April 15, 2025
FutureTech - Lighting Innovations with Elation and Dakota Theater
Discover how Dakota Theater in The Hague transformed its events with Elation's groundbreaking LED systems, supported by Rolight. This episode highlights the KL and FUZE series, detailing their precision, energy efficiency, and creative versatility, which benefit theaters, live shows, and cinematic setups alike. Learn how these innovations redefine professional lighting standards.
1
00:00:19,520 --> 00:00:22,200
Well, here we are for another
future tech episode and a
2
00:00:22,200 --> 00:00:25,080
discussion about a great brand
and a really cool project as
3
00:00:25,080 --> 00:00:27,800
well.
In fact, let's jump right in and
4
00:00:27,800 --> 00:00:31,360
talk about Dakota Theatre and
their shiny new lighting system.
5
00:00:31,560 --> 00:00:34,360
By elation.
We're not just talking about a
6
00:00:34,360 --> 00:00:37,360
simple update here, this is a
major leap forward.
7
00:00:37,760 --> 00:00:40,080
They've swapped out their old
energy hogging traditional
8
00:00:40,080 --> 00:00:43,920
lights for an advanced LED setup
and let me tell you, it's a
9
00:00:43,920 --> 00:00:46,880
total game changer.
Yeah, I mean, they've positioned
10
00:00:46,880 --> 00:00:49,280
themselves as a cultural hotspot
in The Hague, right?
11
00:00:49,920 --> 00:00:54,480
They're hosting everything from
experimental theatre to what was
12
00:00:54,480 --> 00:00:58,440
it, film screenings, live music
workshops.
13
00:00:59,040 --> 00:01:02,200
It's a pretty packed schedule.
They needed a versatile lighting
14
00:01:02,200 --> 00:01:04,280
package that could keep up with
that kind of variety.
15
00:01:04,800 --> 00:01:06,000
Exactly.
And here's the thing.
16
00:01:06,320 --> 00:01:09,720
This new LED setup isn't just
flashy, it's incredibly
17
00:01:09,720 --> 00:01:13,080
functional.
Take the KL Profile FC.
18
00:01:13,520 --> 00:01:15,120
It's the workhorse of the
system.
19
00:01:15,440 --> 00:01:18,680
It's got interchangeable Fresnel
lenses, meaning you can switch
20
00:01:18,680 --> 00:01:22,800
between a sharp spot or a soft
wash of light, all without
21
00:01:22,800 --> 00:01:25,160
manual adjustments, all messing
with filters.
22
00:01:25,560 --> 00:01:28,680
That's huge for flexibility,
especially mid production.
23
00:01:29,080 --> 00:01:32,160
OK, wait, so those are what?
Yeah, front lighting or key
24
00:01:32,160 --> 00:01:35,840
lighting, perfect for
highlighting performances or say
25
00:01:35,840 --> 00:01:37,440
a speaker during a queue
session.
26
00:01:37,840 --> 00:01:40,400
And then you've got the Fuse
Wash 500 fixtures.
27
00:01:40,800 --> 00:01:43,480
These things are dynamic.
They're mostly used for side
28
00:01:43,480 --> 00:01:47,160
fills, backlighting, effects, or
even just creating some visual
29
00:01:47,160 --> 00:01:49,160
texture during musical
performances.
30
00:01:49,680 --> 00:01:51,280
And it all runs smoother now,
right?
31
00:01:51,920 --> 00:01:54,920
Like no more running back and
forth or climbing ladders to
32
00:01:54,920 --> 00:01:57,760
adjust stuff manually.
Which is great, because when
33
00:01:57,760 --> 00:02:01,080
you're juggling a million things
backstage, that extra time can
34
00:02:01,080 --> 00:02:03,600
make all the difference.
Oh totally.
35
00:02:03,840 --> 00:02:06,320
It's incredible.
Before this upgrade, theatre
36
00:02:06,320 --> 00:02:09,759
technicians had to physically
switch out gels and adjust
37
00:02:09,759 --> 00:02:13,000
positions for every little color
change or angle tweak.
38
00:02:13,440 --> 00:02:17,440
Now it's all digital.
Every color you could want, boom
39
00:02:17,480 --> 00:02:20,080
at the Press of a button.
And the consistency across
40
00:02:20,080 --> 00:02:24,000
fixtures is colour harmony.
We're talking about perfectly
41
00:02:24,000 --> 00:02:27,720
matched tones thanks to
Elation's R GB MA colour engine.
