Used VL2000 Spot

VL2000 Spot - Include molded cases. 30 day warranty.
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VL2000 Spot - Great condition. Tested by a certified techni...
VL2000 Spot - With Bulb and Case

VL2000 Spot

The VARI*LITE VL2000™ Spot luminaire is based on the groundbreaking technology used in some of the most popular and innovative spotlights in the history of automated lighting. The VL2000 Spot luminaire features an upper enclosure that houses the control electronics as well as a power factor corrected arc Power Supply for the 700 watt short arc lamp. The VL2000 Spot luminaire also features a zoom lens system and rotating gobos. The luminaire is small, lightweight, and virtually silent.

The VL2000 Spot luminaire accepts a wide variety of colors and gobos. Two fixed wheels are included, one factory configured for gobos and the second for color filters. A standard palette of gobos and colors is provided with the unit. Custom gobos are available.

The VL2000 Spot luminaire can be controlled a wide variety of DMX-512 consoles.

Used Vari-Lite

A "technical creative soul" has kept Vari-Lite at the forefront of the automated lighting industry since 1981. The company is founded on the belief that creative engineering can join with creative lighting to bring a new dimension to any performance or presentation. That notion first took root when Rusty Brutsché and Jack Maxson founded Showco in 1970. Innovation made Showco the premier sound and lighting equipment rental firm for the concert touring industry. A decade following Showco's initial success, company officials found themselves working on another technical leap, this time within the field of automated lighting. Until the 1980s, stage lighting systems for concerts and theater productions were bulky with numerous fixtures (a typical rock concert usually required up to 3,000 separate lights). Each light had to be manually focused and colored using celluloid gel material placed in front of each lighting fixture. To achieve color changes, the lighting fixtures had to be turned on and off or dimmed using electronic dimmers controlled by a computer lighting console. Throughout the late '70s, engineers worked to develop a color changer for a lighting fixture. Finally, they arrived at a solution: forget the "add-on" schemes, and concentrate on using internal dichroic coated glass filters and metal halide bulbs. The dichroic filters could be used to change colors almost instantaneously and create saturated colors not capable from the gel filters. That might have been the extent of their advancement if for a barbecue lunch in the fall of 1980. At that gathering, the idea of adding two extra motors to the fixture to actually make the light move was conceived. This "eureka" moment facilitated an all-out building effort for a fully automated lighting system that resulted in a prototype in December 1980. Shortly thereafter, the engineering team flew to London to show the prototype automated light (named "VL Zero") to longtime Showco client, Genesis. The British band had long been at the forefront of cutting-edge performance art technology, and was in rehearsal for an upcoming tour. At an English countryside studio, the new luminaire made its debut on the side of a 500-year-old barn. The prototype light had been programmed to enact two simple cues. The first reaction from the presentation came from band member Mike Rutherford: "I expected the color change, but by jove, I didn't know it was going to move." It was enough to convince Genesis to immediately invest in developing this new technology. Genesis wowed the audience with the first VARI*LITE® Series 100™ system consisting of 50 VL1™ luminaires and a computerized control console on the opening night of their "Abacab" tour on September 25, 1981 in a bullring in Barcelona, Spain. That rural demonstration was the "Genesis" of a new company - Vari-Lite, coined from a suggestion by Genesis manager Tony Smith. The new system was developed, complete with a programmable console that enabled lighting designers to create lighting effects that electrified the lighting industry and began a revolution that continues to this day. The dichroic color changing system allowed for up to 60 preselected colors to be changed in less than a tenth of a second and the computer control of the color change, dimming and movement of the light beams created stunning visual effects. The original VARI*LITE system was patented in 1983, and Vari-Lite has received numerous other U.S. and international patents on automated lighting technology as it has continued to innovate and develop the technology. Inspired by the magic of moving light and changing color, Vari-Lite set about creating complete lighting systems that add subtle nuance or brilliant spectacle to any event. The company offers designers the ultimate tool for creating lighting moments to remember. Since the beginning, Vari-Lite has led the world in automated lighting technology; developing pioneering products with an unrivaled reputation. Today, lighting professionals in theatre, television, concerts, motion pictures, corporate shows and advertising, look to Vari-Lite for inspiration and support for their productions.

Conventional - Conventional lighting is made up of stationary lights that can be moved, but only via manual means of adjusting, or focusing the fixture with a yoke. However, some aspects of the lights, like brightne. Used . ss and color may be controlled remotely
by consoles or analog audio inputs. There are many different conventional lights used in stage lighting design including floodlights, pars, foll. Used . owspots, ellipsoidals, fresnels, strips and cycs. ...

Dimmers and Distro - Dimmers are devices used to vary the brightness of a light or stage light and are usually controlled remotely by a lighting console or controller by way of a protocol that is usually DMX. A Distro is . Used . a device that distributes power to many devices.. Used . ...

PAR - PAR is an acronym referring to "Parabolic Aluminized Reflector" which describes the mirror configuration. PAR lights resemble car headlights. They possess a lens, but the lens is an integral part of t. Used . he lamp and its position relative to the filament canno . Used . ...

Fresnel - Fresnels are typically 8-, 6- or 4-inch, referring to the diameter of the lens. This light is named after Augustin-Jean Fresnel who invented the distinctive Fresnel lens which has a 'stepped' appearan. Used . ce instead of the 'full' or 'smooth' appearance of other lenses. The stepped nature of the lens causes a corresponding pattern of circles of light, so Fresnel lenses are usually 'stippled' on. Used . the flat side. This pattern of small bumps helps to break up the light passing into the lens to smooth out its eventual pattern.

Fresnels use a spherical reflector, with the filament of the bulb ...

Base Station - A base station is a device used to centralize and process communication signals and information between crew members. . Used . . Used . ...

Used Moving Lights

Moving lights, or intelligent lighting as they are sometimes called, are basically a type of stage lighting that is able to move due to its integrated mechanical elements, which go beyond the moving parts that are found in more traditional, non-moving lighting. Automated lighting such as moving lights is highly valued by stage lighting technicians as through them, it is possible to create highly complex special effects that simply cannot be made using standard, non-moveable lights. It should be noted however, that when it comes to intelligent lighting, the real intelligence lies with the programmer of the show, rather than the lighting equipment or any operator. Moving head lights, also called moving head luminaires, are highly versatile lighting instruments capable of performing multiple lighting functions at once. They have largely superseded the use of multiple non-moving lights to create special effects, which required many lights and a large amount of skill on behalf of the operators. Moving lights are hooked up to a lighting control console and send data to it in one of three ways – through an Ethernet control (a relatively new technology), analogue control (now almost obsolete), or DMX, (which is now the industry standard). So long as they have been properly programmed, the optics of wiggly lights can be altered in many ways, allowing for the “personality” of the lights to be adapted almost instantaneously, depending on the requirements of the operator. Typically, moving lights will be pre-programmed before a production and controlled using simple commands, although some more experience operators may prefer to control them “live”, if they have the experience to do so.