Martin has done it again with the MAC Allure Profile. This fixture has an amazing segmented beam system which allows you to break the beam into 7 colored segments. This is something we are used to seeing in LED wash fixtures but I have not yet seen this in a profile fixture. I really can’t wait to get my hands on these fixtures. I think these are going to be amazing. Check out the videos below.
The MAC Allure™ Profile features a novel RGBW light engine with unique 7-segmented beam control. With instant color control and pixelated beam, the MAC Allure Profile enables dynamic projection and mid-air effects, previously not possible. The proprietary light engine sets new standards in compactness and efficiency, previously associated with larger, costlier fixtures. To ease programming and content creation, this is also the first lighting fixture to incorporate Martin’s P3 control. The pixelated beam can still be controlled or pixel-mapped via DMX and Art-Net protocols, however, switching or cross-fading to P3 or vice versa is now instantly possible. Designed to support rental and install clients, the MAC Allure Profile is ideal for concert/touring, TV, corporate, houses of worship, concert venues, nightclubs, and cruise ships.
Elation has released its new Artiste Picasso fixture. Designed television and broadcast settings. This fixture has a rich feature set which will allow for a wide range of deployment options. This fixture would make a great front light for worship settings.
Too expensive to use as an upstage spot for most churches, the Artiste Picasso fixures really have some amazing capabilities and would work great as a DS or Front light key or wash light for those situations where the performers can’t stay put. Check out the Elations Video below.
The Artiste Picasso™ is a full-featured innovative theatrical-grade luminaire featuring a new 620W 6,800K Cool White LED engine. With advanced optics that deliver over 23,000 total lumen output and ultra wide and fast 7° to 55° zoom. A full CMY color mixing system producing a full spectrum of shades from pastels to rich saturated colors. As well as a Linear CTO color correction and 6 dichroic colors including a high 87 CRI filter.
The Artiste Picasso has 7 rotating/indexing glass and 7 static-stamped metal interchangeable gobos, and 4 rotating full blackout framing blades with +/- 45° individual blade rotation, full 360° bi-directional animation wheel, 4-facet. Also a linear rotating prisms and 2 frost filters, internal color, framing, prism, and frost macros, motorized iris with variable pulse effects, motorized focus and auto-focus feature.
With 16-bit pan, tilt, and dimming control, variable dimming curve modes, high-speed electronic shutter, and strobe, adjustable LED refresh rate and gamma brightness for flicker-free operation for TV and FILM. A silent fan mode for noise-sensitive applications, DMX, RDM (Remote Device Management), Art-NET™, and sACN protocol support, Elation’s E-FLY™ internal wireless DMX transceiver, 5pin XLR, RJ45 etherCON, and powerCON TRUE1 connections. A full color 180° reversible LCD control panel, battery backup for display power, and a multi-voltage universal auto-switching power supply (100-240v).
620W 6,800K Cool White LED Engine 23,000+ Total Lumen Output 7° to 55° Motorized Zoom Full CMY Color Mixing System and Linear CTO Color Correction 6 Dichroic Colors including a High 87 CRI Filter 7 Rotating/Indexing Glass and 7 Static-Stamped Metal Interchangeable Gobos 4 Rotating Full Blackout Framing Blades Full 360° Bi-Directional Animation Wheel 4-Facet and Linear Rotating Prisms and 2 Frost Filters Internal Color, Framing, Prism, and Frost Macros Motorized Iris with Variable Pulse Effects Motorized Focus and Auto-Focus Feature 16-bit Pan, Tilt, and Dimming Control Variable Dimming Curve Modes High Speed Electronic Shutter and Strobe Adjustable LED Refresh Rate Frequency and Gamma Flicker Free Operation For Broadcast TV and FILM Silent Fan Mode DMX, RDM, Art-NET, and sACN Protocol Support Elation’s E-FLY™ Internal Wireless DMX Transceiver Low Heat, Quiet Operation, Hibernation Mode (Power Save)
SOURCE 620W 6,800K Cool White LED Engine 30,000 Hour Average LED Life* *May vary depending on several factors including but not limited to: Environmental Conditions, Power/Voltage, Usage Patterns (On-Off Cycling), Control, and Dimming.
