL2500 Spot Vari Lite E 22 VL3000 Spot Vari Lite 15 VL1100 TSD Vari Lite 1 VL3500 Spot Vari Lite E 6 1202 Zap Technology E 6 ColorFader3 Mfader3 Mor pheus Lights 18 ColorFader3 XLFader3 Mor pheus Lights FOLLOW SPOTS E 8 Topaze Robert Juliat halogen modified 3 Manon RJE Robert Juliat electronic ballast TRADITIONAL AND LED m 12 CP IP Blinder Morpheus Lights E 34 ColorBlast Color Kinetics E 5 ColorBlaze Color Kinetics 16 ColorBurst Color Kinetics E 3 iW Blast Color Kinetics amp 2 COLORado 2 Zoom Tour Chauvet E 10 SourceFour PAR ETC 6 SourceFour 19 ETC E 1 SourceFour 14 ETC E 12 Atomic 3000 DMX Martin Professional CONTROLS 1 grandMA MA Lighting E 1 Diamond 1 Avolites E 2 grandMA lite MA Lighting
44. house of Vernezay illuminated by LED ramps Arcaline Ayrton passion for beautiful lighting SLU Fabian how do you approach lighting designers Fabian De Brucker hey are very fond of new things and especially how they can be used My role with the designers is to present the prototypes and even to make improvements to any negative points This requires me to have all the information and prototypes from the manufactu rers which is complicated when you are an importer as the brands often do not inform us about their prototype designs Two years ago approached Yvan P ard and therefore Ayrton and we really connected well As he is a manufacturer we were able to meet the designers and design products that really meet their needs SLU Do you adopt this approach for all the products in the catalogue Fabian De Brucker theory yes but in reality it is not the same for the other brands offer the finished products unlike with Ayrton where can present the prototypes and Yvan is very attentive to the feedback This is not a choice it is just a fact But can understand why a manufacturer does not want to reveal his prototype designs to his customers SLU Are there any products that were changed once the designers had had a look at them Fabian De Brucker would say so there are definitely things that have been changed This is what allows Ayrton to move forward AYRTON LIVE _ PAGE 25 AYRTON COMPGNY profile
45. iendly stars In order to light the entire basin Lionel Mallet the show s technical manager selected the Ayrton IceColor 500 amazed by the level of illumination and color quality It has only four IceColor 500 uniformly distributed over the roof of the grandstand to cover the entire marine mammal s playing space Installation Fabrice Perez from Lumitech AYRTON LIVE _ PAGE 4 AYRTON QUALIFIES FOR THE VOICE TOUR een TS M ___ After having successfully lit the French version of the TV show The Voice with a number of WildSun 500 Ayrton has qualified for The Voice Tour all across France Indeed several of our VersaPix model selected by lighting director Alain Longchamp and provided by the Dushow Group are also being used on the tour Thanks to their eight 8 individually controllable narrow beams VersaPix produces superb original effects SINGING IN THE RAIN Bet o d Y gt Photo credit Marco De Angelis some of the concerts on the european leg of Bruce Springsteen and the E Street band Wrecking Ball tour took place in the rain that did not stop The Boss and his musicians heating up the atmosphere We can see an example of this in a photo from Florence seen above where the WildSun 500 continue to work perfectly in this humid environment despite their IP20 ingress protection level AYRTON LIVE _ PAGE 5 AYRTON JEWS LDI 2012 AYRTON PERFECTLY MASTERS COLOR 10 years ago A
46. including Martin with Jean Pierre Garnier in 1995 for whom he became the salesman for the South He worked closely with the big providers and by attending concerts where the products were in use he was able to meet lighting designers and to gain their confidence He quickly became the sales manager for the large business accounts for the entire southern region In 2007 he left Martin to join the Axente adventure in the same role sales manager for the south and relations manager with the lighting designers Head of architectural projects With 20 years of experience and a member of the ACE Jean Philippe is passionate about cultivating his knowledge by following the evolution of the industry in all its guises legislative technical and environmental Before joining Axente in 2005 Jean Philippe worked in the lighting domain both in a technical and architectural capacity specialising in fibre optics He first spent eight years in a small company called Tectron then seven years at Philips When he arrived at Axente years ago he adapted naturally to the world of light emitting diodes and he has a particular passion for interior and exterior building lighting Product Manager Guillaume embarked on his career 16 years ago with a road plan to welcome Tina Turner at the Palais des Sports in Lyon He was then hired on a few tours as well as some fixed resident positions Guillaume has one key advantage he speaks very good En
47. ional style with a setup in which the audience surrounds the stage area and the singer for a total communion which was an obvious pleasure to watch Text and photos ll www soundlightup com But since the sixty year old rock star never ceases to reinvent him self and above all aims to satisfy his fans the light show once again created by Jeff Ravitz and the teams from Morpheus in turn manufac turer supplier and provider of technical support for the installation had quite a few surprises in store for his fans from the get go as well as for our eyes which were focused on even the smallest projector rigged in the Paris venue For example the lighting design always true to its warm whites and va riations in intensity innovates this year with the integration of Ayrton and Zap Technology LED moving heads Clay Paky beams and even fog AYRTON LIVE _ PAGE 12 brilliant production for 2012 which whilst always focusing on the music and its performers indulged in a few technological infringe ments whilst preserving its must haves colour temperatures at 3200 K televisual shading of the light ambiences projectors assembled by Morpheus and spotlights galore We were therefore filled with wonder to meet the lighting team in situ from operators to lighting director not to mention the technicians And to conclude the icing on the cake the American lighting designer Jeff Ravitz who has earned numerous awards in ente
