Jan. 31, 2025
#291 - FutureTech - featuring the Elation Paragon series fixtures
Welcome to Geezers Of Gear first FutureTech Podcast. In this inaugural episode, our Ai hosts will be discussing the new Elation Paragon Series. Now isn't this better than reading spec's?
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Want the scoop on gear?
Ah, dear, Future take is here.
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Come on, get in.
We'll make the specs so clear.
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Oh, La La with music to your
ears.
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Hey, hey, hey, let's go.
It's also new.
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What the heck?
All right, ready to dive into
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some pretty cool new lighting
fixtures?
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Always.
Today we're looking at Elation's
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new Paragon fixtures.
Oh yeah, the S and the M.
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We've got Elations product pages
right here, and let me tell you,
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there's a lot to unpack.
Yeah, just looking at them, you
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can see the elation is going
after some pretty demanding
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users with these.
For sure anyone who needs
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serious performance and
flexibility, these seem like
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they could be a game changer.
Even a quick glance the specs
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and I'm seeing features on both
fixtures that caught my eye
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right away.
IP54 rating, that true tone
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variable?
CRI Technology.
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Yeah, they both have those.
It says they're aiming these at
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pros who work in all sorts of
environments.
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I mean that IP 54 rating, that
means these fixtures are ready
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for anything, indoor, outdoor,
you name it.
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You got it, rain or shine,
you're covered.
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Don't need to worry about having
separate fixtures for different
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gigs.
That's a huge win for rental
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houses or anyone doing shows in
unpredictable conditions.
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No more scrambling for those
weatherproof covers at the last
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minute.
Definitely a big plus street
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from LDI 2024.
The Live Design International
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show.
So yeah, for Elation's Paragon
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to snag that innovation award,
well.
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People are taking notice.
Big time.
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And it wasn't just the award
itself.
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Elation really went all out with
their Boo.
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They had these hourly light
shows featuring Paragon.
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Totally mesmerizing.
I can imagine we have quotes
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Elation's product manager Thias
Hendrix, and he says that
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Paragon sets a new benchmark for
fixture adaptability and
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creative control.
Hendrix is also really excited
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about how compact and
lightweight Paragon is Elation's
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CEO.
He didn't hold back his
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excitement either.
He was pretty.
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Pumped calling Paragon a new
standard and professional
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lighting even.
The culmination of two years of
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dedicated development.
CE OS get excited about new
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products, it's their job.
But this this felt different.
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It did.
I think what really stood out to
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me was how much emphasis he put
on the team behind Paragon.
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He didn't just say, Oh yeah,
great job team.
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He really went in depth,
praising their dedication,
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technical brilliance and
unwavering commitment to
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excellence.
What makes this light stand out
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from, I don't know, just
pointing a spotlight at the
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stage?
This is where it gets really
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cool.
We're talking precision
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engineered mechanics and
flawless optical output.
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So we're not just talking about
brightness here.
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No, it's color rendering, smooth
movements, the ability to
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basically sculpt light with
crazy detail.
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It's about elevating the
experience for everyone.
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So to sum it all up, we've got
an award-winning Intelligent
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Light series that's changing the
game from performance and
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serviceability to the sheer
quality of light.
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It's a whole new ball game.
Yeah, it's impressive.
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OK, so let's talk about this
True Tone CRI thing.
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I'm super intrigued but I need a
little more explanation.
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Sure.
So CRI, or Color Rendering Index
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is basically a measure of how
accurately a light source
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reproduces colors.
OK, that makes sense.
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Most fixtures have a fixed CRI,
but Elations True Tone
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technology lets you actually
adjust the CRI from 70 all the
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way up to 93.
Gives you incredible control
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over the color accuracy.
Hold on, so I can literally dial
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in the exact color rendering I
need depending on the gig?
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That's amazing for matching
different cameras, skin tones,
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all sorts of things.
Exactly.
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You need vibrant, true to life
colors for a broadcast event.
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Crank that CRI up going for a
more stylized look with super
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saturated colors for a concert.
You can just dial it back.
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It's a real game changer.
Wow, I mean think of the time
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saved in post production when
the colors are already spot on.
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I'm pretty excited about this.
And it's not just color control,
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both fixtures come loaded with a
ton of effects too.
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Rotating gobos, animation
wheels, prisms, even a high
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speed iris.
It seems like they've thrown the
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whole kitchen sink in there.
It does, doesn't it?
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They definitely went all out.
They're both using something
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called a flat field engine,
which I think is really
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interesting.
And make sure the light
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distribution across the beam is
perfectly even.
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No more hotspots or uneven
illumination to deal with.
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That's always a relief.
I mean, nothing kills a look
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faster than an uneven wash.
But packing all those features
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and they've got to be pretty
bulky, right?
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How are they handling transport?
Good question.
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They're shipping them with
custom fit polyurethane foam
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packaging.
They call it FIL.
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It's meant to provide serious
protection while they're being
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transported and it fits right
into a flight case, although you
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do have to get that separately.
Smart move.
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I mean, you definitely want that
protection during shipping,
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especially with fixtures this
complex.
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OK, let's dive into each fixture
individually.
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First up, the Paragon.
Immolation calls it the
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powerhouse.
What sets it apart?
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Well, it's got a massive 900
Watt LED engine.
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Wow, it can pump out an
incredible 37,000 lumens. 37,000
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We're talking large scale
productions here, right?
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Concerts, festivals, anything
where you need to throw light a
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long way.
Absolutely, and it's not just
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about raw power.
The M has a zoom range from 4.5°
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to 52° plus a 240° indexable
framing system.
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Oh wow, so you can really create
those incredibly precise beams,
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frame specific areas on stage,
highlight architectural details.
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You've got it.
Pinpoint accuracy.
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And then there are even optional
lenses you can get right.
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You got it.
You could swap out the standard
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lens for a Fresnel wash lens.
So you can get softer, more
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diffused light.
Exactly.
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Or if you wanted even tighter,
more concentrated beam, you can
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go for the PCD lens.
So it's really adaptable
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depending on what you need for
the gig.
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That's amazing.
Now let's move on to the
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Paragon.
Esolation calls it Compact
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Versatility, which is an
interesting combo.
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Is it truly powerful in a
smaller package?
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Don't let the size fool you, it
is a 550 Watt LED engine and it
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delivers up to 20,500 lumens.
OK, so we're still talking about
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a ton of output here.
Absolutely, and especially for a
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fixture that's designed to be
compact and lightweight.
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I mean, that's seriously
impressive, but if it's smaller,
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are we sacrificing any features
for that portability?
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Not really, no.
It's got a zoom range of 5° to
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50°, and it has the same 240°
indexable framing system as the
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M, so you're not losing any
control or precision.
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Oh good, so is it kind of like a
mini M then, but maybe with a
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few unique tricks up its?
Sleeve.
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You could say that, for example,
the S actually has more gobo
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options.
It has seven rotating glass
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gobos, plus it comes with 9
fixed metal gobos too.
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Wow, so more creative options
right out-of-the-box.
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Exactly, and I'm sure you can
guess what else it has.
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Let me guess, interchangeable
lenses?
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You got it.
You can use the frozen wash and
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PC beam lenses with the S as
well.
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They really want users to be
able to adapt these fixtures to
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a ton of different situations.
OK.
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So we've covered a lot of specs
and features here.
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If someone's trying to decide
between these two, what are the
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key takeaways?
When would you pick the power of
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the M versus that compact
versatility of the S?
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It really depends on the scale
of your project you know, and
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your specific needs.
The M is the powerhouse.
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It's got that sheer output for
large scale productions, but the
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S is no slouch.
It's got a serious punch in a
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smaller, more adaptable package.
So we're talking M for arenas
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and festivals, S for theaters,
corporate events, or places
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where space is tight.
Yeah, that's a good way to put
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it.
But don't forget that both
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fixtures offer exceptional color
control, a ton of effects, and
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of course that all important IP
54 rating.
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Right.
So no matter which one you
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choose, you're getting a top of
the line fixture that's been
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carefully designed for pros.
Now let's get into some of the
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more intriguing details that
make these fixtures stand out.
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We've mentioned that IP 54
rating a few Times Now.
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That means they're good for both
indoor and temporary outdoor
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use.
But how do they actually achieve
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that weather resistance?
What's going on with the
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construction?
Elation has done some really
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innovative things with the
chassis, ceiling and cooling
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construction.
Oh, interesting.
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Tell me more.
Well, imagine a chassis that's
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built from impact resistant,
lightweight polycarbonate.
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It can handle bumps, drops, you
know, the occasional mishap.