PHOTOMETRIC DATA 23,000+ Total Lumen Output Measurement @16.4 ft (5m) 45,095 LUX 4,189 FC (Zoom In / Full ON) 1,708 LUX 159 FC (Zoom Out / Full ON)
EFFECTS 7° – 55° Motorized Zoom 4 Rotating Full Blackout Framing Blades Full 360° Bi-Directional Animation Wheel 4-Facet and Linear Rotating Prisms 2 Frost Filters Internal Color, Framing, Prism, and Frost Macros Motorized Iris with Variable Pulse Effects Variable 16-bit Dimming Curve Modes High Speed Electronic Shutter and Strobe Adjustable LED Refresh Rate Frequency and Gamma
COLOR Full CMY Color Mixing System Linear CTO Color Correction 6 Dichroic Colors including High 87 CRI Filter
CONTROL / CONNECTIONS 2 DMX Channel Modes (36 / 62 channels) 16-bit Pan, Tilt, and Dimming Control Motorized Focus and 5-15m Auto-Focus Presets DMX, RDM, Art-NET, and sACN Protocol Support Elation’s E-FLY™ Internal Wireless DMX Transceiver 6 Button Touch Control Panel Full Color 180° Reversible LCD Menu Display 8 / 16 Bit Resolution Adjustable Movement Elation’s E-FLY™ Internal Wireless DMX Transceiver Hibernation Mode (Power Save) 5pin DMX In/Out RJ45 etherCON In/Out powerCON TRUE1 Power In With Wired Digital Communication Network
ETC’s ColorSource console family of fixtures seems custom built for a large variety of worship lighting needs. With an easy to use, built in touch screen and onboard tutorials, this is a great desk for first-timers. The ColorSource consoles are incredibility powerful, with the AV versions capable of cued video and audio play back. Which helps to lower the number of volunteers you need on a Sunday.
While this lighting console will program moving lights it is not going to be as easy as other desks. Traditionally a theater company ETC’s products are very cross-platform but designed for the theater space. Which sets a very solid foundation for anything you want to design with this kind of system.
Audio and Video playback
Feathers like audio and video playback could allow the lighting position to be a complete AV workstation. Video playback would allow for the lighting person to take over some of the control of iMAG slides making it possible for one person to do multiple jobs. With limited church volunteers, this would be a powerful addition to any system.
With a simple yet intuitive design these ETC ColorSource consoles are world class at a very attractive price point. But if you plan to use a lot of moving lights I suggest you look for a desk designed to handle those fixtures a little more efficiently.
ColorSource 20 and ColorSource 40 Available in two sizes, ColorSource consoles provide hands-on control designed for the latest technology. These affordable, portable desks specialize in streamlined, plug-and-play setup; the onboard fixture library makes traditional patching easy, and the console has the ability to recognize RDM-capable devices in the rig and auto-populate them in patch. Simply use the on-board touchscreen to drag each fixture into place on a customizable stage map, and you’ll be programming in minutes. Recording cues or working on the fly, these consoles have you covered. With faders that can be used to play back looks and effects or to mix the perfect color in your LED lights.
There are multiple versions of the desk based on what you need to accomplish. From 20-40 faders and control of 40-80 devices. While I do not see a DMX channel limit they only have two DMX ports which will limit them to 1024. But more importantly, each model has a device model.
It is safe to assume that you can not connect 80 moving lights to this desk. You would not want to even if you could. That being said I think I could rock any room with 80 ColorSource fixtures.
Go rent this desk today and how you like it before you buy it. I think it would be worth it.
For more info on how to pick out a lighting console check out our buyers guide on the topic.
The best lighting console is the one you know how to use.
– Every Lighting Designer on earth.
Yes, that is a little too simplistic, but it is true. If you know every trick in the book on one lighting console, that is probably the lighting console you should be using. But I assume you want me to point you down the road and tell you what to buy. I would buy the Grand MA2, or maybe the 3 for one simple reason. It is the most widely used desks in the world. There are plenty of them available if something happens to yours and lots of programmers. Now that everyone knows what I would buy, let us talk about what your church should buy and why.
