Dec. 17, 2025
FUTURETECH Featuring ACME Lighting - Introducing the ACME SUPERNOVA LT
The SUPERNOVA LT is ACME’s bold entry into high-output, long-throw LED fixtures, packed with features built for demanding environments and creative designers. Chris and Lacy break down the specs, innovative effects, and unique features, digging into what sets this new light apart and where it fits into the modern live event toolkit.
1
00:00:19,480 --> 00:00:22,800
All right, welcome back to
Geezers of Gear Future Tech
2
00:00:23,680 --> 00:00:25,360
Chris here.
And today, Lacey and I are
3
00:00:25,360 --> 00:00:29,480
taking a closer look at Acme's
latest spotlight stealer, the
4
00:00:29,480 --> 00:00:33,600
Supernova Lt.
This thing has been turning some
5
00:00:33,600 --> 00:00:36,800
serious heads since it landed,
and honestly, I can see why
6
00:00:37,280 --> 00:00:40,880
right off the bat.
It's powered by a massive 1800
7
00:00:40,880 --> 00:00:43,760
Watt LED engine.
You don't see that every day in
8
00:00:43,760 --> 00:00:46,560
a moving head, let alone one
built for these long throw
9
00:00:46,560 --> 00:00:48,960
stadium gigs.
I'll just get into numbers,
10
00:00:48,960 --> 00:00:52,520
because everyone loves numbers.
We're talking 70,000 lumens of
11
00:00:52,520 --> 00:00:54,200
output.
That's bonkers.
12
00:00:54,760 --> 00:00:58,840
It's basically daylight Lacy.
It's definitely overkill from my
13
00:00:58,840 --> 00:01:02,320
backyard.
But seriously, Chris, 70,000
14
00:01:02,320 --> 00:01:04,959
lumens.
When you told me that, I had to
15
00:01:04,959 --> 00:01:08,200
look it up myself because I
mean, I'm used to hearing about
16
00:01:08,200 --> 00:01:10,880
like 10 or 15,000 for a big
light.
17
00:01:11,600 --> 00:01:15,440
This is just in another league.
And the expected lifespan is
18
00:01:15,440 --> 00:01:17,720
what, 20,000 hours for that LED
engine?
19
00:01:18,440 --> 00:01:22,680
Yep, 20,000 hours, which for
anyone out there still hauling
20
00:01:22,680 --> 00:01:26,920
arc lamp heads means way less
lamp change drama.
21
00:01:27,680 --> 00:01:30,480
But it's not just raw power.
The zoom is wild.
22
00:01:30,920 --> 00:01:36,760
In standard mode you jump from
3.6° all the way out to 52.5°.
23
00:01:37,280 --> 00:01:40,280
If you use the beam aperture,
you can funnel that to an ultra
24
00:01:40,280 --> 00:01:43,800
tight 1.9°.
That's narrower than me trying
25
00:01:43,800 --> 00:01:45,600
to avoid the loadout at 2:00 in
the morning.
26
00:01:46,360 --> 00:01:49,840
Joking aside, it's handy for
those stadium moments where you
27
00:01:49,840 --> 00:01:52,520
need to light the lead vocalist
from what feels like the next
28
00:01:52,520 --> 00:01:53,880
post.
Code far.
29
00:01:54,480 --> 00:01:57,760
I mean that ultra narrow option,
what did you call it?
30
00:01:58,080 --> 00:02:00,880
Beam aperture.
That's not something all these
31
00:02:00,880 --> 00:02:03,800
big movers can do.
Reminds me of the challenges
32
00:02:03,800 --> 00:02:06,600
people mention at festivals,
like trying to get a real
33
00:02:06,600 --> 00:02:08,360
spotlight look with something
modern.
34
00:02:09,160 --> 00:02:10,680
Did you ever run into that
issue?
35
00:02:11,440 --> 00:02:14,400
Oh, all the time.
Back in the day, if you wanted
36
00:02:14,400 --> 00:02:17,280
that proper tight beam for long
throws, you usually had to
37
00:02:17,280 --> 00:02:20,440
compromise with these enormous
searchlights or cranky old
38
00:02:20,440 --> 00:02:23,200
follow spots.
Lugging those up into stadium
39
00:02:23,200 --> 00:02:26,200
catwalks was brutal, especially
in the rain when you're hoping
40
00:02:26,200 --> 00:02:31,160
the weather proofing works,
which on that the supernova Lt.