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And then you have these
carefully designed seals all
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throughout the fixture.
They prevent any moisture or
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dust from getting in.
And then they engineered a
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pretty sophisticated cooling
system that keeps everything
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running smoothly even in really
hot environments.
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I'm starting to get why people
are so excited about these.
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OK, let's talk about that
variable CRI technology a little
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more.
You mentioned that it gives
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designers so much more control.
Can you expand on that?
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Why is that so important in a
real world setting?
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Well, it all comes down to color
fidelity and how the light looks
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on different subjects.
With the tree tone technology,
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designers can actually fine tune
the light output and that color
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accuracy based on what they need
for that specific application.
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That's cool.
Like, let's say you're lighting
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a theatrical production and you
need to really highlight the
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nuances of skin tones.
You can dial up the CRI to 93
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and the color is going to look
incredibly natural, really
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realistic under the light.
But let's say you're lighting a
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concert and you want bolder,
more stylized colors.
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You just dial the CRI back down
to 70 and you get a completely
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different effect.
I see how much power that gives
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lighting designers to really
fine tune their looks.
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What about the gobos and
animation wheels?
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What kind of creative
possibilities do those open up?
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Oh man, the Paragon fixtures
offer a wide array of gobos,
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everything from sharp geometric
patterns to abstract designs.
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You can project textures, create
movement, just add another layer
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of visual interest to the
lighting design.
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And you can even have custom
gobos made, right?
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You can, absolutely.
And the interchangeable
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animation wheel that opens up
even more creative
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possibilities.
You can swap out the standard
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animation wheel for one with a
custom design, or even a disk
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with seven fixed gobos.
So you can really personalize
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these fixtures.
And Speaking of control, these
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fixtures support a variety of
control protocols.
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Why is it so important for pros
to have that level of choice?
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Well, these fixtures are
compatible with DMX, RDM, Artnet
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and SACN.
So it doesn't matter if you're
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using a traditional DMX setup or
a more modern network based
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system, these fixtures can do it
all.
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I get the DMX is pretty
standard, but can you give us a
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quick rundown of those other
protocols?
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RDM, Artnet, and SACN for anyone
who might not be as familiar.
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Sure, So RDM or remote device
management.
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It's like an extension of DMX.
It adds two way communication.
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Interesting.
So you can remotely configure
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the settings, monitor the
fixture status, you can even
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troubleshoot problems without
having to physically touch the
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fixture.
That's amazing.
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No more sending someone up a
ladder to check a setting or
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figure out why something's not
working, right?
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Oh.
That's a lifesaver, especially
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in a big rig.
Exactly, and it all happens over
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the same DMX cabling, so you
don't have to run any extra
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wires.
Very cool.
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Now what about Artnet and SCN?
So Artnet and SCN are both
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network based protocols.
They let you control lighting
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fixtures over Ethernet.
I can see how that would be a
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huge advantage, especially in
larger venues.
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Running hundreds of DMX cables
would be a nightmare.
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It would be so Arnet and SACN
basically let you use your
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existing network infrastructure
to control the lights.
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Much more elegant, but if
they're both network based, how
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do you choose which one to use?
So ARNET has been around longer.
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It's still really widely used,
it's pretty simple to set up,
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and it works great for a lot of
applications.
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But SECN, which stands for
Streaming ACN, is newer.
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It offers some advantages,
especially for large scale
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really complex shows.
Like what?
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Well, SCN has higher bandwidth
so it can handle a lot more
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data, really important for those
massive shows with tons of
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fixtures and complex queuing.
It also has better air handling,
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making it way more reliable.
You know, for mission critical
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applications.
So SCCN is more future proof,
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especially as lighting designs
get even more complex.
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It sounds like Elation is
thinking ahead by supporting
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both.
Definitely, and by supporting
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00:12:29,360 --> 00:12:32,520
all of these control options, it
makes the Paragon fixtures
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incredibly versatile and
adaptable.
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It does.
No matter what kind of system
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00:12:36,360 --> 00:12:38,960
you're running, these fixtures
can integrate seamlessly.
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00:12:40,480 --> 00:12:42,800
All right, that was a deep dive
into the technical side of
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things.
I'm really impressed with how
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much thought elation has put
into every aspect of these
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00:12:47,760 --> 00:12:50,400
fixtures, from the LED engines
to the optics, the control
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00:12:50,400 --> 00:12:53,000
options.
But technology is only part of
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00:12:53,000 --> 00:12:55,960
the story.
We'll be back in Part 2 to step
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00:12:55,960 --> 00:12:58,440
out of the theoretical and into
the real world.
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I can't wait.
It's going to be great to see
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how these fixtures perform in
action.
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What defines excellence?
Is it found in form, function,
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or sheer strength?
Perhaps it calls for more.
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00:13:20,720 --> 00:13:24,200
It's unconventional, searching
beyond what can be seen.
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00:13:25,280 --> 00:13:29,200
It moves with grace, intent and
versatility.
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00:13:29,520 --> 00:13:34,280
While others are content to
remain unchanged, a true hero
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00:13:34,280 --> 00:13:38,240
rejects the ordinary and
embraces transformation.
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00:13:39,000 --> 00:13:43,760
They ascend and become the
paragon.
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00:13:50,480 --> 00:13:52,560
Welcome back.
Ready to dig a little deeper
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00:13:52,560 --> 00:13:54,720
into the paragons?
Let's explore some of those
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00:13:54,720 --> 00:13:57,120
finer points that really set
these fixtures apart.
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00:13:57,280 --> 00:13:59,960
Sounds good to me.
HEPA filters in a light.
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00:13:59,960 --> 00:14:01,160
Light.
I mean, that's what's in my
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00:14:01,160 --> 00:14:02,320
vacuum cleaner.
Yeah.
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00:14:02,320 --> 00:14:05,400
So what's the connection?
Well, it's actually a really
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00:14:05,400 --> 00:14:08,800
fascinating application.
You see, they've they've kind of
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00:14:08,800 --> 00:14:11,960
gone beyond just illumination
and and they've actually tackled
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00:14:11,960 --> 00:14:14,760
a major headache for the
industry maintenance.
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00:14:14,960 --> 00:14:19,360
OK, you think about all those
light fixtures, you know, way up
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00:14:19,360 --> 00:14:23,000
high in the ceilings and stuff,
Dust, magnets and all that dust
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00:14:23,000 --> 00:14:26,480
and grime not only dims the
light over time, but it can
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00:14:26,480 --> 00:14:29,160
actually shorten the lifespan of
the fixture itself.
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00:14:29,640 --> 00:14:32,200
That makes sense, but how does a
HEPA filter solve that?
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00:14:32,200 --> 00:14:34,520
I mean, don't those usually live
in like air purifiers and stuff?
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00:14:34,520 --> 00:14:38,720
Exactly.
But Paragon system cleverly
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00:14:38,720 --> 00:14:41,440
integrates a HEPA filter
directly into the lighting
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00:14:41,440 --> 00:14:42,920
fixture.
And it's not just about
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00:14:42,920 --> 00:14:45,680
filtering the air in the room,
it's about creating a miniature
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00:14:45,680 --> 00:14:48,440
clean room within the fixture
itself.
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00:14:48,760 --> 00:14:52,400
That's pretty clever, but
wouldn't sealing it up like that
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00:14:52,400 --> 00:14:53,960
cause it to overheat?
That's where the real
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00:14:53,960 --> 00:14:56,400
engineering comes in, OK?
I'm starting to see the big
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00:14:56,400 --> 00:14:59,160
picture here.
Less dust means less wear and
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00:14:59,160 --> 00:15:02,160
tear, which means fewer
replacements and less
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00:15:02,160 --> 00:15:03,720
maintenance overall.
Absolutely.
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00:15:03,720 --> 00:15:06,240
And and you have to consider the
energy savings as well.
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00:15:06,480 --> 00:15:08,960
You know a clean fixture
operates more efficiently,
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00:15:08,960 --> 00:15:11,840
meaning less wasted energy.
So it's a win win for both the
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00:15:11,840 --> 00:15:13,600
environment and your wallet.
This is.
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00:15:13,840 --> 00:15:15,640
Way more innovative than I
initially thought.
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00:15:15,880 --> 00:15:19,480
So let's talk Lumens.
The Paragon M, It boasts a
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00:15:19,480 --> 00:15:24,360
whopping 37,000 lumens, while
the S comes in at a still very
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00:15:24,360 --> 00:15:28,680
impressive 20,500.
I'm curious, why is lumen output
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00:15:28,680 --> 00:15:30,640
so crucial, especially for
professionals?
