LDs at Auto Shows: The Car’s The Star

Barco LiveDots’ new C8 joins the company’s C-series of LED displays. The new C8, “typhoon tested” for outdoor use, has a pixel pitch of 8.33 mm and 5,000 nits brightness. Also designed to withstand exposure to vibration, varying temperatures and UV rays as well as water and dirt, C8 is compatible with the same image processing, software and peripherals that support other C-series LED displays.

ADJ’s Mega GO Flood Par is a battery powered, low profile LED Par Can with RGB color mixing and a 120° beam angle for stage or wall washing. The rechargeable lithium batteries let users position the fixtures anywhere. They are particularly well-suited for short, wide wall washing and backlighting of scrim. The SMD (Surface Mount Diode) LEDs, which are rated at 50,000 hours of use, have a maximum power draw of 18W.

DTS’ MAX has optics that let it work as a moving Beam, Spot, Wash and Theatre fixture. The light source is Philips’ MSD Platinum 16R 330W, and with 11 coated lenses plus dichroic glass reflector, the beam ranges can vary from 1.5°-2° (Beam), 2°-37° (Spot), 10°-60° (Wash) and 4°-40° (Theatre).  The fixture operates with a 16-bit motorized linear zoom and focus and has a motorized iris and linear dimmer/shutter/strobe that can flash 0.85 to 10 times per second.

GLP’s impression X4S is the “small” version of the impression X4. It uses the same 15W RGBW LEDs as the X4, but with seven LEDs instead of the X4’s 19. Other similarities between the X4 and new X4S include zoom range (7°-50°), homogenous light output and pixel pattern capability. The X4S measures only 12 inches high and weighs 12 lbs. Other features include fast 16 bit movement, electronic shutter control and smooth dimming.

ARRI’s L7-TT LED Fresnel, a tunable tungsten model (hence the “TT”), joins the company’s L-Series range. The new TT version is similar in design to the ARRI L7-C, but with the TT, users can adjust the color temperature from 2600K to 3600K. The TT version is also 20 percent brighter, while matching the L7-C’s size, weight, calibrated color quality and adjustable green-magenta point. As with all L-Series fixtures, the L7-TT LED Fresnel can be cost-justified with extended operating life and reductions in power usage by 75 percent or more.

Blackmagic Design’s compact Production Camera 4K combines the virtues of a high resolution 4K digital film camera with a Super 35 size sensor, professional global shutter and precision EF mount optics. It can be used to record high quality compressed CinemaDNG RAW and Apple ProRes 422 (HQ) files, and it also supports the new 6G-SDI video connection out, so it can be used on live video production.

The new Chroma-Q Studio Force T 12 Phosphor 3200K CCT tungsten white fixture, designed for TV and film production, produces up to 6,000 lumens of light with a quality comparable to the soft edge output of a fluorescent fixture. Using LED technologies found in Chroma-Q’s Studio Force range, the fixture’s camera-friendly features include uniform wash, extra soft beam and theatrical grade dimming. The unit is equipped with a manual control mode, color touchscreen interface and Fanless, Studio and Full modes of operation.

TruColor LS squeezes the Remote Phosphor Technology (RPT) found in Cineo’s TruColor HS into a smaller, lighter package. Along with an ample volume of soft light, TruColor LS promises an extended CRI over 95, a 160-degree beam spread and the ability to run on less than 170W of AC power. Instead of direct light from LEDs, TruColor LS, like TruColor HS, have independent phosphor panels that get “excited” by high-frequency wavelengths from blue LEDs. This lets users achieve a variety of color temperatures through the use of interchangeable phosphor panels.