48. is controlled exclusively by electronics Lightring22 174 174 174 174 174 mE u mum 162 162 162 162 162 aes a LED e A the ntr n n vice It i Light ring 24 Te ve m y TE al LED expands the scope of application of the device It is pos sible to work the two colour beams for example or even to use the Light ring 25 130 130 130 130 130 m Tr A T central LED exclusively to produce the discreet in view cushioning ae The control channels are dedicated to the animation of these LED di SE a n Hs ES light rings offering the choice of several light chasers for which it is Centrine g lt 39 ia 2 possible to adjust the speed and cross fading An effects dimmer Light ring 29 85 85 85 85 85 can even mix fixed CMY colours and dynamic effects or the pre pro Light ring 31 78 78 78 78 78 As the device also has a virtual colour wheel with different tem Light ring 32 73 73 73 73 73 peratures of white colours plus a handful of specific colours in order Light ring 33 64 64 64 64 64 to offer bi colour combinations with only some of the LED light rings Light ring 34 55 55 55 55 55 coming into play That said on our test model the white colour tempe Light ring 35 4 4 4 4 4 ratures had not yet been calibrated and pre recorded colours do not Light ring 36 40 40 40 40 40 match the references of the Rosco or Lee filters specific DMX channel manages a dynamic variation of colour in cross fade and the ru
49. ith each of their technolo gical features and fields of application He is the ultimate weapon at the head of his sales team all chosen for their technical expertise in the field and their market knowledge SLU Alain Ren what is your role in the company Alain Ren Lantelme have a supervisory role am responsible for sales in the lighting and structure section so manage the sales and take part in the negotiations with service providers and installers at their behest We have a team of 6 sales people Jean Francois Vivier for the Western region Benjamin Dechelette for the East Fabian De Brucker for the South Yannick Danguy and Vincent Billiard for the Greater Paris area and Jean Philippe Josserand who has a national role dealing with more fixed architectural installations assisted by Damien in the office We also have three young women in the sales administration team who assist the sales people Aurelie Foucher Cindy Gharby and Rosy Pignot managed by Sandrine Brisach The role of the sales manager 15 to take charge of general policy and make sure that the targets are met It therefore involves really Knowing the market and putting yourself out there to see what s new There is also a dimension to the job that requires you to develop and maintain relationships with suppliers There is a technological aspect as well You can ask questions to get feedback on the products and pricing in the short and medium term Axente does not
50. jectors operate after a journey in a truck AYRTON LIVE _ PAGE 14 on the roads in the USA or Europe They have withstood it rather well We have not had any mechanical breakdowns Except for the issue of rain The rain is our worst enemy when it comes to electronics Especially where the connectors are concerned just because of the humidity It is a constant battle in lighting But we will be working with a huge stadium parachute now in order to avoid these technical issues Is the energy saving aspect in this type of projector im portant to you Todd Yes it was since am one of those guys on the tour who is used to going the whole hog used all the current in the past and therefore know what it means to unwind many cables for many different pro jectors Especially when you use traditional ones We like the fact that these machines are becoming smaller and smaller with the same yield in lumens When plan like to have washes that are a little less powerful and like to use my figures and content that will integrate into the show without the need for 4 smoke machines and 4 fog machines on stage in order to see the spots Therefore believe that the LEDs allow this to be avoided Everyone tries to create a brighter wash The VL 3500 They are so powerful that you can t see anything else on stage To me it s counterproductive believe that we have found a great balance for this show with a blend o
51. led independently or in symbiosis which adds a very interesting effects dimension to this projector s capabilities It is equipped at source with a nearly universal wireless control system and the firmware may be updated if necessary through the DMX line via a dedicated housing There are 3 DMX control modes on offer allowing the user the choice of 17 24 or 49 DMX channels for a more or less evolved level control Lastly what we find on unpacking deserves some attention a sturdy brown cardboard type sock protects the camera And a nice surprise inside in addition to the variety of accessories such as the pair of Omega hooks a safety sling and user manual in English French there is the projector comfortably housed in a black casing moulded perfectly to its shape The foam protection which comes as standard is stamped with the Ayrton logo and is reusable and designed to faci litate the manufacture of flight cases while providing optimum protec tion for the machine A bright idea that will delight providers photo 1 amp 2 UNDER THE HOOD THE HEAD This includes the essential functions of the device A thick plastic polycarbonate glass housed in a rounded wide black plastic cover protects the full light output The closed design of this set up means that the optical system is kept free of dust 4 screws allow for easy removal of the casing thereby uncovering the movable plate of the zoom which houses
52. m And they become part of the show also When they are all singing along with him they must have good lighting in the appropriate color for the song The au dience reacts to this by being even more responsive and it goes back and forth between Bruce the band and the audience Of course sometimes it s important for them to be in the dark so only Bruce and the band are visible Bruce Himself when he is not doing something particularly drama tic he does like to look good on the screens and to the audience work hard to make sure the lighting angles are as flattering as possible of course so he does look his best But he does not like to look flat meaning he likes the lighting to create interesting shadows on his face and body We also are very careful to make sure he has good light on him from behind so he appears to pop out of the background and not to make him blend in to the background Bruce loves all colors and he trusts me and my team to choose the best colors for each moment of each song But sometimes he has a very specific idea for the color of a song and we are happy to oblige AYRTON LIVE _ PAGE 17 Jeff Ravitz l ve been designing lighting professionally since the early 1970s when got out of college grew up close to New York City and loved Broadway shows attended and graduated from Northwestern University near Chicago received a degree in theatre and would have been hap