41
00:02:31,360 --> 00:02:35,800
is fully IP66.
Rain, dust storms, no worries.
42
00:02:36,360 --> 00:02:40,040
Even the weight is reasonable
for its category, about 64 1/2
43
00:02:40,040 --> 00:02:42,680
kilos.
Not a feather, but you know,
44
00:02:42,680 --> 00:02:45,720
compared to some of the monsters
we've wrangled, it's manageable.
45
00:02:46,160 --> 00:02:48,600
Definitely more liftable than
those legacy beasts that
46
00:02:48,600 --> 00:02:52,160
threaten to snap your wrist.
It's clear Acme listen to crews
47
00:02:52,160 --> 00:02:56,160
who want high output without
sacrificing durability or making
48
00:02:56,160 --> 00:02:59,440
their backs ache.
And with that massive 245
49
00:02:59,440 --> 00:03:02,880
millimeter lens, it just screams
serious projection ahead.
50
00:03:03,440 --> 00:03:06,720
All right, so let's get into the
fun bits for the designers, all
51
00:03:06,720 --> 00:03:10,800
the fancy features.
This thing is kitted out CMY
52
00:03:10,800 --> 00:03:14,080
color mixing for smooth blends,
dual color wheels for loads of
53
00:03:14,080 --> 00:03:16,960
static options.
And then there's the high CRI in
54
00:03:16,960 --> 00:03:20,000
HCRI mode.
Can you explain that Chris?
55
00:03:20,760 --> 00:03:24,200
I get that CRI means good
colour, but I always mix up what
56
00:03:24,200 --> 00:03:26,960
those numbers actually mean.
No worries.
57
00:03:26,960 --> 00:03:30,760
So in standard mode you're
looking at ACRI of 72 or better.
58
00:03:31,080 --> 00:03:35,040
Perfectly fine for most gigs,
but switch into HCRI mode and
59
00:03:35,040 --> 00:03:38,920
you get 95 plus.
Which means for TV or situations
60
00:03:38,920 --> 00:03:41,600
where you need spot on skin
tones you're sorted.
61
00:03:42,120 --> 00:03:45,360
And with the variable CTO that's
colour temperature correction
62
00:03:45,360 --> 00:03:51,360
from 2700 K up to 6700 K, you
can really dial in exactly how
63
00:03:51,360 --> 00:03:54,720
warm or cool you want your beam.
Makes life so much easier for
64
00:03:54,720 --> 00:03:57,040
matching with cameras or other
fixtures.
65
00:03:57,440 --> 00:03:59,760
And there's two rotating gobo
wheels right?
66
00:04:00,520 --> 00:04:05,200
I love this bit. 6 gobos on each
and you can mix and match the
67
00:04:05,200 --> 00:04:07,240
animation.
Wheel moves in both directions,
68
00:04:07,520 --> 00:04:10,960
vertical and horizontal so you
can create legit water and flame
69
00:04:10,960 --> 00:04:13,480
effects.
I was at a show once I think it
70
00:04:13,480 --> 00:04:17,120
was with a cheap moving head and
the gobo options were so bad you
71
00:04:17,120 --> 00:04:19,600
basically had a bunch of boring
dots or squiggles on the
72
00:04:19,600 --> 00:04:22,040
backdrop.
When you get the right gobos,
73
00:04:22,320 --> 00:04:24,880
suddenly it looks like you paid
way more for the production.
74
00:04:24,880 --> 00:04:28,280
Know what I mean?
Definitely, the combination of
75
00:04:28,280 --> 00:04:31,000
animation and gobos is a
designer's playground.
76
00:04:31,440 --> 00:04:35,440
Plus you get 2 combinable
prisms, 1's A4 facet circular,
77
00:04:35,640 --> 00:04:38,560
the other's A4 facet linear, and
they can spin in both
78
00:04:38,560 --> 00:04:40,520
directions.
And don't forget the frost
79
00:04:40,520 --> 00:04:42,520
filters.
You've got light and medium
80
00:04:42,520 --> 00:04:45,200
frost that you can combine.
Want soft washes?
81
00:04:45,720 --> 00:04:48,040
Tick.
Want sharp mid air effects?
82
00:04:48,560 --> 00:04:50,920
Also tick.
And if you need super precise
83
00:04:50,920 --> 00:04:55,160
shuttering, 4 framing blades
with plus 60° rotation of the
84
00:04:55,160 --> 00:04:57,840
whole system.
