Buy Used Infinity ACL by Coemar

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Infinity ACL Moving Lights

...tronic stRobe (zap effect), synchronized, random, pulse effect
• Modular design for easy maintenance and servicing
• Pan 540deg, Tilt 284deg, 16 bit
PHYSICAL SIZE:
• Length: 459 mm (18.1 in)
• Width: 377 mm (14.8 in)
• Height: 612 mm (24.1 in), head straight up
• Weight: 22.5 kg (49.6 lbs)
LAMP AND BALLAST:
• Type: Philips MSR Gold 300/2 FastFit
• Color temperature: 8000 Kelvin
• Color rendering index: 75
• Average lamp life: 750 hours
• Socket: PGJX28
• Electronic ballast with Power Factor Correction
CONTROL PROTOCOL AND PROGRAMMING:
• USITT DMX512/1990
• DMX channels: 18
• Setting and addressing: LCD display or remotely
ELECTRICAL SPECIFICATIONS/CONNECTIONS:
• AC power: 90 – 250 V, auto sensing, 50/60 Hz,
2m (6.6 ft) integral cable without power plug
• Power consumption: 2 A at 230 V, 4.4 A at 115 V
• DMX data in/out: 3 pin and 5 pin locking XLR
• RJ45 for upload and Remote Control

Coemar Moving Lights

Founded in 1933, Coemar Spa is a developer, manufacturer, and seller of lighting products and industry innovation for entertainment, architectural, and commercial applications, guaranteeing unique professional pre-sale and post-sale services. Coemar, whose headquarters are based in Castel Goffredo (MN), Italy, has grown to over 400 employees/associates around the globe, with distribution throughout almost 70 countries. COEMAR USA (formerly Tracoman Inc.) was formed for its second run in 1999 by industry veteran GERARD COHEN, who initially struck gold with Tracoman Inc. the first time around.

Illumination - The simple ability to see what is occurring onstage
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Ballyhoo - A set of programmed moves for automated lights where the lights move randomly within a specific area.. Used . . Used . ...

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. ...

Ground Support - In Staging, Ground Support applies to any electrical or mechanical device to aid a rigging crew in lifting and placing staging gear, lighting or audio gear into place.. Used . . Used . ...

Editing Suites - An editing suite is one or more high performance servers used for all kinds of graphics manipulation from picture quality improvements, color correction and format conversion to higher or lower resolu. Used . tions or different aspect ratios. Servers and storage systems as well as computing intensive image processing are at the heart of editing suite applications.. 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.