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00:15:30,640 --> 00:15:32,920
It's not just about how bright
the light is, right?
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00:15:33,000 --> 00:15:35,800
It's more nuanced than that.
I mean, yeah, lumen output does
312
00:15:35,800 --> 00:15:38,360
measure the total visible light,
but think of it like this.
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00:15:38,520 --> 00:15:40,920
Higher lumens mean you can
project the light further, You
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00:15:40,920 --> 00:15:43,720
can cut through haze and smoke
more effectively, really make an
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00:15:43,720 --> 00:15:47,000
impact in large venues.
But high lumen output also has
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00:15:47,000 --> 00:15:50,240
an impact on color rendering.
Remember that True Tone variable
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00:15:50,360 --> 00:15:53,440
CRI technology we talked about?
Yeah, well with more lumens you
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00:15:53,440 --> 00:15:56,880
get better color saturation,
better accuracy, esecially those
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00:15:56,880 --> 00:15:59,000
higher CRI settings.
That makes sense.
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00:15:59,000 --> 00:16:02,440
So brighter light actually helps
to reveal those more nuanced
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00:16:02,440 --> 00:16:05,240
colors, especially when you're
working with higher CR is that
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00:16:05,240 --> 00:16:07,520
makes a lot of sense.
But high output also means a lot
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00:16:07,520 --> 00:16:10,120
of heat, right?
It does, but Elation has
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00:16:10,120 --> 00:16:12,600
incorporated this very
sophisticated cooling system.
325
00:16:12,920 --> 00:16:16,400
It uses a combination of heat
sinks, fans, and airflow
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00:16:16,400 --> 00:16:18,480
management to keep everything
running smoothly.
327
00:16:18,960 --> 00:16:23,480
And Speaking of fans, both the
Paragon S&M offer five different
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00:16:23,480 --> 00:16:26,400
fan modes.
Yes, the fan modes.
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00:16:26,480 --> 00:16:29,360
This seems like a big deal for
theatrical applications, or
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00:16:29,360 --> 00:16:31,800
really any situation where noise
is a concern.
331
00:16:32,240 --> 00:16:34,320
Absolutely.
Imagine you're lighting a play
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00:16:34,640 --> 00:16:37,000
and you need that quiet, subtle
scene.
333
00:16:37,440 --> 00:16:40,640
You can set the fan to a low
noise mode so it's barely
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00:16:40,640 --> 00:16:43,920
audible, but if you're lighting
a rock concert and the noise
335
00:16:43,920 --> 00:16:46,600
isn't a problem, you can crank
those fans up to make sure
336
00:16:46,600 --> 00:16:49,520
you're getting optimal cooling.
So it's about flexibility, being
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00:16:49,520 --> 00:16:52,400
able to adapt to the needs of
the environment.
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00:16:53,080 --> 00:16:56,960
OK, let's move on to optics.
Both fixtures have pretty
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00:16:56,960 --> 00:17:02,080
impressive zoom ranges, 4.5 to
52° for the M5 to 50 for the S.
340
00:17:02,440 --> 00:17:04,960
So again, it's all about
versatility, going from a wide
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00:17:04,960 --> 00:17:07,280
flood to a tight spot all with
the same fixture.
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00:17:07,280 --> 00:17:09,520
I'm noticing a pattern here.
And it's not just about the
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00:17:09,520 --> 00:17:12,079
width of the beam.
Both fixtures have a 240°
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00:17:12,079 --> 00:17:15,400
indexable framing system, right?
Those internal shutters let you
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00:17:15,400 --> 00:17:17,280
shape the beam with a lot of
precision.
346
00:17:17,280 --> 00:17:19,880
You can create squares,
rectangles, triangles, you name
347
00:17:19,880 --> 00:17:21,520
it.
Yeah, I've seen those shutters
348
00:17:21,520 --> 00:17:23,480
demoed and they really are
precise and.
349
00:17:23,480 --> 00:17:26,400
Then you have the optional
interchangeable lenses, the
350
00:17:26,400 --> 00:17:29,560
Fresno wash and the PC beam.
These lenses give you the
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00:17:29,560 --> 00:17:32,360
ability to further modify the
characteristics of the beam.
352
00:17:32,560 --> 00:17:34,200
Right.
Remind me, how do those lenses
353
00:17:34,200 --> 00:17:38,240
actually affect the light?
So a Fresnel lens creates a
354
00:17:38,240 --> 00:17:42,560
softer, more diffused beam, has
a wider beam angle, so it's
355
00:17:42,560 --> 00:17:44,560
perfect for creating that smooth
wash.
356
00:17:44,960 --> 00:17:48,640
And then the PC lens or Lano
convex lens, it creates a really
357
00:17:48,640 --> 00:17:51,960
hard edged narrow beam.
Think searchlights, those really
358
00:17:51,960 --> 00:17:53,840
dramatic aerial effects you see
at concerts.
359
00:17:53,840 --> 00:17:56,920
So with a simple lens swap you
can completely transform the
360
00:17:56,920 --> 00:17:59,760
light from subtle to dramatic
elation.
361
00:17:59,760 --> 00:18:01,520
Really gives you a lot to work
with here.
362
00:18:01,520 --> 00:18:04,080
It's one thing to talk about
lumen output and zoom ranges,
363
00:18:04,080 --> 00:18:07,200
but it's a whole other thing to
see how designers are actually
364
00:18:07,200 --> 00:18:10,280
using these tools, bringing
their artistic visions to life.
365
00:18:10,840 --> 00:18:12,400
I love hearing those stories.
Me too.
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00:18:12,720 --> 00:18:14,520
Let's start big.
The concert arena.
367
00:18:14,920 --> 00:18:18,760
Picture a massive stage,
thousands of screaming fans,
368
00:18:18,800 --> 00:18:22,440
music pulsing through the air
and the Paragon M.
369
00:18:23,040 --> 00:18:26,720
The perfect environment for the
M to really flex its muscles.
370
00:18:26,800 --> 00:18:29,880
All that output, those vibrant
colors, It seems like a match
371
00:18:29,880 --> 00:18:32,040
made in heaven.
Beam cut through the haze and
372
00:18:32,040 --> 00:18:35,360
smoke like a laser, you know,
creating those dramatic aerial
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00:18:35,360 --> 00:18:37,000
effects.
Like that I can just picture it.
374
00:18:37,120 --> 00:18:40,840
And the zoom range let them go
from those wide washes for full
375
00:18:40,840 --> 00:18:44,320
stage looks to those really
tight spotlights on the
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00:18:44,320 --> 00:18:47,800
performers, adding this whole
other dynamic element to the
377
00:18:47,800 --> 00:18:50,400
show.
Oh, I'm sure the colors must
378
00:18:50,400 --> 00:18:53,520
have been just incredible.
The colors were so rich, so
379
00:18:53,520 --> 00:18:56,960
vibrant, and the framing
shutters essential for isolating
380
00:18:56,960 --> 00:19:00,080
performers, creating those super
precise beams of light.
381
00:19:00,080 --> 00:19:01,640
Makes sense in a concert
environment.
382
00:19:01,640 --> 00:19:03,920
You need that level of control.
You got to create excitement.
383
00:19:04,120 --> 00:19:06,200
Keep that energy high.
Yeah, for sure.
384
00:19:06,440 --> 00:19:08,840
But let's change gears now.
Go to a totally different
385
00:19:08,840 --> 00:19:10,840
setting, a theatrical
production.
386
00:19:10,840 --> 00:19:14,040
This seems like the perfect spot
for the Paragon S to shine.
387
00:19:14,040 --> 00:19:16,160
Compact size, all that
versatility.
388
00:19:16,320 --> 00:19:19,320
Definitely.
To create those subtle pools of
389
00:19:19,320 --> 00:19:23,280
light on stage, highlighting key
moments without overpowering the
390
00:19:23,280 --> 00:19:25,840
actors or the set.
Subtlety is key in those
391
00:19:25,840 --> 00:19:28,320
situations.
It is, and the shutters.
392
00:19:28,480 --> 00:19:31,840
They were a game changer,
precisely framed specific areas
393
00:19:32,120 --> 00:19:35,440
like a doorway or piece of
furniture, adding depth and
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00:19:35,440 --> 00:19:37,120
focus.
That makes sense.
395
00:19:37,120 --> 00:19:39,600
Theatrical lighting is all about
those subtle touches, that
396
00:19:39,600 --> 00:19:42,240
precision.
The S seems perfect for that.
397
00:19:42,240 --> 00:19:43,960
Totally.