As you covered, there's honestly
85
00:04:57,840 --> 00:05:00,800
a pile of tools in here.
Way more than you'd expect for a
86
00:05:00,800 --> 00:05:04,800
just long throw fixture.
Sometimes I feel like half the
87
00:05:04,800 --> 00:05:07,800
job at these big gigs is getting
everything to play nice with the
88
00:05:07,800 --> 00:05:11,720
control setup.
Supernova LTS got all the
89
00:05:11,720 --> 00:05:13,760
things.
You can use the four button
90
00:05:13,760 --> 00:05:19,240
panel for stuff on site.
There's DMXRDM, artnet, and SACN
91
00:05:19,240 --> 00:05:22,280
if you need network control.
Oh and firmware updates.
92
00:05:22,480 --> 00:05:24,000
I always hear techs complain
about that.
93
00:05:24,000 --> 00:05:27,080
But you guys can update this via
DMX or USB.
94
00:05:27,080 --> 00:05:29,480
That's a nice touch.
Makes a difference, and for
95
00:05:29,480 --> 00:05:32,120
sure, especially when you're
halfway up a Truss and the last
96
00:05:32,120 --> 00:05:34,960
thing you want is to climb down
because some ancient fixture
97
00:05:34,960 --> 00:05:37,360
wants you to bring it snacks
before it accepts A firmware
98
00:05:37,360 --> 00:05:39,800
update.
This thing's made for teams who
99
00:05:39,800 --> 00:05:42,760
don't want headaches.
All those protocols make it fit
100
00:05:42,760 --> 00:05:44,880
into existing rigs without a
fight.
101
00:05:45,440 --> 00:05:47,080
Now here's where it gets really
clever.
102
00:05:47,600 --> 00:05:51,200
The optional follow spot kit so
you can add a handle, control
103
00:05:51,200 --> 00:05:54,200
pad, and even a camera enclosure
for remote systems.
104
00:05:54,680 --> 00:05:58,480
Suddenly this moving light works
just like a proper follow spot.
105
00:05:59,280 --> 00:06:03,680
You can dim, set color temp,
move the beam all from the
106
00:06:03,680 --> 00:06:06,800
handle, or even let a third
party system do it remotely.
107
00:06:07,400 --> 00:06:11,040
Hybrid design, right?
Yeah, and for people like me who
108
00:06:11,040 --> 00:06:15,240
associate Follow Spot with some
poor guy up in the rafters with
109
00:06:15,240 --> 00:06:18,720
a bag of snacks and a radio,
this is a huge jump.
110
00:06:19,360 --> 00:06:22,560
Now you can have the classic
follow spot vibe, but with all
111
00:06:22,560 --> 00:06:24,360
the bells and whistles of modern
tech.
112
00:06:25,040 --> 00:06:28,000
Perfect for companies or venues
that can't staff a full follow
113
00:06:28,000 --> 00:06:31,280
spot booth at every event or
want more precision than a
114
00:06:31,280 --> 00:06:32,840
traditional Follow Spot can
give.
115
00:06:33,760 --> 00:06:37,000
Chris, got to ask, would you
spec this in for one of your big
116
00:06:37,000 --> 00:06:40,280
stadium shows?
Absolutely, between the punchy
117
00:06:40,280 --> 00:06:43,280
output, clever creative tools
and that follow spot
118
00:06:43,280 --> 00:06:46,480
flexibility, it's a no brainer
for high impact gigs.
119
00:06:46,880 --> 00:06:49,000
If you need something you can
trust to cut through all the
120
00:06:49,000 --> 00:06:52,080
crowd and colour, it's
definitely worth a look and I'm
121
00:06:52,080 --> 00:06:54,360
sure we'll be seeing these pop
up at festival sites and
122
00:06:54,360 --> 00:06:57,680
stadiums pretty soon.
All right, that's our deep dive
123
00:06:57,680 --> 00:07:01,160
on Acme's Supernova Lt.
Thanks for spending time with
124
00:07:01,160 --> 00:07:03,440
us, and we'll be back soon to
dig into more of the latest
125
00:07:03,440 --> 00:07:05,520
gear.
Chris, always a pleasure.
126
00:07:06,480 --> 00:07:09,440
Pleasure's all mine, Lacey.
Catch you next time, folks, Bye
127
00:07:09,440 --> 00:07:11,240
for now.
Bye y'all.
128
00:07:17,960 --> 00:07:24,480
Future tech is here.
