? Bright as a 575 W fixture, in a package half the size
? Replace both 575 and 250 spot fixtures with one fully equipped moving light
? Space, weight, power saving
? Amazing zoom range from 35deg down to 9deg
? Silent operation for the quietest applications
? Iris and all other professional features
? Rotating and indexing prism effects
? CMY color mixing
? 5 colors + open
? CTO filter
? 1 aerial wheel, 7 gobos + open
? 1 break-up wheel, 7 gobos + open
? 3 rotating prisms
? Proportional zoom 9deg - 35deg
? Mechanical and electronic stRobe
(zap effect), synchronized, random, Pulse
? Modular design for easy maintenance and servicing
? Pan 540deg, Tilt 284deg, 16 bit
? Length: 459 mm (18.1 in)
? Width: 377 mm (14.8 in)
? Height: 602 mm (23.7 in), head straight up
? Weight: 23.5 kg (51.8 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: 23
? Setting and addressing: LCD display or remotely
? 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
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.
American National Standards Institute
- . Used . . Used . Bulbs
- A Bulb or light bulb is a source of artificial light. There are many different kinds of bulbs including High Intensity Discharge or HIDs, Halogen, Fluorescent and Light Emitting Diodes, but the most . Used . common is the incandescence that works by the release of electromagnetic radiation. . Used . ...Chase
- A set of cues that loops again and again. This is a lighting console term.. Used . . Used . ...Zone Focusing
- Technique for focusing a lens so that the field depth extends over a predetermined scope of distances making an entire area, or zone, in focus rather than one specific subject. . Used . . Used . ...Communications
- Communication gear is essentially used to relay information to different individuals or teams during a show or performance to insure everything, including audio, lighting and staging are timed correct. Used . ly and functioning properly and safely. . 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‚?Ě 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‚?Ě, if they have the experience to do so.