53. manages three sales people on the audio side There are five people in the after sales service for both sound and lighting They in turn train our suppliers The After sales service plays a key role in distribution It order to be successful in this business you need a large technical staff The heads of products Guillaume Perrier and Arnaud Pierrel for lighting and Christophe Carles for audio play a pre sale advisory role and are also involved afterwards in the handling set up and monitoring of the products They give demonstrations manage the demo equipment and support the sales team for some of the more specialist products They also get involved in customer open days They bring the showroom to life and provide training I d like to stress that we do not replace training centres we actually work in collaboration with them by training their trainers We only offer training to customers who have purchased a console or a media server The sales people have in depth technical knowledge and are very independent They are fully equipped and give their own demos PAGE 22 The sales administration promotes human contact and interaction SLU Have you set up a customer account system on the net J r me Br hard Sandrine is in close contact with the sales team and it is her team that takes the orders Everything starts from here we have stock worth up to 3 million We place a lot of importance on human relations Our custom
54. nd R gis Vigneron Dimitri Vassiliu for example does the lighting for many artists in France and is very keen to keep abreast of our developments which is very motivating He used a lot of our products in his latest projects such as Adam and Eve Julien Clerc etc And these products were conceived from our discussions like Rollapix for example as he wanted a small motorized tilt strip light placed at a low height in front of the stage and to light both the audience and the set alike Ayrton responded very quickly Rollapix was developed in no time at all We are talking about just a few months for defining the specifications producing the prototypes and launching a pre production run 50 units were made and purchased by Christian Lorenzi and Xavier Demay from the Dushow Group and we made a promise to guarantee their exclusivity for six months The Rollapix is now on the market Photo Leo Ferras SLU So if am a designer do you have any prototype designs to let me in on Fabian De Brucker Ayrton is going to manufacture much lighter and faster devices But can t tell you any more you re not a designer after all Laughter Royan Cathedral illuminated by the lighting designer St phane Viallon with Ayrton IceColor 500 Contractor Atelier Lumi re Jean Philippe at the offices of the consultants and the architectural lighting designers Jean Philippe Josserand manages the architectural projects He advises architec
55. nd the total absence of sha dows in the projection The spreading of colour was a great success We preferred this version where the beam is not as narrow as the 5 version but which in colour is highly efficient thanks to the white at 4000 It was close race with the Robin 600 which was also an excellent machine but where the layout of LED light rings appealed less to us for a TV application due to the black zones present in the colour projec tion We needed top colorimetry to be able to align with the Vari Lite colours on the screen and the Wildsun 500 C took up the challenge with notably superb pastels SLU How many of them do you have in Phase 4 Andr Mytnik Currently we have 60 of them and they come out quite regularly Fr d ric and Jean Philippe are very satisfied with them SLU And from the supplier s point of view did you notice pro blems with these projectors Andr Mytnik We had a few problems mainly electronic and dis play and assembly issues with fastenings that became loose But have to say that Ayrton was quite reactive and professional for each little mistake by resolving the issues very rapidly During the programme Fred and his teams noticed a software glitch in the colour transition but that has also been resolved very quickly AYRTON LIVE _ PAGE 9 AYRTON SHOW report 1 At the back of the set the 6 mm screens installed by IVS open to allow the candidate to ent
56. nics of the device are revealed 31 optical systems in 2 parts with unusual dimensions 45 mm in diameter The front part is mobile and constitutes the Zoom effect 6 LED Card The MCPCB board equipped with 31 Ostar RGBW multi chip LED by Osram AYRTON 7 Ihe Salad Bowl The cast aluminium frame which is the backbone of the head of the device a very attractive piece 8 Head fan A single fan cools the heat pipes that are in direct thermal contact with LED sources It is isolated from the frame by silent blocks to reduce vibration and noise 9 The heat pipes In the innards of the rear part of the head well protected in the finned frame the famous copper heat transfer pipe cooling system that is joined to thin aluminium strips is cooled by an efficient fan high tech we told you so J L l Pd L Fr V the naturally wide beam of the LED sources are very unusual pieces consisting of 45 mm diameter blocks They are grouped and maintai ned on a support plate machined from a single piece which is directly attached to the head s aluminium frame And finally when removing the plate and all associated collimators the 31 Ostar high power 4 colour LEDs from Osram are revealed combining red green blue and cool white in a single housing This device totals 124 LED units or chips The 31 multi chip LEDs are welded directly onto a single round MCPCB Metal C
57. nning speed is variable Measurements at 1 2 Measurements at 1 10 Beam diameter 4 10 m Beam diameter 7 2 m Corresponding angle 44 58 Corresponding angle 71 519 Zoom impressions Illumination at the centre when switching 432 lux Illumination at the centre when switching on 432 lux Illumination at the centre when hot 400 lux Illumination at the centre when hot 400 lux Our measurements reveal a zoom range that varies from 9 2 to 44 Flux when switching on 4760 Im Flux when switching on 7463 Im angle measured at i 2 which is a good 5 X ratio Flux 4408 Im hot Hot flux 6911 Im The narrow beam is very intense well defined with no leakage The wide angle lights over 70 we keep its value at i 10 the threshold is taken as the natural limit of the visual perception of the beam In this configuration the intensity curve is a gentle slope with a slight AYRTON LIVE _ PAGE 36 General specifications Length Width Height Weight Machine type Voltage and power consumption Weather protection Cooling system Checks Number of DMX channels and DMX Modes Lamp Service Life Lamp adjustment Hot relighting lamp Ballast Driver type Optics Access to head Access to arms Access to the base Access to effects Number of motors Connections Control panel Software version of test model Software updates Fixing brackets PAN and TILT lock Transport handle s Attachment point for the