Come on man, you make the spec
129
00:07:24,600 --> 00:07:30,640
so clear.
Oh La La with music to your
130
00:07:30,640 --> 00:07:32,760
ears.
Hey hey, hey, let's go.
131
00:07:33,240 --> 00:07:37,040
New gear vibes, new tech jive.
00:00:19,480 --> 00:00:22,800
All right, welcome back to
Geezers of Gear Future Tech
2
00:00:23,680 --> 00:00:25,360
Chris here.
And today, Lacey and I are
3
00:00:25,360 --> 00:00:29,480
taking a closer look at Acme's
latest spotlight stealer, the
4
00:00:29,480 --> 00:00:33,600
Supernova Lt.
This thing has been turning some
5
00:00:33,600 --> 00:00:36,800
serious heads since it landed,
and honestly, I can see why
6
00:00:37,280 --> 00:00:40,880
right off the bat.
It's powered by a massive 1800
7
00:00:40,880 --> 00:00:43,760
Watt LED engine.
You don't see that every day in
8
00:00:43,760 --> 00:00:46,560
a moving head, let alone one
built for these long throw
9
00:00:46,560 --> 00:00:48,960
stadium gigs.
I'll just get into numbers,
10
00:00:48,960 --> 00:00:52,520
because everyone loves numbers.
We're talking 70,000 lumens of
11
00:00:52,520 --> 00:00:54,200
output.
That's bonkers.
12
00:00:54,760 --> 00:00:58,840
It's basically daylight Lacy.
It's definitely overkill from my
13
00:00:58,840 --> 00:01:02,320
backyard.
But seriously, Chris, 70,000
14
00:01:02,320 --> 00:01:04,959
lumens.
When you told me that, I had to
15
00:01:04,959 --> 00:01:08,200
look it up myself because I
mean, I'm used to hearing about
16
00:01:08,200 --> 00:01:10,880
like 10 or 15,000 for a big
light.
17
00:01:11,600 --> 00:01:15,440
This is just in another league.
And the expected lifespan is
18
00:01:15,440 --> 00:01:17,720
what, 20,000 hours for that LED
engine?
19
00:01:18,440 --> 00:01:22,680
Yep, 20,000 hours, which for
anyone out there still hauling
20
00:01:22,680 --> 00:01:26,920
arc lamp heads means way less
lamp change drama.
21
00:01:27,680 --> 00:01:30,480
But it's not just raw power.
The zoom is wild.
22
00:01:30,920 --> 00:01:36,760
In standard mode you jump from
3.6° all the way out to 52.5°.
23
00:01:37,280 --> 00:01:40,280
If you use the beam aperture,
you can funnel that to an ultra
24
00:01:40,280 --> 00:01:43,800
tight 1.9°.
That's narrower than me trying
25
00:01:43,800 --> 00:01:45,600
to avoid the loadout at 2:00 in
the morning.
26
00:01:46,360 --> 00:01:49,840
Joking aside, it's handy for
those stadium moments where you
27
00:01:49,840 --> 00:01:52,520
need to light the lead vocalist
from what feels like the next
28
00:01:52,520 --> 00:01:53,880
post.
Code far.
29
00:01:54,480 --> 00:01:57,760
I mean that ultra narrow option,
what did you call it?
30
00:01:58,080 --> 00:02:00,880
Beam aperture.
That's not something all these
31
00:02:00,880 --> 00:02:03,800
big movers can do.
Reminds me of the challenges
32
00:02:03,800 --> 00:02:06,600
people mention at festivals,
like trying to get a real
33
00:02:06,600 --> 00:02:08,360
spotlight look with something
modern.
34
00:02:09,160 --> 00:02:10,680
Did you ever run into that
issue?
35
00:02:11,440 --> 00:02:14,400
Oh, all the time.
Back in the day, if you wanted
36
00:02:14,400 --> 00:02:17,280
that proper tight beam for long
throws, you usually had to
37
00:02:17,280 --> 00:02:20,440
compromise with these enormous
searchlights or cranky old
38
00:02:20,440 --> 00:02:23,200
follow spots.
Lugging those up into stadium
39
00:02:23,200 --> 00:02:26,200
catwalks was brutal, especially
in the rain when you're hoping
40
00:02:26,200 --> 00:02:31,160
the weather proofing works,
which on that the supernova Lt.
41
00:02:31,360 --> 00:02:35,800
is fully IP66.
Rain, dust storms, no worries.