But it's not just concerts and
398
00:19:43,960 --> 00:19:47,560
theater using these fixtures for
corporate events, houses of
399
00:19:47,560 --> 00:19:50,120
worship, even architectural
installations.
400
00:19:50,120 --> 00:19:52,040
That's so cool, really shows how
versatile they are.
401
00:19:52,160 --> 00:19:54,920
Having fixtures that can handle
outdoor conditions like that
402
00:19:54,920 --> 00:19:57,960
without needing special
protection, it's a game changer,
403
00:19:57,960 --> 00:20:01,040
opens up so many possibilities.
It shows that these fixtures are
404
00:20:01,040 --> 00:20:04,240
more than just impressive specs
on paper, they're tools that
405
00:20:04,240 --> 00:20:06,240
empower designers.
You know, whether it's a
406
00:20:06,240 --> 00:20:08,920
concert, a play, or even the
side of building.
407
00:20:09,240 --> 00:20:11,360
That's a great way to put it,
and I have a feeling this is
408
00:20:11,360 --> 00:20:13,640
just the beginning.
As more designers get their
409
00:20:13,640 --> 00:20:16,320
hands on these Paragon fixtures,
I think we're going to see some
410
00:20:16,320 --> 00:20:18,760
truly groundbreaking lighting
designs.
411
00:20:19,040 --> 00:20:21,800
I think you're right, the future
of lighting is looking pretty
412
00:20:21,800 --> 00:20:24,680
bright, no pun intended.
Well, we've reached the end of
413
00:20:24,680 --> 00:20:27,840
our deep dive into Elation's
Paragon fixtures.
414
00:20:28,040 --> 00:20:30,840
We've explored the features, the
technology, we've heard of how
415
00:20:30,840 --> 00:20:33,360
they're being used to create
amazing visuals.
416
00:20:33,680 --> 00:20:35,800
I hope you've enjoyed this
journey into the world of
417
00:20:35,800 --> 00:20:38,800
lighting as much as we have.
And if you're a lighting
418
00:20:38,800 --> 00:20:41,280
professional, or even if you
just appreciate the art of
419
00:20:41,280 --> 00:20:44,160
light, we encourage you to visit
Elation's website.
420
00:20:44,560 --> 00:20:47,640
Check out the Paragon series.
You might just find the perfect
421
00:20:47,640 --> 00:20:51,120
fixture for your next project.
Great advice and as always,
422
00:20:51,120 --> 00:20:53,120
thank you for joining us.
Thank you for listening to the
423
00:20:53,120 --> 00:20:56,040
very first Future Tech Podcast.
The Elation team wanted our
424
00:20:56,040 --> 00:20:59,720
listeners to know that coming
soon is the Paragon LTA powerful
425
00:20:59,720 --> 00:21:03,400
LED profile for the largest
stadium and arena shows that
426
00:21:03,400 --> 00:21:06,480
require extremely long throws,
equipped with the same advanced
427
00:21:06,480 --> 00:21:08,680
technology as the other Paragon
fixtures.
428
00:21:08,680 --> 00:21:11,080
As soon as we have more
information on the Paragon Lt.,
429
00:21:11,120 --> 00:21:15,840
you will be the first to know.
Let's go new gear vibes.
430
00:21:17,000 --> 00:21:23,800
New tech.
We keep it live.
431
00:21:30,680 --> 00:21:33,440
Jesus of gear Future tech is
here.
00:00:09,520 --> 00:00:17,120
Want the scoop on gear?
Ah, dear, Future take is here.
2
00:00:17,600 --> 00:00:21,920
Come on, get in.
We'll make the specs so clear.
3
00:00:22,560 --> 00:00:27,200
Oh, La La with music to your
ears.
4
00:00:27,720 --> 00:00:32,520
Hey, hey, hey, let's go.
It's also new.
5
00:00:32,640 --> 00:00:39,680
What the heck?
All right, ready to dive into
6
00:00:39,680 --> 00:00:41,360
some pretty cool new lighting
fixtures?
7
00:00:41,800 --> 00:00:45,320
Always.
Today we're looking at Elation's
8
00:00:45,320 --> 00:00:48,320
new Paragon fixtures.
Oh yeah, the S and the M.
9
00:00:48,560 --> 00:00:51,280
We've got Elations product pages
right here, and let me tell you,
10
00:00:51,280 --> 00:00:54,120
there's a lot to unpack.
Yeah, just looking at them, you
11
00:00:54,120 --> 00:00:57,280
can see the elation is going
after some pretty demanding
12
00:00:57,280 --> 00:00:59,960
users with these.
For sure anyone who needs
13
00:00:59,960 --> 00:01:02,840
serious performance and
flexibility, these seem like
14
00:01:02,840 --> 00:01:06,120
they could be a game changer.
Even a quick glance the specs
15
00:01:06,440 --> 00:01:09,480
and I'm seeing features on both
fixtures that caught my eye
16
00:01:09,480 --> 00:01:12,760
right away.
IP54 rating, that true tone
17
00:01:12,760 --> 00:01:14,160
variable?
CRI Technology.
18
00:01:14,160 --> 00:01:16,480
Yeah, they both have those.
It says they're aiming these at
19
00:01:16,480 --> 00:01:19,040
pros who work in all sorts of
environments.
20
00:01:19,040 --> 00:01:21,800
I mean that IP 54 rating, that
means these fixtures are ready
21
00:01:21,800 --> 00:01:23,840
for anything, indoor, outdoor,
you name it.
22
00:01:23,920 --> 00:01:25,800
You got it, rain or shine,
you're covered.
23
00:01:25,800 --> 00:01:28,200
Don't need to worry about having
separate fixtures for different
24
00:01:28,200 --> 00:01:30,280
gigs.
That's a huge win for rental
25
00:01:30,280 --> 00:01:33,440
houses or anyone doing shows in
unpredictable conditions.
26
00:01:33,920 --> 00:01:36,360
No more scrambling for those
weatherproof covers at the last
27
00:01:36,360 --> 00:01:38,160
minute.
Definitely a big plus street
28
00:01:38,160 --> 00:01:41,760
from LDI 2024.
The Live Design International
29
00:01:41,760 --> 00:01:44,200
show.
So yeah, for Elation's Paragon
30
00:01:44,200 --> 00:01:46,480
to snag that innovation award,
well.
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00:01:46,480 --> 00:01:48,480
People are taking notice.
Big time.
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00:01:48,680 --> 00:01:50,560
And it wasn't just the award
itself.
33
00:01:50,600 --> 00:01:52,520
Elation really went all out with
their Boo.
34
00:01:52,680 --> 00:01:55,840
They had these hourly light
shows featuring Paragon.
35
00:01:56,560 --> 00:02:00,360
Totally mesmerizing.
I can imagine we have quotes
36
00:02:01,200 --> 00:02:05,080
Elation's product manager Thias
Hendrix, and he says that
37
00:02:05,080 --> 00:02:09,160
Paragon sets a new benchmark for
fixture adaptability and
38
00:02:09,160 --> 00:02:12,400
creative control.
Hendrix is also really excited
39
00:02:12,400 --> 00:02:15,680
about how compact and
lightweight Paragon is Elation's
40
00:02:15,680 --> 00:02:17,880
CEO.
He didn't hold back his
41
00:02:17,880 --> 00:02:19,080
excitement either.
He was pretty.
42
00:02:19,080 --> 00:02:21,640
Pumped calling Paragon a new
standard and professional
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00:02:21,640 --> 00:02:24,120
lighting even.
The culmination of two years of
44
00:02:24,120 --> 00:02:26,800
dedicated development.
CE OS get excited about new
45
00:02:26,800 --> 00:02:30,560
products, it's their job.
But this this felt different.
46
00:02:30,560 --> 00:02:32,200
It did.
I think what really stood out to
47
00:02:32,200 --> 00:02:35,720
me was how much emphasis he put
on the team behind Paragon.
48
00:02:35,800 --> 00:02:37,600
He didn't just say, Oh yeah,
great job team.
49
00:02:37,840 --> 00:02:41,560
He really went in depth,
praising their dedication,
50
00:02:41,560 --> 00:02:44,280
technical brilliance and
unwavering commitment to
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00:02:44,280 --> 00:02:46,360
excellence.
What makes this light stand out
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00:02:46,360 --> 00:02:49,200
from, I don't know, just
pointing a spotlight at the
53
00:02:49,200 --> 00:02:50,520
stage?
This is where it gets really
54
00:02:50,520 --> 00:02:52,280
cool.
We're talking precision
55
00:02:52,280 --> 00:02:55,640
engineered mechanics and
flawless optical output.