58. o the backdrop for everyone The foreground plays a lot with theatre angles such as for example on the keyboard players It works well with the camera with the various shooting angles used during the show to achieve a nice contrast with highly theatrical profile spots You will notice that when Bruce is filmed half of his face is in the shade and we reproduce this each time Of course when he runs all over the stage more light is on him since we want everyone to be able to see him SLU Do you adapt your lighting to the numerous acquisitions and broadcasts during the show Todd Yes definitely That has been one of our concerns It is strange since now in the age of HD cameras you also notice more skin hues on everyone You have to worry about embellishing everything you possibly can to make sure that you are not creating too much material that would be muddy We have to keep full colours and pay attention to temperatures It has become very important to Jeff and he is a master AYRTON LIVE _ PAGE 16 on the subject He is a true specialist at this type of thing He went as far as to put CTO corrector on the colours in order to make sure that the achieved hue was the correct temperature is one of those guys who thinks of all these things It is probably the reason why he doesnt sleep much These are areas in which he is particularly brilliant have learned so much from him and from his job Enough to make us eager
59. ol lapix which came onto the market in September like to thank Christian Lorenzi and Xavier Demay from the Dushow Group who have really placed their belief in Ayrton since last year and actively participated in its development by investing in Rollapix Versapix and Wildsun before they even existed Phase 4 and Impact also invested in these products and many installation projects involve Arcaline and Ice Color On the tour Julien Clerc Symphony the famous French lighting designer Dimitri Vassiliu chose to place RollaPix and WildSun 500 C on stage for their beautiful light and also their silent operation Contractor Dushow AYRTON LIVE _ H QUA ui D E NE x v a a a r m wa ha 4 7 1 a rcr oW e E E m Eg ix 7 Fei dtu i T E Iu 4 SLU How do you yourself position Wildsun500 on the global market J r me Br hard These are the wash moving head LEDs with the best consumption lighting power ratio and therefore the best performance due to the heat pipe cooling system thanks to the drive and optics quality This is an original product range and that is what makes Ayrton stand out from the crowd Alain Ren the most scientific of the sales managers Alain Ren Lantelme claims responsibility for everything except the box He knows the lighting products and structure of the catalogue like the back of his hand w
60. ong all of the other whites in the show it is difficult to distinguish the LED source Itis a processed white in order to look warmer as all our key projectors are 3200K We love the golds and the colours of the old CMY gels on the Morpheus Color Faders since they are still the best colour mixing system today but these have been removed from the kit Obviously it is impossible to achieve this impression of golden yellow with an LED which is what represented a major challenge We managed to come as close as possible with the Wildsuns Did you run into problems with the Wildsuns Todd No not really That has just been a matter of practice We received them tested them very quickly loaded them onto the truck and sent them to rehearsals None of us was really familiar with them knew that we did not want to use a lot of parameters and therefore we did not immerse ourselves in the extended DMX mode We decided that 24 channels would be our basis which allows for a certain flexibility In fact am very happy with the general appearance of the sources Everyone was immediately concerned about the LEDs and pixilation And with the 4 in 1 chip RGBW behind the same lens this pizza effect is removed The LEDs also pleasantly illuminate the crowd Their saturation and colours on the audience are superb The Wildsuns have really per formed well in this show But there is always this big question with new technologies how will the pro
61. ore Printed Circuit Board with an aluminium core or similar material in order to allow optimal heat transfer between the LEDs and the cooling system It is an unavoidable fact LEDs get hot Very hot in fact since in general nearly 75 of the power consumed is transformed into heat And it is well worth knowing how to dissipate the heat if you want the LEDs to last Moving to the other side the head which is dedicated to the cooling system it is here that we see the manufacturers know how on this point The rear frame one perforated piece with numerous large fins somewhat resembles a salad bowl It is made of cast aluminium painted black It provides a protective layer enclosing the actual cooling system which consists of a stack of thin layers of aluminium in which cop per tubes are embedded This is the heart of the cooling system radiators known as a heat pipes using the principle of heat transfer through pipes and coolant Three heat pipes of this type form a ring AYRTON LIVE _ PAGE 32 each representing a 120 segment of a circle This system now standard in certain high tech products including the IT world is still very anecdotal in the field of lighting It works as follows a phase change liquid gas mix is sealed in hermetic tubes one end of which in turn is in contact with the heat source to be cooled in this case the board supporting the LEDs fixed in turn to a thick aluminium plat
62. part are highly reliable in addition to being perfect for TV The Shotlights are projectors that find to be very efficient With equal lamps they produce a lot more light when they are open at their widest than the Mac 2000 and in addition benefit from this shutter option that integrates two independent screens stroboscopes at the lens out put What is great is that these strobes in arch form can be controlled inde pendently but can also be synchronised And what is even better 15 that all the strobes in a set of Shotlights can be synchronised in order to create a vague effect for example Without strobe this Wash 1500 is efficient and very bright and is sufficient in itself but with the strobe it s an interesting solution For that matter we have no traditional strobes in the kit the Shotlights do all the work On the other hand they use a lot of energy as they have two power supplies one for the lamp and one for the screens strobes Currently we have about 30 of them They were also used on the Enfoir s tour by Jean Philippe Bourdon SLU There were lots of screens on the set did you supervise the images Andr Mytnik Yes it s Blondin Olivier Weber in charge of image creation at Phase 4 who took care of it We created all of the show s media in collaboration with production and the artistic director and it was a true challenge with an average of 11 medias per Prime segment AYRTON LIVE _ PAGE 10 He cont