42
00:02:28,160 --> 00:02:30,480
No more mismatched hues in your
scenes.
43
00:02:31,080 --> 00:02:33,720
That's wild, but what about
energy efficiency?
44
00:02:34,440 --> 00:02:36,280
Everyone's all eco conscious
these days.
45
00:02:36,280 --> 00:02:38,640
What's the deal there?
Glad you brought that up.
46
00:02:39,240 --> 00:02:42,480
These LE DS sip power compared
to the old school incandescent
47
00:02:42,480 --> 00:02:46,080
lamps they were using Dakota
theaters cutting their energy
48
00:02:46,080 --> 00:02:48,440
consumption by a significant
margin.
49
00:02:49,200 --> 00:02:51,960
That's not just better for the
planet, it's a serious cost
50
00:02:51,960 --> 00:02:54,880
saver over time.
And bonus, they don't have to
51
00:02:54,880 --> 00:02:57,880
worry about hunting down
outdated discontinued lamps
52
00:02:57,880 --> 00:03:00,200
anymore.
Maintenance savings alone make
53
00:03:00,200 --> 00:03:02,520
it all worth it.
So it's kind of like they got
54
00:03:02,520 --> 00:03:06,000
the best of both worlds.
More creative, control, all the
55
00:03:06,000 --> 00:03:09,000
colours could want, and they're
saving effort and money too.
56
00:03:09,720 --> 00:03:13,120
Sounds like a win all around.
It really is, and the best part
57
00:03:13,120 --> 00:03:15,360
is how this levels up their
event possibilities.
58
00:03:15,760 --> 00:03:19,520
From cinema panels to theatre
productions, even workshops,
59
00:03:19,960 --> 00:03:22,880
they're now equipped to handle
whatever comes their way and do
60
00:03:22,880 --> 00:03:25,640
it with style.
So Speaking of flexibility and
61
00:03:25,640 --> 00:03:28,440
all that creative control you
were raving about, I keep
62
00:03:28,440 --> 00:03:32,360
hearing about this Elation KL
series being like a big deal.
63
00:03:32,440 --> 00:03:35,240
What's the story there?
Oh, it's not just a big deal.
64
00:03:35,560 --> 00:03:38,080
It's a giant leap for LED
luminaires.
65
00:03:38,560 --> 00:03:42,160
The KL series is all about
precision and reliability.
66
00:03:42,920 --> 00:03:45,960
These lights are designed for
environments where sound and
67
00:03:45,960 --> 00:03:51,240
color fidelity really matter,
like XR stages, live television,
68
00:03:51,720 --> 00:03:54,000
or even some high end theatre
productions.
69
00:03:54,480 --> 00:03:58,640
Wait, XR stages as in like
virtual production sets, stuff
70
00:03:58,640 --> 00:04:00,840
like that?
Exactly, on camera work
71
00:04:00,840 --> 00:04:03,160
especially loves these lights
because of their high CRI.
72
00:04:03,440 --> 00:04:05,160
That's colour rendering index by
the way.
73
00:04:05,560 --> 00:04:08,520
It basically means the colours
stay true to life, like you're
74
00:04:08,520 --> 00:04:10,720
seeing things exactly the way
they're supposed to look.
75
00:04:11,160 --> 00:04:13,680
No weird tints or shifts.
Huh.
76
00:04:14,440 --> 00:04:16,880
So it's not just about looking
good, Liv, it's about looking
77
00:04:16,880 --> 00:04:18,760
good on the playback too.
That makes sense.
78
00:04:19,240 --> 00:04:22,880
Right, and it gets better.
These lights are whisper quiet.
79
00:04:23,480 --> 00:04:25,920
There's nothing worse than
trying to film something and
80
00:04:25,920 --> 00:04:27,760
having your equipment buzz in
the background.
81
00:04:28,080 --> 00:04:29,760
It's a nightmare to sound
engineers.
82
00:04:30,560 --> 00:04:33,400
The KL series Silent as a church
mouse.
83
00:04:33,920 --> 00:04:37,600
OK, but silent and high quality
doesn't always mean easy, right?
84
00:04:38,000 --> 00:04:41,520
How do they hold up in like real
world chaotic setups where
85
00:04:41,520 --> 00:04:43,880
you're running around trying to
get things ready on time?
86
00:04:44,320 --> 00:04:47,520
Oh, you'd love this part then.