56
00:02:55,640 --> 00:02:57,160
So we're not just talking about
brightness here.
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00:02:57,280 --> 00:03:01,680
No, it's color rendering, smooth
movements, the ability to
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00:03:01,720 --> 00:03:04,880
basically sculpt light with
crazy detail.
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00:03:05,320 --> 00:03:07,920
It's about elevating the
experience for everyone.
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00:03:08,480 --> 00:03:11,920
So to sum it all up, we've got
an award-winning Intelligent
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00:03:11,920 --> 00:03:15,200
Light series that's changing the
game from performance and
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00:03:15,200 --> 00:03:17,680
serviceability to the sheer
quality of light.
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00:03:17,680 --> 00:03:20,440
It's a whole new ball game.
Yeah, it's impressive.
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00:03:20,680 --> 00:03:23,040
OK, so let's talk about this
True Tone CRI thing.
65
00:03:23,040 --> 00:03:26,160
I'm super intrigued but I need a
little more explanation.
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00:03:26,240 --> 00:03:29,120
Sure.
So CRI, or Color Rendering Index
67
00:03:29,400 --> 00:03:32,240
is basically a measure of how
accurately a light source
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00:03:32,240 --> 00:03:34,040
reproduces colors.
OK, that makes sense.
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00:03:34,200 --> 00:03:37,920
Most fixtures have a fixed CRI,
but Elations True Tone
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00:03:37,920 --> 00:03:42,520
technology lets you actually
adjust the CRI from 70 all the
71
00:03:42,520 --> 00:03:45,560
way up to 93.
Gives you incredible control
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00:03:45,560 --> 00:03:48,720
over the color accuracy.
Hold on, so I can literally dial
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00:03:48,720 --> 00:03:51,680
in the exact color rendering I
need depending on the gig?
74
00:03:51,840 --> 00:03:54,280
That's amazing for matching
different cameras, skin tones,
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00:03:54,280 --> 00:03:55,680
all sorts of things.
Exactly.
76
00:03:55,680 --> 00:03:58,560
You need vibrant, true to life
colors for a broadcast event.
77
00:03:58,800 --> 00:04:02,960
Crank that CRI up going for a
more stylized look with super
78
00:04:02,960 --> 00:04:06,040
saturated colors for a concert.
You can just dial it back.
79
00:04:06,040 --> 00:04:09,600
It's a real game changer.
Wow, I mean think of the time
80
00:04:09,600 --> 00:04:12,840
saved in post production when
the colors are already spot on.
81
00:04:12,840 --> 00:04:16,680
I'm pretty excited about this.
And it's not just color control,
82
00:04:16,800 --> 00:04:19,720
both fixtures come loaded with a
ton of effects too.
83
00:04:20,160 --> 00:04:23,960
Rotating gobos, animation
wheels, prisms, even a high
84
00:04:23,960 --> 00:04:26,040
speed iris.
It seems like they've thrown the
85
00:04:26,040 --> 00:04:28,400
whole kitchen sink in there.
It does, doesn't it?
86
00:04:28,400 --> 00:04:30,800
They definitely went all out.
They're both using something
87
00:04:30,800 --> 00:04:33,320
called a flat field engine,
which I think is really
88
00:04:33,320 --> 00:04:34,960
interesting.
And make sure the light
89
00:04:34,960 --> 00:04:37,840
distribution across the beam is
perfectly even.
90
00:04:38,160 --> 00:04:41,200
No more hotspots or uneven
illumination to deal with.
91
00:04:41,200 --> 00:04:43,280
That's always a relief.
I mean, nothing kills a look
92
00:04:43,280 --> 00:04:46,320
faster than an uneven wash.
But packing all those features
93
00:04:46,320 --> 00:04:48,120
and they've got to be pretty
bulky, right?
94
00:04:48,320 --> 00:04:51,160
How are they handling transport?
Good question.
95
00:04:51,760 --> 00:04:54,560
They're shipping them with
custom fit polyurethane foam
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00:04:54,560 --> 00:04:56,440
packaging.
They call it FIL.
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00:04:56,800 --> 00:04:59,200
It's meant to provide serious
protection while they're being
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00:04:59,200 --> 00:05:02,200
transported and it fits right
into a flight case, although you
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00:05:02,200 --> 00:05:04,400
do have to get that separately.
Smart move.
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00:05:04,400 --> 00:05:06,600
I mean, you definitely want that
protection during shipping,
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00:05:06,600 --> 00:05:08,680
especially with fixtures this
complex.
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00:05:09,040 --> 00:05:11,360
OK, let's dive into each fixture
individually.
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00:05:11,360 --> 00:05:14,040
First up, the Paragon.
Immolation calls it the
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00:05:14,040 --> 00:05:16,040
powerhouse.
What sets it apart?
105
00:05:16,720 --> 00:05:20,520
Well, it's got a massive 900
Watt LED engine.
106
00:05:21,000 --> 00:05:25,880
Wow, it can pump out an
incredible 37,000 lumens. 37,000
107
00:05:25,880 --> 00:05:28,280
We're talking large scale
productions here, right?
108
00:05:28,400 --> 00:05:31,160
Concerts, festivals, anything
where you need to throw light a
109
00:05:31,160 --> 00:05:33,240
long way.
Absolutely, and it's not just
110
00:05:33,240 --> 00:05:37,360
about raw power.
The M has a zoom range from 4.5°
111
00:05:37,360 --> 00:05:41,800
to 52° plus a 240° indexable
framing system.
112
00:05:41,920 --> 00:05:45,640
Oh wow, so you can really create
those incredibly precise beams,
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00:05:45,880 --> 00:05:49,480
frame specific areas on stage,
highlight architectural details.
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00:05:49,600 --> 00:05:51,240
You've got it.
Pinpoint accuracy.
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00:05:51,360 --> 00:05:53,680
And then there are even optional
lenses you can get right.
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00:05:53,680 --> 00:05:55,040
You got it.
You could swap out the standard
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00:05:55,040 --> 00:05:57,800
lens for a Fresnel wash lens.
So you can get softer, more
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00:05:57,800 --> 00:05:59,560
diffused light.
Exactly.
119
00:05:59,800 --> 00:06:03,440
Or if you wanted even tighter,
more concentrated beam, you can
120
00:06:03,440 --> 00:06:06,160
go for the PCD lens.
So it's really adaptable
121
00:06:06,160 --> 00:06:07,640
depending on what you need for
the gig.
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00:06:07,800 --> 00:06:10,600
That's amazing.
Now let's move on to the
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00:06:10,600 --> 00:06:13,800
Paragon.
Esolation calls it Compact
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00:06:13,800 --> 00:06:15,920
Versatility, which is an
interesting combo.
125
00:06:16,480 --> 00:06:18,760
Is it truly powerful in a
smaller package?
126
00:06:19,000 --> 00:06:24,080
Don't let the size fool you, it
is a 550 Watt LED engine and it
127
00:06:24,080 --> 00:06:28,640
delivers up to 20,500 lumens.
OK, so we're still talking about
128
00:06:28,640 --> 00:06:31,240
a ton of output here.
Absolutely, and especially for a
129
00:06:31,240 --> 00:06:33,640
fixture that's designed to be
compact and lightweight.
130
00:06:33,720 --> 00:06:36,480
I mean, that's seriously
impressive, but if it's smaller,
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00:06:36,600 --> 00:06:39,480
are we sacrificing any features
for that portability?
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00:06:39,480 --> 00:06:42,600
Not really, no.
It's got a zoom range of 5° to
133
00:06:42,600 --> 00:06:47,040
50°, and it has the same 240°
indexable framing system as the
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00:06:47,040 --> 00:06:49,560
M, so you're not losing any
control or precision.
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00:06:49,560 --> 00:06:52,760
Oh good, so is it kind of like a
mini M then, but maybe with a
136
00:06:52,760 --> 00:06:54,320
few unique tricks up its?
Sleeve.
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00:06:54,440 --> 00:06:57,160
You could say that, for example,
the S actually has more gobo
138
00:06:57,160 --> 00:06:59,560
options.
It has seven rotating glass
139
00:06:59,560 --> 00:07:02,400
gobos, plus it comes with 9
fixed metal gobos too.
140
00:07:02,400 --> 00:07:05,120
Wow, so more creative options
right out-of-the-box.
141
00:07:05,360 --> 00:07:08,000
Exactly, and I'm sure you can
guess what else it has.
142
00:07:08,120 --> 00:07:10,400
Let me guess, interchangeable
lenses?
143
00:07:10,400 --> 00:07:12,880
You got it.
You can use the frozen wash and
144
00:07:12,880 --> 00:07:15,000
PC beam lenses with the S as
well.
