Buy Used VL3500 Wash FX by Vari-Lite

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VL3500 Wash FX Moving Lights

.... The fixture provides CYM color mixing, variable CTO color temperature correction, dual five-position color wheels, a separate dimmer, and an independent dual blade stRobe mechanism.

In conjunction with its zoomable optics system, Vari-Lite introduces the VARI*BRITE™ mode. From almost any zoom position, this mode can be engaged to offer a tight column of remarkably intense light making the VL3500™ Wash FX the most versatile wash luminaire on the market.

The VL3500™ Wash FX allows users to operate its single lamp at two different wattages via either a control channel setting or a lamp menu option. With only a setting adjustment, the fixture will run its short arc lamp at either 1200W or 1500W without any detrimental effects on the lamp.

An upper enclosure houses the control electronics as well as an arc power supply for the unit's short arc lamp. The arc power supply is power factor corrected for efficient Power Distribution and reliability.

The VL3500™ Wash FX is similar in size to our other Series 3000™ luminaires, which provides a consistent hang configuration and appearance no matter which luminaire type is utilized.

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.

Touring Systems - A touring system is generally a rack unit designed for easy of mobility, set up and repair to be taken on tour and can include lighting, audio and staging equipment. . Used . . Used . ...

Aberration - A flaw in a Lens that causes distorted images, especially towards the edge of the lens field. Compound lens construction and the use of small apertures can reducethese flaws. There are many types of a. Used . berrations, including chromatic, spherical, curvature of field, distortion, and elemental.. Used . ...

Auxiliary Output - A seperate line level output from a sound console that is to be used for foldback or monitoring that does not use up another main output. Each in channel has a path to the Auxiliary bus. It is also . Used . useful to send a signal to a separate effects processor.
. Used . ...

Zoetrope - Early device for creating the illusion of continuous motion. A sequence of still pictures was viewed rapidly through slits in a rotating drum so that the images appeared to merge. . Used . . Used . ...

Fogger - A Fogger or Smoke machine is an electrical device that creates clouds of artificual and hopefully non-toxic fog. The fog may come in different colors or smells and may be water or mineral based. It i. Used . s used for effects in theatre, staging, concerts and clubs.

Hazers by contrast create a more diffusive, expansive haze that is usually not a thick and is used to enhance other ef. Used . fects, such as lighting and light beams.

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.