They're ridiculously portable,
87
00:04:47,880 --> 00:04:50,800
super rugged, but still
lightweight enough to be around
88
00:04:50,800 --> 00:04:53,200
fast without feeling like you're
lugging a ton of bricks.
89
00:04:53,720 --> 00:04:55,880
Plus the fixtures are designed
to handle last minute
90
00:04:55,880 --> 00:04:58,960
transitions and they integrate
seamlessly with most control
91
00:04:58,960 --> 00:05:01,040
boards.
It's basically plug and play for
92
00:05:01,040 --> 00:05:04,080
pros.
OK, so imagine your mid event,
93
00:05:04,680 --> 00:05:07,560
something's changed and you've
got what, like 5 minutes to
94
00:05:07,560 --> 00:05:11,760
rework the lighting?
Are we talking full on panic or
95
00:05:11,760 --> 00:05:13,600
can these things actually save
the day?
96
00:05:14,080 --> 00:05:17,040
Oh they're lifesavers.
I actually know a shoot.
97
00:05:17,200 --> 00:05:20,200
Not going to name names, but
they had to redo the entire
98
00:05:20,200 --> 00:05:24,440
lighting setup Last minute,
tight deadline, high stakes.
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00:05:25,000 --> 00:05:28,280
The KL fixtures gave them the
flexibility to shift gears
100
00:05:28,600 --> 00:05:30,960
without needing to bring in
extra hands or lose time.
101
00:05:31,400 --> 00:05:33,280
That kind of reliability under
pressure.
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Priceless.
So like no drama, it just works.
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Exactly that.
No drama, just rock solid
104
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performance every time.
And while we're Speaking of rock
105
00:05:41,760 --> 00:05:45,720
solid performance, the KL series
is definitely a hard act to
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follow.
But the Elation Fuse series
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00:05:48,000 --> 00:05:51,800
really takes things up a notch
in terms of versatility and
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precision.
The Fuse Max Profile and Fuse
109
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Wash 500 in particular, they're
essentially a lighting
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00:05:59,280 --> 00:06:02,400
designer's dream toolbox.
These fixtures are built to
111
00:06:02,400 --> 00:06:05,360
thrive in almost any
professional lighting scenario
112
00:06:05,360 --> 00:06:08,360
you can imagine.
OK so walk me through it.
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What makes these like must haves
for the pros?
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00:06:10,960 --> 00:06:13,520
2 words.
Vibrant colours, I mean, the
115
00:06:13,520 --> 00:06:17,000
Fuse Max alone has this insane
ability to deliver colours that
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00:06:17,000 --> 00:06:20,280
pretty much jump out at you.
Add in the precise optics and
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you're not just casting light,
you're crafting like a whole
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mood.
It's like you see the scene
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00:06:25,800 --> 00:06:28,640
exactly how the designer
intended, no compromises.
120
00:06:29,320 --> 00:06:31,160
Right.
So they're versatile, but give
121
00:06:31,160 --> 00:06:33,480
me an example like, where do
these really shine in, you know,
122
00:06:33,560 --> 00:06:36,680
the real world?
Oh, for sure, take a theatrical
123
00:06:36,680 --> 00:06:39,400
setup, right?
You've got a shift between drama
124
00:06:39,400 --> 00:06:42,040
and spectacle.
Maybe you need a sharp spotlight
125
00:06:42,040 --> 00:06:44,240
for a soliloquy.
Then quickly switch to a
126
00:06:44,240 --> 00:06:47,280
sweeping wash that covers the
entire stage for a musical
127
00:06:47,280 --> 00:06:50,600
number.
The Fuse Wash 500, for instance.
128
00:06:50,600 --> 00:06:53,240
It's got this motorized zoom
that lets you go from tight beam
129
00:06:53,240 --> 00:06:57,160
to soft spreads in seconds.
No manual fiddling, just control
130
00:06:57,160 --> 00:07:00,640
it from the desk.
OK, but can they handle like the
131
00:07:00,640 --> 00:07:04,200
crazy timelines?
You know when setups get chaotic
132
00:07:04,320 --> 00:07:06,600
and you've got what, minutes to
make something happen?
133
00:07:07,040 --> 00:07:09,360
Oh absolutely.
These things are built for high
134
00:07:09,360 --> 00:07:12,160
pressure environments.
Picture and award show set up
135
00:07:12,520 --> 00:07:16,520
tons of moving parts.
One of those last minute oh we
136
00:07:16,520 --> 00:07:20,320
need a new look in this corner 5
minutes ago kind of situations.
137
00:07:20,880 --> 00:07:22,720
Boom.