145
00:07:15,440 --> 00:07:19,080
They really want users to be
able to adapt these fixtures to
146
00:07:19,200 --> 00:07:21,320
a ton of different situations.
OK.
147
00:07:21,320 --> 00:07:23,560
So we've covered a lot of specs
and features here.
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00:07:23,760 --> 00:07:26,200
If someone's trying to decide
between these two, what are the
149
00:07:26,200 --> 00:07:28,880
key takeaways?
When would you pick the power of
150
00:07:28,880 --> 00:07:32,080
the M versus that compact
versatility of the S?
151
00:07:32,080 --> 00:07:35,760
It really depends on the scale
of your project you know, and
152
00:07:35,760 --> 00:07:38,840
your specific needs.
The M is the powerhouse.
153
00:07:38,840 --> 00:07:42,560
It's got that sheer output for
large scale productions, but the
154
00:07:42,560 --> 00:07:45,320
S is no slouch.
It's got a serious punch in a
155
00:07:45,320 --> 00:07:48,920
smaller, more adaptable package.
So we're talking M for arenas
156
00:07:48,920 --> 00:07:52,160
and festivals, S for theaters,
corporate events, or places
157
00:07:52,160 --> 00:07:54,440
where space is tight.
Yeah, that's a good way to put
158
00:07:54,440 --> 00:07:55,960
it.
But don't forget that both
159
00:07:55,960 --> 00:07:59,480
fixtures offer exceptional color
control, a ton of effects, and
160
00:07:59,480 --> 00:08:01,880
of course that all important IP
54 rating.
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00:08:02,000 --> 00:08:03,440
Right.
So no matter which one you
162
00:08:03,440 --> 00:08:06,360
choose, you're getting a top of
the line fixture that's been
163
00:08:06,360 --> 00:08:10,160
carefully designed for pros.
Now let's get into some of the
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00:08:10,160 --> 00:08:13,040
more intriguing details that
make these fixtures stand out.
165
00:08:13,600 --> 00:08:16,520
We've mentioned that IP 54
rating a few Times Now.
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00:08:16,920 --> 00:08:19,960
That means they're good for both
indoor and temporary outdoor
167
00:08:19,960 --> 00:08:22,280
use.
But how do they actually achieve
168
00:08:22,280 --> 00:08:24,240
that weather resistance?
What's going on with the
169
00:08:24,240 --> 00:08:26,920
construction?
Elation has done some really
170
00:08:26,920 --> 00:08:29,760
innovative things with the
chassis, ceiling and cooling
171
00:08:29,760 --> 00:08:31,560
construction.
Oh, interesting.
172
00:08:31,600 --> 00:08:33,760
Tell me more.
Well, imagine a chassis that's
173
00:08:33,760 --> 00:08:37,000
built from impact resistant,
lightweight polycarbonate.
174
00:08:37,280 --> 00:08:40,200
It can handle bumps, drops, you
know, the occasional mishap.
175
00:08:40,720 --> 00:08:43,799
And then you have these
carefully designed seals all
176
00:08:43,799 --> 00:08:46,480
throughout the fixture.
They prevent any moisture or
177
00:08:46,480 --> 00:08:48,880
dust from getting in.
And then they engineered a
178
00:08:48,960 --> 00:08:51,560
pretty sophisticated cooling
system that keeps everything
179
00:08:51,560 --> 00:08:54,240
running smoothly even in really
hot environments.
180
00:08:54,440 --> 00:08:57,040
I'm starting to get why people
are so excited about these.
181
00:08:57,160 --> 00:09:00,840
OK, let's talk about that
variable CRI technology a little
182
00:09:00,840 --> 00:09:02,800
more.
You mentioned that it gives
183
00:09:02,800 --> 00:09:06,320
designers so much more control.
Can you expand on that?
184
00:09:06,400 --> 00:09:08,800
Why is that so important in a
real world setting?
185
00:09:09,440 --> 00:09:12,600
Well, it all comes down to color
fidelity and how the light looks
186
00:09:12,600 --> 00:09:15,520
on different subjects.
With the tree tone technology,
187
00:09:15,520 --> 00:09:19,720
designers can actually fine tune
the light output and that color
188
00:09:19,720 --> 00:09:23,360
accuracy based on what they need
for that specific application.
189
00:09:23,560 --> 00:09:25,240
That's cool.
Like, let's say you're lighting
190
00:09:25,240 --> 00:09:28,160
a theatrical production and you
need to really highlight the
191
00:09:28,160 --> 00:09:32,160
nuances of skin tones.
You can dial up the CRI to 93
192
00:09:32,360 --> 00:09:34,680
and the color is going to look
incredibly natural, really
193
00:09:34,680 --> 00:09:37,280
realistic under the light.
But let's say you're lighting a
194
00:09:37,280 --> 00:09:40,560
concert and you want bolder,
more stylized colors.
195
00:09:40,800 --> 00:09:44,240
You just dial the CRI back down
to 70 and you get a completely
196
00:09:44,240 --> 00:09:46,920
different effect.
I see how much power that gives
197
00:09:46,920 --> 00:09:49,720
lighting designers to really
fine tune their looks.
198
00:09:50,400 --> 00:09:53,120
What about the gobos and
animation wheels?
199
00:09:53,320 --> 00:09:55,800
What kind of creative
possibilities do those open up?
200
00:09:56,000 --> 00:09:59,560
Oh man, the Paragon fixtures
offer a wide array of gobos,
201
00:09:59,560 --> 00:10:02,760
everything from sharp geometric
patterns to abstract designs.
202
00:10:03,080 --> 00:10:06,800
You can project textures, create
movement, just add another layer
203
00:10:06,800 --> 00:10:08,680
of visual interest to the
lighting design.
204
00:10:09,000 --> 00:10:11,440
And you can even have custom
gobos made, right?
205
00:10:11,440 --> 00:10:13,160
You can, absolutely.
And the interchangeable
206
00:10:13,160 --> 00:10:16,040
animation wheel that opens up
even more creative
207
00:10:16,040 --> 00:10:18,040
possibilities.
You can swap out the standard
208
00:10:18,040 --> 00:10:21,160
animation wheel for one with a
custom design, or even a disk
209
00:10:21,160 --> 00:10:24,320
with seven fixed gobos.
So you can really personalize
210
00:10:24,320 --> 00:10:26,840
these fixtures.
And Speaking of control, these
211
00:10:26,840 --> 00:10:29,560
fixtures support a variety of
control protocols.
212
00:10:29,920 --> 00:10:33,040
Why is it so important for pros
to have that level of choice?
213
00:10:33,240 --> 00:10:37,000
Well, these fixtures are
compatible with DMX, RDM, Artnet
214
00:10:37,000 --> 00:10:39,680
and SACN.
So it doesn't matter if you're
215
00:10:39,680 --> 00:10:43,640
using a traditional DMX setup or
a more modern network based
216
00:10:43,640 --> 00:10:45,680
system, these fixtures can do it
all.
217
00:10:45,880 --> 00:10:48,280
I get the DMX is pretty
standard, but can you give us a
218
00:10:48,280 --> 00:10:50,040
quick rundown of those other
protocols?
219
00:10:50,040 --> 00:10:53,480
RDM, Artnet, and SACN for anyone
who might not be as familiar.
220
00:10:53,480 --> 00:10:57,400
Sure, So RDM or remote device
management.
221
00:10:57,640 --> 00:11:01,040
It's like an extension of DMX.
It adds two way communication.
222
00:11:01,520 --> 00:11:03,360
Interesting.
So you can remotely configure
223
00:11:03,360 --> 00:11:06,640
the settings, monitor the
fixture status, you can even
224
00:11:06,640 --> 00:11:09,040
troubleshoot problems without
having to physically touch the
225
00:11:09,040 --> 00:11:10,080
fixture.
That's amazing.
226
00:11:10,200 --> 00:11:12,600
No more sending someone up a
ladder to check a setting or
227
00:11:12,600 --> 00:11:14,320
figure out why something's not
working, right?
228
00:11:14,320 --> 00:11:15,920
Oh.
That's a lifesaver, especially
229
00:11:15,920 --> 00:11:18,080
in a big rig.
Exactly, and it all happens over
230
00:11:18,080 --> 00:11:20,320
the same DMX cabling, so you
don't have to run any extra
231
00:11:20,320 --> 00:11:21,560
wires.
Very cool.
232
00:11:21,560 --> 00:11:26,480
Now what about Artnet and SCN?
So Artnet and SCN are both
233
00:11:26,480 --> 00:11:29,720
network based protocols.