42
00:02:36,360 --> 00:02:40,040
Even the weight is reasonable
for its category, about 64 1/2
43
00:02:40,040 --> 00:02:42,680
kilos.
Not a feather, but you know,
44
00:02:42,680 --> 00:02:45,720
compared to some of the monsters
we've wrangled, it's manageable.
45
00:02:46,160 --> 00:02:48,600
Definitely more liftable than
those legacy beasts that
46
00:02:48,600 --> 00:02:52,160
threaten to snap your wrist.
It's clear Acme listen to crews
47
00:02:52,160 --> 00:02:56,160
who want high output without
sacrificing durability or making
48
00:02:56,160 --> 00:02:59,440
their backs ache.
And with that massive 245
49
00:02:59,440 --> 00:03:02,880
millimeter lens, it just screams
serious projection ahead.
50
00:03:03,440 --> 00:03:06,720
All right, so let's get into the
fun bits for the designers, all
51
00:03:06,720 --> 00:03:10,800
the fancy features.
This thing is kitted out CMY
52
00:03:10,800 --> 00:03:14,080
color mixing for smooth blends,
dual color wheels for loads of
53
00:03:14,080 --> 00:03:16,960
static options.
And then there's the high CRI in
54
00:03:16,960 --> 00:03:20,000
HCRI mode.
Can you explain that Chris?
55
00:03:20,760 --> 00:03:24,200
I get that CRI means good
colour, but I always mix up what
56
00:03:24,200 --> 00:03:26,960
those numbers actually mean.
No worries.
57
00:03:26,960 --> 00:03:30,760
So in standard mode you're
looking at ACRI of 72 or better.
58
00:03:31,080 --> 00:03:35,040
Perfectly fine for most gigs,
but switch into HCRI mode and
59
00:03:35,040 --> 00:03:38,920
you get 95 plus.
Which means for TV or situations
60
00:03:38,920 --> 00:03:41,600
where you need spot on skin
tones you're sorted.
61
00:03:42,120 --> 00:03:45,360
And with the variable CTO that's
colour temperature correction
62
00:03:45,360 --> 00:03:51,360
from 2700 K up to 6700 K, you
can really dial in exactly how
63
00:03:51,360 --> 00:03:54,720
warm or cool you want your beam.
Makes life so much easier for
64
00:03:54,720 --> 00:03:57,040
matching with cameras or other
fixtures.
65
00:03:57,440 --> 00:03:59,760
And there's two rotating gobo
wheels right?
66
00:04:00,520 --> 00:04:05,200
I love this bit. 6 gobos on each
and you can mix and match the
67
00:04:05,200 --> 00:04:07,240
animation.
Wheel moves in both directions,
68
00:04:07,520 --> 00:04:10,960
vertical and horizontal so you
can create legit water and flame
69
00:04:10,960 --> 00:04:13,480
effects.
I was at a show once I think it
70
00:04:13,480 --> 00:04:17,120
was with a cheap moving head and
the gobo options were so bad you
71
00:04:17,120 --> 00:04:19,600
basically had a bunch of boring
dots or squiggles on the
72
00:04:19,600 --> 00:04:22,040
backdrop.
When you get the right gobos,
73
00:04:22,320 --> 00:04:24,880
suddenly it looks like you paid
way more for the production.
74
00:04:24,880 --> 00:04:28,280
Know what I mean?
Definitely, the combination of
75
00:04:28,280 --> 00:04:31,000
animation and gobos is a
designer's playground.
76
00:04:31,440 --> 00:04:35,440
Plus you get 2 combinable
prisms, 1's A4 facet circular,
77
00:04:35,640 --> 00:04:38,560
the other's A4 facet linear, and
they can spin in both
78
00:04:38,560 --> 00:04:40,520
directions.
And don't forget the frost
79
00:04:40,520 --> 00:04:42,520
filters.
You've got light and medium
80
00:04:42,520 --> 00:04:45,200
frost that you can combine.
Want soft washes?
81
00:04:45,720 --> 00:04:48,040
Tick.
Want sharp mid air effects?
82
00:04:48,560 --> 00:04:50,920
Also tick.
And if you need super precise
83
00:04:50,920 --> 00:04:55,160
shuttering, 4 framing blades
with plus 60° rotation of the
84
00:04:55,160 --> 00:04:57,840
whole system.
As you covered, there's honestly
85
00:04:57,840 --> 00:05:00,800
a pile of tools in here.
Way more than you'd expect for a
86
00:05:00,800 --> 00:05:04,800
just long throw fixture.