What to look for in a lighting console
I don’t expect your church will approve the $60,000-$70,000 you will need for a Grand MA 2 or 3, so let us talk real numbers. There are great options for lighting consoles under $2000 like the ECT Colorsource 20, but even greater options around $5,000-$10,000 range like the High-End HedgeHog 4. So what do you really need to know before you pick a lighting desk?
Do buy: Newer Model Lighting Consoles Popular Lighting Consoles Consoles that are rented localy Ones you know how to use Expandable and Configurable
Don’t Buy: Consoles just because they fit a budget Consoles just because another church uses it Consoles you don’t know how to run Consoles you can’t find for rent locally
Ease of use
Everyone wants an easy to use lighting desk that is volunteer friendly. So let’s set up your volunteers up for a win and make sure we pick a desk that has a good training system or videos. For years the Jands Vista was touted as an easy desk for volunteers. I am not actually sure why, but I am guessing it was the graphical interface. But most desks had that at the time, so maybe it was something else. It is/was popular with lots of churches for reasons that I never really understood. It did have some great training videos online. Our church has one and I find it extremely lacking in features, but everyone else loves it so we have it for now.
If you can’t find online videos or training manuals for the desk then you need to make some. It does not really matter what desk you buy if you can break down the steps of how to use it into several short videos to share with your volunteers it will be easy to use. Of course, all lighting desks have similar features and all do the same thing. So rent a desk or two before you buy one and try them out for a month at a time. Make sure you know how to use something before you buy it. Even if your church does not have a full time lighting person, someone on staff needs to be the expert that can teach everyone else.
Does your lighting console need to control moving lights?
I know I know, everyone wants moving lights, but the reality is that they are too expensive for many churches to do well. Most churches would be better off buying a bunch of conventional lights that actually light things than painting the air with pretty beams. For this reason, you may not need to spend much on a lighting desk.
Lighting consoles like the ETC Color source, Leprecon LPC, or Pathway Cognito2 would make great desks for a conventional rig. They are very inexpensive and some of them like the color source family even have built-in FAQ’s and How To’s and online training. I can’t really imagine a simpler type of desk. While these desks can program moving lights, if you are going to use more than 4 or 6 moving lights I would be upgrading to a Hog, Vista, GrandMA, or ChamSys type desk.
Upgrading to moving lights and a moving light console will double if not triple your programming time. And also make it a lot harder for your volunteers. Remember that one moving light is 20-30 more parameters to control than a single conventional light. I typically spend 30-45 minutes on programming for a single song to program moving lights for our church.
Expandable and Upgradable
If you are going the direction of a full-blown moving light console for your worship look you are going to want to make sure it is expandable and upgradable. It is very likely that if you dump 20-30k into a lighting console you are going to need to use it for a few year before you get a new one. Because of this, we want to make sure the hardware is new enough technology that it will take software updates. There is not much worse than buying a new desk that is obsolete a year later.
Make sure you ask when the model you are buying was released. Buying a new desk built on a 5 year old design will limit the usable life time for the desk. Technology changes so fast that you want to look for desks that came out in the last 2 to 3 years. Those are old enough to have been tested but still young enough to still be supported.
Expandability is another big topic. If you think you are going to be adding a bunch of moving lights or media servers over the years it would be important to have desk that you can expand the perimeter count for. Buying 512 channels or 1 DMX universe may be fine now, but if you need more down the road you don’t want to have to buy a whole new system.
Still, need help picking out your lighting desk?
I know we covered a lot here if you are still unsure what kind of lighting desk is best for you to reach out and ask. Below is a form you can fill out to start the conversation. I am happy to lend advise about what I would do in your situation. I don’t represent any company or make any commission on these sales. Reach out and let’s chat.
If you read my last post about the Rogue R3 you are probably wondering why I suggested the Maverick MK1 Spot. Because it is an all-around better fixture. The Rogue line does not have is color mixing, which is standard with the Maverick line of fixtures. Because everything else in the room color mixes the spot fixtures should as well.
With all the LED’s in our worship environments, it really does not make sense to have any lights that don’t color mix. If you have any of the LED wash lights like the Mac Aura, or Rogue series of lights it would only make sense to have CMY mixing lights.
I like these lights because they use a white LED engine and CMY color mixing flags to achieve color mixing. This is the same way we have been doing it for years and these fixtures should match well with older model moving lights.