They let you control lighting
234
00:11:29,720 --> 00:11:32,280
fixtures over Ethernet.
I can see how that would be a
235
00:11:32,280 --> 00:11:34,320
huge advantage, especially in
larger venues.
236
00:11:34,840 --> 00:11:37,280
Running hundreds of DMX cables
would be a nightmare.
237
00:11:37,280 --> 00:11:41,920
It would be so Arnet and SACN
basically let you use your
238
00:11:41,920 --> 00:11:44,640
existing network infrastructure
to control the lights.
239
00:11:45,000 --> 00:11:48,240
Much more elegant, but if
they're both network based, how
240
00:11:48,240 --> 00:11:51,640
do you choose which one to use?
So ARNET has been around longer.
241
00:11:51,680 --> 00:11:54,640
It's still really widely used,
it's pretty simple to set up,
242
00:11:54,640 --> 00:11:56,800
and it works great for a lot of
applications.
243
00:11:57,280 --> 00:12:01,800
But SECN, which stands for
Streaming ACN, is newer.
244
00:12:02,320 --> 00:12:05,000
It offers some advantages,
especially for large scale
245
00:12:05,160 --> 00:12:06,840
really complex shows.
Like what?
246
00:12:07,080 --> 00:12:09,960
Well, SCN has higher bandwidth
so it can handle a lot more
247
00:12:09,960 --> 00:12:13,320
data, really important for those
massive shows with tons of
248
00:12:13,320 --> 00:12:16,600
fixtures and complex queuing.
It also has better air handling,
249
00:12:16,600 --> 00:12:19,800
making it way more reliable.
You know, for mission critical
250
00:12:19,800 --> 00:12:22,640
applications.
So SCCN is more future proof,
251
00:12:22,720 --> 00:12:25,200
especially as lighting designs
get even more complex.
252
00:12:25,200 --> 00:12:27,320
It sounds like Elation is
thinking ahead by supporting
253
00:12:27,320 --> 00:12:29,360
both.
Definitely, and by supporting
254
00:12:29,360 --> 00:12:32,520
all of these control options, it
makes the Paragon fixtures
255
00:12:32,520 --> 00:12:34,320
incredibly versatile and
adaptable.
256
00:12:34,560 --> 00:12:36,360
It does.
No matter what kind of system
257
00:12:36,360 --> 00:12:38,960
you're running, these fixtures
can integrate seamlessly.
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All right, that was a deep dive
into the technical side of
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things.
I'm really impressed with how
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much thought elation has put
into every aspect of these
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fixtures, from the LED engines
to the optics, the control
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options.
But technology is only part of
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the story.
We'll be back in Part 2 to step
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out of the theoretical and into
the real world.
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I can't wait.
It's going to be great to see
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how these fixtures perform in
action.
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What defines excellence?
Is it found in form, function,
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or sheer strength?
Perhaps it calls for more.
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It's unconventional, searching
beyond what can be seen.
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It moves with grace, intent and
versatility.
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While others are content to
remain unchanged, a true hero
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rejects the ordinary and
embraces transformation.
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They ascend and become the
paragon.
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Welcome back.
Ready to dig a little deeper
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into the paragons?
Let's explore some of those
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finer points that really set
these fixtures apart.
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Sounds good to me.
HEPA filters in a light.
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Light.
I mean, that's what's in my
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vacuum cleaner.
Yeah.
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So what's the connection?
Well, it's actually a really
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fascinating application.
You see, they've they've kind of
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gone beyond just illumination
and and they've actually tackled
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a major headache for the
industry maintenance.
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OK, you think about all those
light fixtures, you know, way up
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00:14:19,360 --> 00:14:23,000
high in the ceilings and stuff,
Dust, magnets and all that dust
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00:14:23,000 --> 00:14:26,480
and grime not only dims the
light over time, but it can
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actually shorten the lifespan of
the fixture itself.
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That makes sense, but how does a
HEPA filter solve that?
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I mean, don't those usually live
in like air purifiers and stuff?
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Exactly.
But Paragon system cleverly
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00:14:38,720 --> 00:14:41,440
integrates a HEPA filter
directly into the lighting
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fixture.
And it's not just about
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filtering the air in the room,
it's about creating a miniature
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clean room within the fixture
itself.
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00:14:48,760 --> 00:14:52,400
That's pretty clever, but
wouldn't sealing it up like that
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00:14:52,400 --> 00:14:53,960
cause it to overheat?
That's where the real
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00:14:53,960 --> 00:14:56,400
engineering comes in, OK?
I'm starting to see the big
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00:14:56,400 --> 00:14:59,160
picture here.
Less dust means less wear and
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00:14:59,160 --> 00:15:02,160
tear, which means fewer
replacements and less
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maintenance overall.
Absolutely.
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00:15:03,720 --> 00:15:06,240
And and you have to consider the
energy savings as well.
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You know a clean fixture
operates more efficiently,
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meaning less wasted energy.
So it's a win win for both the
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environment and your wallet.
This is.
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00:15:13,840 --> 00:15:15,640
Way more innovative than I
initially thought.
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00:15:15,880 --> 00:15:19,480
So let's talk Lumens.
The Paragon M, It boasts a
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00:15:19,480 --> 00:15:24,360
whopping 37,000 lumens, while
the S comes in at a still very
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00:15:24,360 --> 00:15:28,680
impressive 20,500.
I'm curious, why is lumen output
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00:15:28,680 --> 00:15:30,640
so crucial, especially for
professionals?
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00:15:30,640 --> 00:15:32,920
It's not just about how bright
the light is, right?
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00:15:33,000 --> 00:15:35,800
It's more nuanced than that.
I mean, yeah, lumen output does
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00:15:35,800 --> 00:15:38,360
measure the total visible light,
but think of it like this.
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00:15:38,520 --> 00:15:40,920
Higher lumens mean you can
project the light further, You
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00:15:40,920 --> 00:15:43,720
can cut through haze and smoke
more effectively, really make an
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00:15:43,720 --> 00:15:47,000
impact in large venues.
But high lumen output also has
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00:15:47,000 --> 00:15:50,240
an impact on color rendering.
Remember that True Tone variable
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00:15:50,360 --> 00:15:53,440
CRI technology we talked about?
Yeah, well with more lumens you
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00:15:53,440 --> 00:15:56,880
get better color saturation,
better accuracy, esecially those
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00:15:56,880 --> 00:15:59,000
higher CRI settings.
That makes sense.
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00:15:59,000 --> 00:16:02,440
So brighter light actually helps
to reveal those more nuanced
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00:16:02,440 --> 00:16:05,240
colors, especially when you're
working with higher CR is that
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00:16:05,240 --> 00:16:07,520
makes a lot of sense.
But high output also means a lot
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00:16:07,520 --> 00:16:10,120
of heat, right?
It does, but Elation has
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00:16:10,120 --> 00:16:12,600
incorporated this very
sophisticated cooling system.
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00:16:12,920 --> 00:16:16,400
It uses a combination of heat
sinks, fans, and airflow
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00:16:16,400 --> 00:16:18,480
management to keep everything
running smoothly.
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00:16:18,960 --> 00:16:23,480
And Speaking of fans, both the
Paragon S&M offer five different
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00:16:23,480 --> 00:16:26,400
fan modes.
Yes, the fan modes.
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00:16:26,480 --> 00:16:29,360
This seems like a big deal for
theatrical applications, or
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00:16:29,360 --> 00:16:31,800
really any situation where noise
is a concern.
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00:16:32,240 --> 00:16:34,320
Absolutely.
Imagine you're lighting a play
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00:16:34,640 --> 00:16:37,000
and you need that quiet, subtle
scene.
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00:16:37,440 --> 00:16:40,640
You can set the fan to a low
noise mode so it's barely
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00:16:40,640 --> 00:16:43,920
audible, but if you're lighting
a rock concert and the noise
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00:16:43,920 --> 00:16:46,600
isn't a problem, you can crank
those fans up to make sure
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00:16:46,600 --> 00:16:49,520
you're getting optimal cooling.
So it's about flexibility, being
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00:16:49,520 --> 00:16:52,400
able to adapt to the needs of
the environment.
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00:16:53,080 --> 00:16:56,960
OK, let's move on to optics.
Both fixtures have pretty
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00:16:56,960 --> 00:17:02,080
impressive zoom ranges, 4.5 to
52° for the M5 to 50 for the S.
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00:17:02,440 --> 00:17:04,960
So again, it's all about
versatility, going from a wide
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00:17:04,960 --> 00:17:07,280
flood to a tight spot all with
the same fixture.