The Fuse series steps in with
138
00:07:22,720 --> 00:07:25,240
seamless adjustments.
It's what they're designed for.
139
00:07:25,840 --> 00:07:29,840
That's actually kind of
incredible, but I have to ask,
140
00:07:29,840 --> 00:07:31,920
what about when things don't go
as planned?
141
00:07:32,680 --> 00:07:35,160
Like, ever hear of a story where
these things kind of saved the
142
00:07:35,160 --> 00:07:36,720
day?
Oh definitely.
143
00:07:37,000 --> 00:07:39,600
There was this concert where the
venue lights malfunctioned right
144
00:07:39,600 --> 00:07:42,040
before the show.
They had a few fuse units in the
145
00:07:42,040 --> 00:07:44,640
rig and they ended up
redesigning the lighting on the
146
00:07:44,640 --> 00:07:48,200
fly using just those.
No one in the audience even
147
00:07:48,200 --> 00:07:50,880
noticed something was off.
That's what I'm talking about.
148
00:07:51,040 --> 00:07:54,840
Life saving versatility.
Wow, it's like they're not just
149
00:07:54,840 --> 00:07:57,680
tools, they're kind of like
creative partners.
150
00:07:57,680 --> 00:07:59,560
Is that fair to say?
Exactly.
151
00:07:59,560 --> 00:08:02,360
They're not just functional,
they enhance what's possible.
152
00:08:02,640 --> 00:08:05,320
You're not fighting the gear,
you're partnering with it to
153
00:08:05,360 --> 00:08:08,000
elevate the experience.
All right, I'm sold.
154
00:08:08,480 --> 00:08:11,720
The Fuse series sounds like it's
got everything Power, precision,
155
00:08:11,720 --> 00:08:14,760
flexibility, and it just makes
life easier.
156
00:08:14,760 --> 00:08:16,960
What's not to love?
Couldn't have said it better
157
00:08:16,960 --> 00:08:19,440
myself.
And honestly, this is where
158
00:08:19,440 --> 00:08:22,040
lighting tech is headed.
It's all about supporting
159
00:08:22,040 --> 00:08:25,320
creativity while meeting the
demands of modern production.
160
00:08:26,240 --> 00:08:29,160
The Fuse series, it's leading
that charge.
161
00:08:29,800 --> 00:08:32,799
Well, Chris, I've learned so
much today, but I think that's
162
00:08:32,799 --> 00:08:34,360
all the time we've got for this
episode.
163
00:08:34,840 --> 00:08:37,600
Yeah, this was a blast.
And hey, for everyone out there
164
00:08:37,600 --> 00:08:40,919
passionate about shows and the
gear they use or just curious
165
00:08:40,919 --> 00:08:43,480
about the magic behind the
scenes, stay tuned.
166
00:08:43,799 --> 00:08:46,320
There's always more to uncover.
Thanks for listening.
167
00:08:46,880 --> 00:08:49,320
And on that note, we'll see you
next time on Geezers of Gear
168
00:08:49,320 --> 00:09:09,000
Future Tech Bye.
Music to your ears.
169
00:09:09,200 --> 00:09:11,080
Hey, hey, hey.
Let's go.
170
00:09:11,440 --> 00:09:17,760
New gear vibes, new tech jive
gearheads unite.
171
00:09:18,760 --> 00:09:20,760
We keep it live.
00:00:19,520 --> 00:00:22,200
Well, here we are for another
future tech episode and a
2
00:00:22,200 --> 00:00:25,080
discussion about a great brand
and a really cool project as
3
00:00:25,080 --> 00:00:27,800
well.
In fact, let's jump right in and
4
00:00:27,800 --> 00:00:31,360
talk about Dakota Theatre and
their shiny new lighting system.
5
00:00:31,560 --> 00:00:34,360
By elation.
We're not just talking about a
6
00:00:34,360 --> 00:00:37,360
simple update here, this is a
major leap forward.
7
00:00:37,760 --> 00:00:40,080
They've swapped out their old
energy hogging traditional
8
00:00:40,080 --> 00:00:43,920
lights for an advanced LED setup
and let me tell you, it's a
9
00:00:43,920 --> 00:00:46,880
total game changer.
Yeah, I mean, they've positioned
10
00:00:46,880 --> 00:00:49,280
themselves as a cultural hotspot
in The Hague, right?
11
00:00:49,920 --> 00:00:54,480
They're hosting everything from
experimental theatre to what was
12
00:00:54,480 --> 00:00:58,440
it, film screenings, live music
workshops.