Pros: CMY Color mixing 7 to 33 zoom Varible CTO
Cons: Several of the gobo will only work for beam effects
Maverick MK1 Spot is ready for action. With an extremely flat field, CMY color mixing, a 5:1 zoom and multiple control options. Powered by a 350 W LED engine. The MK1 features one static and one rotating gobo wheel. A 7 position + white color wheel, variable frost and 3-facet prism. It can be controlled with DMX, sACN, Art-Net, or W-DMX.
One of the newer Chauvet products is the Rogue R3 Spot. Which was launched towards the end of 2017. While still listed as “new” on the Chauvet website as of March 2019, this spot has been around long enough to get a following.
The R3 stands out above the R2x mainly with its zoom range of 13 – 37. The R2x and Rogue R1 each have fixed focal length which is not as desirable in my book. The zoom and the increased output over the R1 more than makeup for the difference is the price.
Pros: Zoom Range Lamp Output
Cons: Fixed Color Wheel Color Temp of 7,564k
If you have the money check out the Maverick MK1 or MK2, which add color mixing. They are about 20% more, so if you can’t afford it Rogue R3 is the way to go.
Rogue R3 Spot delivers intense output, crisp optics, sharp focus and maintains a value proposition designed to maximize ROI. This feature-packed moving spot has a bright 300 W LED light engine. That produces an even field of light, as well as rotating and static gobos, an 8 position and split-color enabled color wheel, and three facet prism to create stunning looks. A quick moving zoom range of 13 – 37° adds to its flexibility of use by giving the Rogue R3 Spot the ability to cover large areas.
Moving lights are all the rage in worship lighting now. The introduction of LED moving lights has brought the cost of ownership way down for this category of light which brings them well into the church lighting budget. But before you jump into the moving light space there are several things you should consider.
Is it really worth it
Moving lights look cool. But they are not going to bring to Christ, and if they do, maybe we should have a different conversation. Of course, they can do a lot to enhance the look and feel of a service element like a song or scripture reading, but the can also very distracting if not done well. And we don’t want people coming to church for the lights, we want them coming to church for Christ.
Ask your self a few question.
Is there something we can not do without a moving light? If your answer is, “make them easier to focus”. Your not a lighting person and please go hire one.
If I had four or five conventional lights could I do the same thing? This is about the cross over point in regards to cost. If your one moving light is going to do more than what 6 other lights, then it would be worth it.
Are you lighting for Camera? If you are lighting for Camera, adding moving lights for the first time is going to throw the whole system out of balance.
How much extra time do you have to program? Adding one moving light is equal to adding 20-30 conventional lights when it comes to programming time. Just adding 4-6 moving lights will double the amount of time you need to spend programming the event. Do you have that time?
4 fixtures is not really cool. Do you have enough money to buy 8 or 10? To get the look you think you want you really need double that amount. Do you have the money?
Can you run smoke?
If you want that really cool beam look that everyone thinks you need moving lights for you are going to need to smoke, or haze if you would prefer. Some churches are not ok with this. Some are ok with this but don’t know how to turn the fire alarm off. Please investigate this before you spend a lot of money on fixtures. Without smoke, it would be a huge waste of money. After all, the only thing moving lights can do that conventional fixture can’t, is move. If you can’t see the beam move you are stuck with using lights for what they are made for. Casting light on things.
Do you know how to use these kinds of fixtures?
I have a hard and fast rule when I am consulting with clients. If you don’t know how to use it, you can’t buy it. What I suggest is you do a trial run. Rent some fixtures for an Easter or Christmas event and make sure they work for your space.
Rent the exact fixtures you want to buy before you buy them. Do this for 2 reasons. First, make sure that they work for your space. That they are bright enough and big enough, or small enough for what you need. Do you need color mixing like the MK1 or not like the Rouge R3. Second, make sure you only buy fixtures from someone who has more to rent you. These will break at some point and you will need to replace them.
If you purchase something from a local supplier they will #1 be able to repair them and #2 be able to rent you a spare. #3 they can also arrange a demo of multiple fixtures for you and even come help install them for little or no extra cost. Please don’t buy them from Amazon. They honestly don’t know and don’t care if the light is going to be good for you or not. Start a relationship with someone local who can take care of you in the long term.