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00:17:07,280 --> 00:17:09,520
I'm noticing a pattern here.
And it's not just about the
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00:17:09,520 --> 00:17:12,079
width of the beam.
Both fixtures have a 240°
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00:17:12,079 --> 00:17:15,400
indexable framing system, right?
Those internal shutters let you
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00:17:15,400 --> 00:17:17,280
shape the beam with a lot of
precision.
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00:17:17,280 --> 00:17:19,880
You can create squares,
rectangles, triangles, you name
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00:17:19,880 --> 00:17:21,520
it.
Yeah, I've seen those shutters
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00:17:21,520 --> 00:17:23,480
demoed and they really are
precise and.
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00:17:23,480 --> 00:17:26,400
Then you have the optional
interchangeable lenses, the
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00:17:26,400 --> 00:17:29,560
Fresno wash and the PC beam.
These lenses give you the
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00:17:29,560 --> 00:17:32,360
ability to further modify the
characteristics of the beam.
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00:17:32,560 --> 00:17:34,200
Right.
Remind me, how do those lenses
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00:17:34,200 --> 00:17:38,240
actually affect the light?
So a Fresnel lens creates a
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00:17:38,240 --> 00:17:42,560
softer, more diffused beam, has
a wider beam angle, so it's
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00:17:42,560 --> 00:17:44,560
perfect for creating that smooth
wash.
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00:17:44,960 --> 00:17:48,640
And then the PC lens or Lano
convex lens, it creates a really
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00:17:48,640 --> 00:17:51,960
hard edged narrow beam.
Think searchlights, those really
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00:17:51,960 --> 00:17:53,840
dramatic aerial effects you see
at concerts.
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00:17:53,840 --> 00:17:56,920
So with a simple lens swap you
can completely transform the
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00:17:56,920 --> 00:17:59,760
light from subtle to dramatic
elation.
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00:17:59,760 --> 00:18:01,520
Really gives you a lot to work
with here.
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00:18:01,520 --> 00:18:04,080
It's one thing to talk about
lumen output and zoom ranges,
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00:18:04,080 --> 00:18:07,200
but it's a whole other thing to
see how designers are actually
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00:18:07,200 --> 00:18:10,280
using these tools, bringing
their artistic visions to life.
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00:18:10,840 --> 00:18:12,400
I love hearing those stories.
Me too.
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00:18:12,720 --> 00:18:14,520
Let's start big.
The concert arena.
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00:18:14,920 --> 00:18:18,760
Picture a massive stage,
thousands of screaming fans,
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00:18:18,800 --> 00:18:22,440
music pulsing through the air
and the Paragon M.
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00:18:23,040 --> 00:18:26,720
The perfect environment for the
M to really flex its muscles.
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00:18:26,800 --> 00:18:29,880
All that output, those vibrant
colors, It seems like a match
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00:18:29,880 --> 00:18:32,040
made in heaven.
Beam cut through the haze and
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00:18:32,040 --> 00:18:35,360
smoke like a laser, you know,
creating those dramatic aerial
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00:18:35,360 --> 00:18:37,000
effects.
Like that I can just picture it.
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00:18:37,120 --> 00:18:40,840
And the zoom range let them go
from those wide washes for full
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00:18:40,840 --> 00:18:44,320
stage looks to those really
tight spotlights on the
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00:18:44,320 --> 00:18:47,800
performers, adding this whole
other dynamic element to the
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00:18:47,800 --> 00:18:50,400
show.
Oh, I'm sure the colors must
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00:18:50,400 --> 00:18:53,520
have been just incredible.
The colors were so rich, so
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00:18:53,520 --> 00:18:56,960
vibrant, and the framing
shutters essential for isolating
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00:18:56,960 --> 00:19:00,080
performers, creating those super
precise beams of light.
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00:19:00,080 --> 00:19:01,640
Makes sense in a concert
environment.
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00:19:01,640 --> 00:19:03,920
You need that level of control.
You got to create excitement.
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00:19:04,120 --> 00:19:06,200
Keep that energy high.
Yeah, for sure.
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00:19:06,440 --> 00:19:08,840
But let's change gears now.
Go to a totally different
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00:19:08,840 --> 00:19:10,840
setting, a theatrical
production.
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00:19:10,840 --> 00:19:14,040
This seems like the perfect spot
for the Paragon S to shine.
387
00:19:14,040 --> 00:19:16,160
Compact size, all that
versatility.
388
00:19:16,320 --> 00:19:19,320
Definitely.
To create those subtle pools of
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00:19:19,320 --> 00:19:23,280
light on stage, highlighting key
moments without overpowering the
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00:19:23,280 --> 00:19:25,840
actors or the set.
Subtlety is key in those
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00:19:25,840 --> 00:19:28,320
situations.
It is, and the shutters.
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00:19:28,480 --> 00:19:31,840
They were a game changer,
precisely framed specific areas
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00:19:32,120 --> 00:19:35,440
like a doorway or piece of
furniture, adding depth and
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00:19:35,440 --> 00:19:37,120
focus.
That makes sense.
395
00:19:37,120 --> 00:19:39,600
Theatrical lighting is all about
those subtle touches, that
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00:19:39,600 --> 00:19:42,240
precision.
The S seems perfect for that.
397
00:19:42,240 --> 00:19:43,960
Totally.
But it's not just concerts and
398
00:19:43,960 --> 00:19:47,560
theater using these fixtures for
corporate events, houses of
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00:19:47,560 --> 00:19:50,120
worship, even architectural
installations.
400
00:19:50,120 --> 00:19:52,040
That's so cool, really shows how
versatile they are.
401
00:19:52,160 --> 00:19:54,920
Having fixtures that can handle
outdoor conditions like that
402
00:19:54,920 --> 00:19:57,960
without needing special
protection, it's a game changer,
403
00:19:57,960 --> 00:20:01,040
opens up so many possibilities.
It shows that these fixtures are
404
00:20:01,040 --> 00:20:04,240
more than just impressive specs
on paper, they're tools that
405
00:20:04,240 --> 00:20:06,240
empower designers.
You know, whether it's a
406
00:20:06,240 --> 00:20:08,920
concert, a play, or even the
side of building.
407
00:20:09,240 --> 00:20:11,360
That's a great way to put it,
and I have a feeling this is
408
00:20:11,360 --> 00:20:13,640
just the beginning.
As more designers get their
409
00:20:13,640 --> 00:20:16,320
hands on these Paragon fixtures,
I think we're going to see some
410
00:20:16,320 --> 00:20:18,760
truly groundbreaking lighting
designs.
411
00:20:19,040 --> 00:20:21,800
I think you're right, the future
of lighting is looking pretty
412
00:20:21,800 --> 00:20:24,680
bright, no pun intended.
Well, we've reached the end of
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00:20:24,680 --> 00:20:27,840
our deep dive into Elation's
Paragon fixtures.
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00:20:28,040 --> 00:20:30,840
We've explored the features, the
technology, we've heard of how
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00:20:30,840 --> 00:20:33,360
they're being used to create
amazing visuals.
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00:20:33,680 --> 00:20:35,800
I hope you've enjoyed this
journey into the world of
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00:20:35,800 --> 00:20:38,800
lighting as much as we have.
And if you're a lighting
418
00:20:38,800 --> 00:20:41,280
professional, or even if you
just appreciate the art of
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00:20:41,280 --> 00:20:44,160
light, we encourage you to visit
Elation's website.
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00:20:44,560 --> 00:20:47,640
Check out the Paragon series.
You might just find the perfect
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00:20:47,640 --> 00:20:51,120
fixture for your next project.
Great advice and as always,
422
00:20:51,120 --> 00:20:53,120
thank you for joining us.
Thank you for listening to the
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00:20:53,120 --> 00:20:56,040
very first Future Tech Podcast.
The Elation team wanted our
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00:20:56,040 --> 00:20:59,720
listeners to know that coming
soon is the Paragon LTA powerful
425
00:20:59,720 --> 00:21:03,400
LED profile for the largest
stadium and arena shows that
426
00:21:03,400 --> 00:21:06,480
require extremely long throws,
equipped with the same advanced
427
00:21:06,480 --> 00:21:08,680
technology as the other Paragon
fixtures.
428
00:21:08,680 --> 00:21:11,080
As soon as we have more
information on the Paragon Lt.,
429
00:21:11,120 --> 00:21:15,840
you will be the first to know.
Let's go new gear vibes.
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00:21:17,000 --> 00:21:23,800
New tech.
We keep it live.
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00:21:30,680 --> 00:21:33,440
Jesus of gear Future tech is
here.