63. py to do anything in that field One of my original friends in the business from my first job recommended me for the Springsteen job in 1984 l ve been with Bruce since the Born In The USA tour and it s been transformational on so many levels AYRTON 11 11 The Morpheus technical lighting crew headed by Todd Ricci right Valere Huart in charge of export sales at Ayrton second from left Lighting designer Jeff Ravitz Intensity Advisors LLC Lighting director Todd Ricci GrandMA operator John Hoffman Lighting team leader Brad Brown Carl Hughes Travis Braudaway Jimmy Varga Rob Savage Hadyn Williams Europe Julian Keil Europe Does Bruce has specific requests regarding lighting equipment especially LED projectors smoke or haze Jeff Bruce does not have any preferences about lighting equipment or projectors It is one area he allows me to decide on my own do try to show him our newest equipment after its been added to the lighting system just to keep him familiar with what l m doing And he is very happy to know how much energy we are saving by the use of LEDs Bruce has long worried about the effects of smoke and haze on his voice and therefore it has never been approved However this year we researched some hazers that are used on Broadway shows where singers are also quite sensitive to the issue of haze We tried it in rehearsal placing the machines far from the stage in order to achieve a
64. r wheel 4 40 Hottest temperature on the projector 66 between the fins of the chassis of the head measured at 21 C ambient temperature Ambient noise 33 1 dB Machine noise in operation 9 1m 36 dB machine in sleep mode LEDs off 39 5 dB with the LEDs lit ventilation active Loudest operating noise 9 1m 41 dB Full reset time OFF ON 42 sec Lamp reboot time OFF ON Instant on off of the LED light sources 360 Pan 2 3 sec Speed 1 mode to 3 4 sec Speed 4 mode 180 Tilt 1 sec Speed 1 mode to 1 6 sec Speed 4 mode 360 Go Return Pan 4 2 sec Speed 1 mode to 7 2 sec Speed 4 mode 180 Go Return Tilt 2 3 sec Speed 1 mode to 3 6 sec Speed 4 mode SLOW MOVEMENTS Fluidity of Pan and Tilt Very good 4 out of 5 AYRTON LIVE _ PAGE 37 AYRTON lest THE PLUSES e Ax 5 zoom that is particularly effective and quick on the final series e The effects offered by the LED light rings and the quality of the colour mix e The brightness power consumption ratio THE MINUSES e The footprint and weight e The size of the display small SEE INSTRUCTIONS ON USE DMX CHANNEL ON soundlightup com AYRTON fest 70 gRemaining illumination in Time 5 65 DERATING Variation de la luminosit dans le temps 5 min 10 min TIME RRR eer eee ee ee rimum mH 9 WILDSUN 500 5 45 min 50 min 55 min ih 1
65. rmer than most of other lights we tested which means the overall base of mixed colors would also shift a little bit warmer which liked Its other colors are pure and bright too And the overall diameter of the LED surface 15 larger too just like wanted That means the beam is fatter and the overall light output is brighter The fade up and fade down could be adjusted to be as smooth as incandescent fixture The cost of the light was another deciding factor The Wildsun was affordable which was important because we needed a lot of them Morpheus and agreed the Wildsun offers great features and attractive value pending rights reserved 22 c Specifications subject to change without notice AY COLORSUN 200 S LED STATIC LUMINAIRE The ColorSun 200S is a versatile luminaire with innovative technical features with a small footprint The new generation projector opens up new creative horizons due in part to its 4 1 zoom 8 to 32 and to the individual control of its 12 LED RGBW modules Matrix effects wash lighting beam effect etc the ColorSun 200S provides numerous user options ColorSun 200S the theatre projector of the future available now Le parc de l v nement 1 all e d Effiat F91160 Longjumeau France T l 33 0 1 69 10 33 90 www ayrton eu AYRTON AYRTON SHOW repor SLU What do you think of the wildsun zoom its spe
66. rolled them with the help of three Green Hippo Hippotizer V4 media servers of which one was an emergency one and controlled them with a GrandMA MALighting console linked in a network to that of the lighting operator in order to be able to truly harmonise video and lighting And it has to be said that this little world had to be harmonised Between the large Vari Lite spots that deliver their beams the armada of Sharpy 57 that balance their batons and the Jarag panels 73 that define the tier walls in addition to screens everywhere from floor to ceiling Pixled F30 the sides F15 at the performers entrance door strobes that are also washes and plenty of Studio Colors the notion of cinematography comes into its own Harmonising a set of 450 projectors with video and performers inte grating innovations that are showcased alternating Jarag and Wildsun 900 15 very pleasant on screen and in action and abiding by a rigid framework imposed by the d cor and the show s codes have been the mission of Fr d ric Dorieux and his teams throughout the programme successful mission that resulted in beautiful scenes where the pastels of the Wildsun 500 C had no reason to be jealous of the rich colours of the Vari Lite Of course one can dread the luminous cacophony with the help of beams but the very structure of the set and its d cors has on the contrary provided this large kit with a privileged means of expression wi
67. rtainment and to whom Bruce Springsteen has been loyal for nearly 30 years spoke to us about his choices that are always in agreement with those of the performer TODD AND HIS LIGHTING KIT By introducing a large number of innovations this year the large rig gives the wash projectors the priority by entrusting the major task of the show s ambiences and colours to the WildSun 500 C associated with other innovative LED sources such as the L2D2 LED head from Zap Technology or the Philips bars and converters which reduce the power consumption of an installation with numerous discharge lamps that use a lot of energy Todd what is your job here Todd Ricci am the lighting director and field designer Each time we need to create a new design for specific songs step in We adapt Jeff Ravitzs concept as the days go by in accordance with Bruce opringsteen s wishes Can you describe the kit you use in this concert Todd We use a lot of Vari Lites But we also have Wildsun 500 C which is a brand new product L2D2 an LED projector on a one arm yoke by Zap Technology with an interesting zoom system It is one of the products that surprised us the most with the Wildsun 500 for what it brought to the show beautiful blues and truly saturated colours Then for spot effects and gobo projection we have the VL 3000 which illuminates the stage and the audience For gobo effects and the bearings on the main stage we have the VL2000
