Buy Used VL500D Wash by Vari-Lite

Contact a Sales Specialist about used VL500D Wash for sale.

VL500D Wash Moving Lights

... colors offer a softer Broadway-type color palette often used in live theater.

In addition to its internal dimmer for intensity control, the VL500D utilizes 16 Radially mounted diffuser planes to control beam spread. For additional beam control, the VL500D may be purchased with six interchangeable lens options, including clear, stipple (included in stock fixture), 8-row, 10-row, 12-row, and Buxom.

The VL500D is designed with natural convection cooled lamps, and internally cooled electronics which utilize low velocity, low noise micro-fans. Two on-demand fans are mounted internally in the yoke arms and activate only in extreme conditions where ambient temperature exceeds 41degC, or if the fixture is mounted in a horizontal position. User override is possible through the unit's menu display.

The VL500D is a stand-alone fixture with no additional outboard equipment required. Simply plug in DMX512 and power, and the VL500D may be controlled through a variety of DMX512 lighting control consoles.

The VL500D comes standard with an on-board, backlit, invertible LCD display. This enhanced display is easy to read with or without the backlight on. The display also has an optional extended remote function, which allows "shop" addressing and adjustment of other fixture parameters by means of battery-powered, hand-held controller, thereby avoiding the need to power the light

Vari-Lite Moving Lights

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.

Depth of Field - While a lens focuses on a single plane of depth, there is usually an additional area in focus behind and in front of that plane. This is depth of field. Depth of field increases as the iris is closed.. Used . There is more depth of field the wider the lens and le . Used . ...

MS - A stereo recording technique that uses of two different types of microphones, a directional or cardioid for the M facing forward and an omni-directional or figure-eight for the S with the lobes at a 9. Used . 0 degree angle. The main advantage being that the center sounds are not 45 degrees off-axis eliminating the gap in XY recording. Initially there were problems with reflections due to the use. Used . of two different types of mics, however mics have now been developed to overcome this problem....

Amp Racks - An amp rack is any furniture, fixture, or case where multiple amplifiers are mounted in slots or grooves, generally used in touring systems because they are easy to transport.

. Used . . Used . ...

10-Bit DMX - A value or parameter using two DMX channels for control.. Used . . Used . ...

Cyc Light - Cyc lights, also known as strip lights are long housings typically containing multiple lamps arranged along the length of the instrument and emitting light perpendicular to its length. Lamps are often. Used . covered with individual gels of multiple colors (somet . 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 â?? 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 â??personalityâ?� 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 â??liveâ?�, if they have the experience to do so.