Sometimes I feel like half the
87
00:05:04,800 --> 00:05:07,800
job at these big gigs is getting
everything to play nice with the
88
00:05:07,800 --> 00:05:11,720
control setup.
Supernova LTS got all the
89
00:05:11,720 --> 00:05:13,760
things.
You can use the four button
90
00:05:13,760 --> 00:05:19,240
panel for stuff on site.
There's DMXRDM, artnet, and SACN
91
00:05:19,240 --> 00:05:22,280
if you need network control.
Oh and firmware updates.
92
00:05:22,480 --> 00:05:24,000
I always hear techs complain
about that.
93
00:05:24,000 --> 00:05:27,080
But you guys can update this via
DMX or USB.
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00:05:27,080 --> 00:05:29,480
That's a nice touch.
Makes a difference, and for
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00:05:29,480 --> 00:05:32,120
sure, especially when you're
halfway up a Truss and the last
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00:05:32,120 --> 00:05:34,960
thing you want is to climb down
because some ancient fixture
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00:05:34,960 --> 00:05:37,360
wants you to bring it snacks
before it accepts A firmware
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00:05:37,360 --> 00:05:39,800
update.
This thing's made for teams who
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00:05:39,800 --> 00:05:42,760
don't want headaches.
All those protocols make it fit
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00:05:42,760 --> 00:05:44,880
into existing rigs without a
fight.
101
00:05:45,440 --> 00:05:47,080
Now here's where it gets really
clever.
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00:05:47,600 --> 00:05:51,200
The optional follow spot kit so
you can add a handle, control
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00:05:51,200 --> 00:05:54,200
pad, and even a camera enclosure
for remote systems.
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00:05:54,680 --> 00:05:58,480
Suddenly this moving light works
just like a proper follow spot.
105
00:05:59,280 --> 00:06:03,680
You can dim, set color temp,
move the beam all from the
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00:06:03,680 --> 00:06:06,800
handle, or even let a third
party system do it remotely.
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00:06:07,400 --> 00:06:11,040
Hybrid design, right?
Yeah, and for people like me who
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00:06:11,040 --> 00:06:15,240
associate Follow Spot with some
poor guy up in the rafters with
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00:06:15,240 --> 00:06:18,720
a bag of snacks and a radio,
this is a huge jump.
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00:06:19,360 --> 00:06:22,560
Now you can have the classic
follow spot vibe, but with all
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00:06:22,560 --> 00:06:24,360
the bells and whistles of modern
tech.
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00:06:25,040 --> 00:06:28,000
Perfect for companies or venues
that can't staff a full follow
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00:06:28,000 --> 00:06:31,280
spot booth at every event or
want more precision than a
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00:06:31,280 --> 00:06:32,840
traditional Follow Spot can
give.
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00:06:33,760 --> 00:06:37,000
Chris, got to ask, would you
spec this in for one of your big
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00:06:37,000 --> 00:06:40,280
stadium shows?
Absolutely, between the punchy
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00:06:40,280 --> 00:06:43,280
output, clever creative tools
and that follow spot
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00:06:43,280 --> 00:06:46,480
flexibility, it's a no brainer
for high impact gigs.
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00:06:46,880 --> 00:06:49,000
If you need something you can
trust to cut through all the
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00:06:49,000 --> 00:06:52,080
crowd and colour, it's
definitely worth a look and I'm
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00:06:52,080 --> 00:06:54,360
sure we'll be seeing these pop
up at festival sites and
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00:06:54,360 --> 00:06:57,680
stadiums pretty soon.
All right, that's our deep dive
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00:06:57,680 --> 00:07:01,160
on Acme's Supernova Lt.
Thanks for spending time with
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00:07:01,160 --> 00:07:03,440
us, and we'll be back soon to
dig into more of the latest
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00:07:03,440 --> 00:07:05,520
gear.
Chris, always a pleasure.
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00:07:06,480 --> 00:07:09,440
Pleasure's all mine, Lacey.
Catch you next time, folks, Bye
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00:07:09,440 --> 00:07:11,240
for now.
Bye y'all.
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00:07:17,960 --> 00:07:24,480
Future tech is here.
Come on man, you make the spec
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00:07:24,600 --> 00:07:30,640
so clear.
Oh La La with music to your
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00:07:30,640 --> 00:07:32,760
ears.
Hey hey, hey, let's go.
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New gear vibes, new tech jive.