68. sales service which is the same for everyone Guillaume Product Manager Hot Line consulting demos and training Guillaume Perrier is the Product Manager for Axente He is also the official Beta Tester for Grand Ma Coolux and Arkaos in other words his opinion is valuable and meaningful in terms of control SLU Guillaume what role do you play to support the sales team Guillaume Perrier They sometimes have queries that they are trying to answer or they may be attempting to advise customers on matters that stretch their knowledge They then contact me for the consultancy part get involved on site or by telephone Technical support can also come in the form of assistance by phone either because they do not know how to use the equipment or because there is a fault We are the front line and serve as an ante room for the after sales service for the diagnosis am also directly involved in consulting for very specific queries on the console the media server and sometimes the projectors Customers seek our advice in addition to the technical sales team Technical support also means training the customer or rather helping them to get to grips with the product This is particularly the case for MA consoles and Coolux media servers It is an important position SLU What kind of relationship do you maintain with the brands Guillaume Perrier We are often approached by brands seeking our advice am al
69. so an official beta tester on three brands Ma Lighting Coolux and Arkaos which allows me to keep on top of all their projects in the pipeline And give them any feedback and any expectation from the customer including any things that are missing or areas for improvement The suppliers often seek the opinion of the end customer and our opinion which is based on experience They are looking for an idea of what might be on the market for a specific type of product especially with regard to consoles and media servers New versions of the software become available every five weeks We let them know what is badly lacking and what does not work SLU And Ayrton Guillaume Perrier Given the proximity of Ayrton R amp D get involved at the product prototype stage giving my opinion on the light and colours the usage and the functions not to be left out also carry out the first tests on the pre production runs before the demos kind of the first user of Ayrton products in direct contact with their designer Yvan Peard We know that Ayrton could not find a more efficient distributor on the French market Conver sely with Ayrton Axente has a range of very original projectors that are reliable efficient and extremely attractive When there is passion and technological rigour driving two teams it is inevitable that they end up going in the same direction very far and right to the top AYRTON LIVE _ PAGE 28
70. specialise in budget products at all favouring effective solutions at the right price We have high quality products and products with highly competitive prices but never compro mise on quality and service SLU Your slogan Importer of Solutions what does that mean exactly PAGE 24 llli 15 j E quo BT M qa dM Am 3 Alain Ren Lantelme We offer a very high service level before during and after the sale Our sales people have a strong technical background and are able to give precise answers to customers questions All the sales people have a relatively complete kit in their car We are always prepared to let customers test the equipment as long as stock is available and we have large stock of demo equipment worth hundreds of thousands of Euros in fact We feel that we definitely have a high level of technical expertise at Axente and our customers seem to think so too Laughter We don t just sell cardboard so we spend a lot of time showing and explaining what we sell SLU When a brand enters the fold at Axente do you take on the whole range or only the part that interests you Alain Ren Lantelme When we decide to distribute a brand exclusively here in Axente we are fully invested and take the entire catalogue SLU Who exactly is responsible for producing the catalogue Alain Ren Lantelme It s a joint effort Every year we share t
71. stomers SLU Yes even with LEDs it is inevi table to lose one or two given how many of them there are J r me Br hard Indeed we do have to change the LEDs occasionally We have bought equipment that allows the circuit to be heated so that they can be taken out cleanly and replaced SLU What is the percentage of returns to the after sales service in Axente for LED projectors J r me Br hard Less than 296 are returned during the first year on all of our brands Sainte church in Lyon lit by 24 ModuLed 150 Ayrton installed by the company MK2 SLU Lets talk about your LED brands in fact What kind of relations do you keep with your suppliers Do you get to hear their feedback on orders out in the field J r me Br hard The strength of a great sales team is having a strong presence on the ground in order to gather information on the competition We are curious and we want to find out as much as we can There are plenty of people in this profession who have great ideas SO yes we have good discussions with the designers It takes time and trust is gained with people who respect you from a technical point of view With Ayrton which is a French company we are very close by which has enabled us to have a high degree of interaction in the set up on the ground Speaking the same language is a big advantage for technical questions and software developments AYRTON LIVE _ PAGE 23 AYRTON CO
72. t we talked about earlier There were maybe thirty Moduled units that were retur ned to the after sales service in Axente for restoration which were then reinserted into the front of the building and spread Over a tower A part of the Axente s team SLU What criteria do the designers apply for the selection process Jean Philippe Josserand he first priority is always the end result and the second is the durability of the equipment in order to keep the Client happy So designers will choose products that guarantee reliability and maintainability and Ayrton also has a pretty good reputation SLU Have you had any real complaints Jean Philippe Josserand A slight lack of flexibility for variations on the product range and special products They would ideally like an Ice Color that is smaller and more compact than the 250 a Color Ice 125 for example that could light a small column or a window frame that does not require a large projector Architecture also requires custom finishes and colours defined by the Ral colour chart SLU Which members of the Axente team do you work with on a daily basis Jean Philippe Josserand actually work with the entire team work with the product managers to find out about any new developments or for technical clarifications and the sales people as am in their network When they are involved in relatively long term projects they send me the files And finally also work with the after
