An important part in the convergence of lighting and video is the evolution of DMX-controlled lighting projectors. Have you used one, yet? With the increasing use of media servers on productions, many designers not only want to control the video content from a lighting desk, but they also want to have control over how and where that image is being projected. This is where digital lighting fixtures like High End Systems’ DL1 and DL2, as well as the new Robe DigitalSpot 5000DT, step up to the plate. Why use Digital Moving Lights?
There are many reasons why a digital fixture is popular with lighting designers, but the primary reason can be summed up in one word: control. Lighting designers often find themselves in the role of visual designer for the show, and this can, and often does, include scenic and video elements in addition to lighting. A digital moving light can be easily controlled from a DMX lighting console, which simplifies the process of using a projector from the start.
The integration of video into a show has to be well thought-out and planned. In some cases, a high-output projector in a fixed location may be all that is required for the production. However, having the freedom to direct the output of the projector onto various surfaces in multiple locations is integral to many of today’s shows. This flexibility is the reason designers using media servers are specifying fixtures like the DL1, DL2 and DigitalSpot 5000DT.
Understanding the Tools
Without implying one digital lighting fixture is superior to another, there are unique differences in the features of each unit, and as such, their applications can be varied. To begin, let’s look at the DL1 from High End Systems. This unit is a digital projector built into a housing supported by a yoke that can pan and tilt. The DL1 does not have an onboard media server, and it requires a video input from a video source and/or media server, such as Catalyst or Maxedia, in order to project an image. Since it can be used with practically any media server or video source, there are no limitations as to how it can be programmed. The unit is controlled via DMX, and the channels include pan, tilt, remote focus and zoom. There is also an optional camera.
The DL2, also from High End Systems, differs from the DL1 in that it does have a media server built in. The programming of the DL2 also involves channels for pan, tilt, remote focus and zoom, and the digital camera onboard is a stock feature. There are also a multitude of software visual effects, both 2D and 3D, and custom effects and objects created in third party programs can be imported as well. Additional media server control channels include XYZ rotate, scale, CMY mixing, keystone correction and a digital image library with space for approximately 65,000 files. A huge advantage when using the DL2 is its networking capabilities. Uploading new fixture software and new video content is very simple and not very time consuming when you use the Content Management Application and connect all of the DL2s and a computer into a network hub. Lots of useful information can be obtained from the fixture using the CMA as well, such as lamp hours and software version.
Both the DL1 and DL2 have SVideo inputs and outputs and can easily be connected to a video switcher, such as the DMix Pro, either to send or receive a live video image. They may also be connected to other DL1 or DL2 fixtures as well to share live video between fixtures for a truly interesting perspective of the stage.
New on the scene is the DigitalSpot 5000DT from Robe. This unit was recently launched at industry trade shows in 2006, and is already making a name for itself. [Although it was exhibited at PLASA and is shipping in Europe, Robe is not yet ready to release it in the U.S. pending intellectual property licensing agreements. –ed.] This digital moving light has a more direct approach with its two digital gobo layers, both with 255 images each, and control channels for XYZ rotate, scale and indexing.
All of these projectors are in the 5K lumen output range, and can be easily controlled from virtually any DMX console. Programming with any of these units requires some pre-production time to load content into the media server, as well as to arrange some basic palettes in the lighting console that will help manage the large number of video images in the library. And most importantly, content formats vary from fixture to fixture, so follow the manufacturer’s recommended specifications for formatting the content before loading your images into the server, only to discover that the images don’t play back correctly.
Understanding the differences between these digital lighting fixtures will help you tremendously when integrating the newest digital lighting technology into your next show. Choosing a fixture that suits the application before arriving onsite will result in a great-looking production, eliminate some last minute problem solving and reduce your stress level all at the same time.
Vickie Claiborne (www.vickieclaiborne. com) is an independent programmer and training consultant and can be reached at vclaiborne@plsn.com.