73. th many riggings in the air of course but highly polished lateral tiered and angled ones In short TV lighting that moves and that brings our flat screens to life Long live Season 2 in order to disobey the rules of the game by watching before listening El Discover lighting diagrams ewes on the new website i5 at PETALA Ec The only limit 15 your imagination Specifications subject to change without notice AYRTON and VERSAPIX are trademarks of AYRTON VERSAPIX registration model pending All rights reserved VERSAPIX 100 LED LINEAR LUMINAIRE VERSAPIX 100 is a modular LED luminaire allowing the creation of a large variety of visual effects patent pending It is made up of 8 independent 15 Watt RGBW modules coupled with 8 optics The VERSAPIX 100 units can be interchanged to create complex luminaires in the shape of discs spheres AYR IC NI cylinders fans or be installed individually in multiple configurations The only limit for using the VERSAPIX 100 is your imagination Le parc de l v nement 1 all e d Effiat F91160 Longjumeau France T l 33 0 1 69 10 33 90 www ayrton eu AYRTON Lighting engineer Jeff Ravitz scores a pure Rock n Roll moment BRUCE SPRINGSTEEN AND THE STREET BAND AT BERCY To our great delight the Wrecking Ball tour hit Paris Bercy for two days allowing us to re discover a true American rock concert tradit
74. the 31 LED sources that are visible from the outside of the device photo 5 Three small stepper motors distributed at 120 degrees allow the movement when displacing this plate while 3 sliding guides ensure perfect alignment of the zoom lens with the collimators located under neath regardless of the position of the plate Indeed it appears that the zoom lenses fit into the collimators to form one piece when the zoom plate is in the lowered position narrow zoom The manufacturer did not skimp on the mechanical solutions used for the adjustments solid guides are provided with precision ball cages sliding along large diameter calibrated rods while the motors are soft mounted photo 3 amp 4 As for the collimators themselves the primary optics that channel AYRTON LIVE _ PAGE 31 AYRTON fest 1 amp 2 Packaging foam provided directly for a flight case The machine is delivered in a carton containing this famous damping foam that is specially moulded to the shape of the device 3 Zoom ball guides One of 3 precision systems that allow for the guidance of the zoom movement Distributed over 120 degrees they ensure the alignment of the zoom lens with the collimators during movement Clockwork precision 4 The zoom motors There are 3 micro stepper motors that ensure the movement of the zoom plate Their run is reduced 5 The light output 4 screws to remove the front cover and the mecha
75. ts consul tants lighting designers in the pre project stage throughout the whole of France SLU Jean Philippe what is the scope of your work in this area and who are your points of contact Jean Philippe Josserand The people meet at the pre project stage are generally the architects The more technical guys are the lighting designers and once the projects are under way the electricians installers and contractors where necessary We have solutions for outdoor lighting for both public and private buildings a town hall or a shopping centre for example Indoors we can work on a museum project or illuminate the entrance hall of a company headquarters or shops We consult on the equipment to use from the design stage which can then be adapted to achieve the desired result We also help the installers as they do not always have the same experience with DMX control or with networks in large installations and we deliver our products with the first programming In most cases Axente takes charge of the programming for the first show AYRTON LIVE _ PAGE 26 SLU How many people are we talking about Jean Philippe Josserand There are around 20 000 architects in France Axente is also a partner member of the ACE the association of lighting desi gners with 80 members They specialise exclusively in the designs they carry out in the architectural field We can also estimate a similar number who are not part of the association
76. ts technical nature Its multiple usage modes asso ciated with the internal effects make it easily accessible and effective regardless of the conditions of use Its very specific design and head covered with multiple large eyes provide a real visual signature it is immediately recognisable on stage Its effectiveness both in terms of the zoom and brightness and also the quality of the colour mix make this device the first choice among Wash LED moving head luminaires in its power range Welcome to the new sought after circle of projec tors that cannot be ignored A really nice comeback for AYRTON with these types of projectors ice color 500 ICECOLOR 500 3G LED STATIC LUMINAIRE ICECOLOR 500 is a versatile LED projector which can be used indoors or outdoors Including a built in Wireless DMX receiver it has been designed for the most demanding lighting designers and service providers Monochrome or dual colour cyclorama lighting Downstage or Upstage lighting matrix effects blinding and strobe light projection in white or colours the only limitation is your imagination Le parc de l v nement 1 all e d Effiat F91160 Longjumeau France T l 33 0 1 69 10 33 90 www ayrton eu HN SIN L TI HE LL un gt __ AYRTON Light in action The rolling partner Specifications subject to change without notice AYRTON and ROLLAP
77. ulti chip light sources and zooms SLU Was demand spontaneous J r me Br hard Customers do not even question the move as prices are now consistent They are at the origin of Axente J r me Br hard Managing Director and Sandrine Brisach Head of Sales administration and Logistics not equal but good value with respect to the product life SLU What kind of positive and negative feedback are you getting from customers about LED projectors J r me Br hard As for the positive aspects it s the reliability and consistency of colour for the brands that distribute Ayrton Philips Color Kinetics Pulsar and Robe The warmth of colour particularly for the Ayrton 5000 which seduced its audience with its ability to reproduce the warm hues of the gelatinised halogen They also like the performance and lightness of the Robin 600 which has an exceptional efficiency weight performance ratio As for the negative aspects they usually say the price and as they are electronic units they can fail over time When we talk about LEDs the suppliers that promise 10 years of life in a projector forget that there are power supplies drivers and components such as capacitors which have a shorter lifetime than the LED We also used to promise 100 000 hours of life in good faith at the start We soon had to change our tune and started advising clients not to neglect the upkeep and maintenance That could be the main disappointment for cu
78. und 5 Ayrton perfectly masters color 5 Face exclusive distributor 5 Follow Ayrton on facebook 8 lighting on The Voice 12 Bruce Springsteen and the E Street Band at Bercy 22 Axente Ihe French Touch 30 Wash led moving head luminaire Ayrton Wildsun 5005 PAGE 3 AYRTON JEWS rine 65 Li o NEW ADVANCED TECHNOLOGY GOES WILD FOR AYRTON WILDSUN French entertainment lighting provider New Advanced Technology NAT located 30km east of Paris has just invested in no less than 375 units of Ayrton WILDSUN 500 K7 moving heads following several tests and comparisons with other manufacturers models Ayrton s WILDSUN 500 K7 is equipped with thirty one 6700K multi chip LEDs and with its 75 optical efficiency WILDSUN 500 K7 is the most efficient model on the market WILDSUN 500 K delivers a massive 20 000 lumen output from a power consumption of only 380W This amazing power and low consumption in combination with the full motorisation of the luminaire make the WILDSUN 500 K7 particularly suitable for exhibitions and shows The WILDSUN 500 K series comprise three moving heads WILDSUN 500 3200K white WILDSUN 500 K7 6700K white WILDSUN 500 KD variable white from 2700K to 10000K New Advanced Technology also chose the same moment to invest in 200 Ayrton Arcaline 2 fixtures The Arcaline 2 is a very powerful 16 x 10W RGBW LED batten Its IP65 ingress protection lev
79. ut more importantly visible by all How many follow spots did you plan for Todd We have 11 Robert Juliat follow spots The Topaze in the fore ground and the Manon in the background for short focal lengths We took the Topaze and replaced the discharge lamp with a 2000 W tungsten lamp For concerts in stadiums we also have 4 Lancelot rig ged on the outer towers Ludwig Lepage from the Robert Juliat sales team explains the adjust ment Ludwig Lepage Robert Juliat The were transformed into 2000 W halogens instead of an MSD source since during the latest tours Bruce Springsteen and his lighting designer found that his skin was not rendered well with a discharge lamp Only the wiring inside has changed since the sockets are identical So all of the fo reground of the concert has been converted into halogen whilst the background is still lit with discharge lamps LIGHT COLOUR TEMPERATURES AND VIDEO SCREENS Huge or not a Bruce Springsteen concert lit by Jeff Ravitz is unique Very sensitive to the audience and with a constant will to maintain proximity AYRTON LIVE _ PAGE 15 4 communion between the performer and his audience a true moment of pure American rock It is very rare to see so many happy adults going Wild 5 Sources can be found everywhere under on top of and across the stage with LEDs for the Philips Color Kinetics with lamps for the 2500 Vari Lite 6 A lateral truss
80. ving head bracket happily overspilling 15 Its weight also tells us that we are dealing with one serious piece of equip ment 23 kg The aluminium and steel plates are omnipresent the sign of a very robust construction The plastic covers are particularly well finished with the curved profile and sleek design that we have become accustomed to with Ayrton But the most striking aspect after the first glance is the rounded head with 31 large crystal eyes in the front and a curious system of black fins hiding behind through which we can see a tangle of copper and aluminium We will return to this in more detail later As mentioned above the Wildsun 5005 is part of the moving head Wash family It is actually a special version of the Wildsun 500C the first in the series Just like its twin brother it has a zoom and a colour mixing system for mixing red green blue and white but the Wildsun 5006 stands apart for its significantly narrower X5 zoom 8 to 40 according to the manufacturer and also and especially the choice of a white light source with a 6 00K rating instead of the 4000K of its alter ego This version seems to be designed for stage use hence the o for Stage a narrower zoom in effect means an increased range and the cool white is intended to reinforce the impression of brightness of the projector The machine has 3 concentric rings of LED light sources plus a central LED These 4 sets can be control
81. y affect us Its all about shape balance and three dimensionality How something is sculpted out of light can directly affect our mood and psychology For instance when light falls on a mountain at sunset or at mid day we have a very different reaction subconsciously Our whole world is a painting and it can be flat and dull or dimensional and rich As humans we react to this SLU And for a rock star show Jeff Ravitz A concert a rock show depends on lighting to help the audience know what to look at for any given moment Like a cinema tographer helps choose whether a movie audience sees one person or the entire roomful of people and how they seen them for a concert we are guiding people through the story of the show of each song As lighting designers we make a statement with color with angle with brightness and darkness and with the use of movement and texture of light It is our job to highlight the action and to help people that are far from the stage to know what s happening Lighting also keeps pace with the dynamics of the music and accents it to help connect the audience with the rhythm the flow the feel and the message We AYRTON SNOW repor take the mood and magnify it Lighting delivers the music to the eyes of the audience SLU Especially for Bruce Springsteen Jeff Ravitz We all know Bruce Springsteen could put on an exciting show with no lights But as said we use lighting to help accent the
82. yrton was the first manufacturer to create an LED Wash moving head for the entertainment market Innovation still continues today with the first LED Spot moving head that overcomes the problems of color reproduction thanks to the electronic calibration of the LED and the heat pipe cooling system that made the Wildsun 500 a success The issues with LED spotlights are twofold if the development of a RGBW light box comparable to a single source is essential for the quality of gobo and beam projections then the perfect mastery of the white and colored lights of a set of projectors revealed itself as a challenge that the French manufacturer Ayrton was the first to meet perfectly with Dreamspot 502 It is being presented for the first time in the US at the Ayrton stand in conjunction with Morpheus In a world first Ayrton present the Wildbeam 302 with a powerful 8 ultra tight beam that it s zoom can drive up to 48 New to the US you can also discover the the MagicPanel 602 which kicks off a new generation of creative tools that fall into the light and video sectors FACE EXCLUSIVE DISTRIBUTOR FOR BELGIUM THE NETHERLANDS AND LUXEMBOURG Ayrton the LED entertainement lighting pioneer has appointed the leading company Face as exclusive distributor in the Netherlands Belgium and Luxembourg Face Belgium based in Boom near Antwerp will take care of the clients in Belgium and Luxembourg Face Netherlands based in Amsterdam will cover t

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