13
00:00:59,040 --> 00:01:02,200
It's a pretty packed schedule.
They needed a versatile lighting
14
00:01:02,200 --> 00:01:04,280
package that could keep up with
that kind of variety.
15
00:01:04,800 --> 00:01:06,000
Exactly.
And here's the thing.
16
00:01:06,320 --> 00:01:09,720
This new LED setup isn't just
flashy, it's incredibly
17
00:01:09,720 --> 00:01:13,080
functional.
Take the KL Profile FC.
18
00:01:13,520 --> 00:01:15,120
It's the workhorse of the
system.
19
00:01:15,440 --> 00:01:18,680
It's got interchangeable Fresnel
lenses, meaning you can switch
20
00:01:18,680 --> 00:01:22,800
between a sharp spot or a soft
wash of light, all without
21
00:01:22,800 --> 00:01:25,160
manual adjustments, all messing
with filters.
22
00:01:25,560 --> 00:01:28,680
That's huge for flexibility,
especially mid production.
23
00:01:29,080 --> 00:01:32,160
OK, wait, so those are what?
Yeah, front lighting or key
24
00:01:32,160 --> 00:01:35,840
lighting, perfect for
highlighting performances or say
25
00:01:35,840 --> 00:01:37,440
a speaker during a queue
session.
26
00:01:37,840 --> 00:01:40,400
And then you've got the Fuse
Wash 500 fixtures.
27
00:01:40,800 --> 00:01:43,480
These things are dynamic.
They're mostly used for side
28
00:01:43,480 --> 00:01:47,160
fills, backlighting, effects, or
even just creating some visual
29
00:01:47,160 --> 00:01:49,160
texture during musical
performances.
30
00:01:49,680 --> 00:01:51,280
And it all runs smoother now,
right?
31
00:01:51,920 --> 00:01:54,920
Like no more running back and
forth or climbing ladders to
32
00:01:54,920 --> 00:01:57,760
adjust stuff manually.
Which is great, because when
33
00:01:57,760 --> 00:02:01,080
you're juggling a million things
backstage, that extra time can
34
00:02:01,080 --> 00:02:03,600
make all the difference.
Oh totally.
35
00:02:03,840 --> 00:02:06,320
It's incredible.
Before this upgrade, theatre
36
00:02:06,320 --> 00:02:09,759
technicians had to physically
switch out gels and adjust
37
00:02:09,759 --> 00:02:13,000
positions for every little color
change or angle tweak.
38
00:02:13,440 --> 00:02:17,440
Now it's all digital.
Every color you could want, boom
39
00:02:17,480 --> 00:02:20,080
at the Press of a button.
And the consistency across
40
00:02:20,080 --> 00:02:24,000
fixtures is colour harmony.
We're talking about perfectly
41
00:02:24,000 --> 00:02:27,720
matched tones thanks to
Elation's R GB MA colour engine.
42
00:02:28,160 --> 00:02:30,480
No more mismatched hues in your
scenes.
43
00:02:31,080 --> 00:02:33,720
That's wild, but what about
energy efficiency?
44
00:02:34,440 --> 00:02:36,280
Everyone's all eco conscious
these days.
45
00:02:36,280 --> 00:02:38,640
What's the deal there?
Glad you brought that up.
46
00:02:39,240 --> 00:02:42,480
These LE DS sip power compared
to the old school incandescent
47
00:02:42,480 --> 00:02:46,080
lamps they were using Dakota
theaters cutting their energy
48
00:02:46,080 --> 00:02:48,440
consumption by a significant
margin.
49
00:02:49,200 --> 00:02:51,960
That's not just better for the
planet, it's a serious cost
50
00:02:51,960 --> 00:02:54,880
saver over time.
And bonus, they don't have to
51
00:02:54,880 --> 00:02:57,880
worry about hunting down
outdated discontinued lamps
52
00:02:57,880 --> 00:03:00,200
anymore.
Maintenance savings alone make
53
00:03:00,200 --> 00:03:02,520
it all worth it.
So it's kind of like they got
54
00:03:02,520 --> 00:03:06,000
the best of both worlds.
More creative, control, all the
55
00:03:06,000 --> 00:03:09,000
colours could want, and they're
saving effort and money too.
56
00:03:09,720 --> 00:03:13,120
Sounds like a win all around.
It really is, and the best part
57
00:03:13,120 --> 00:03:15,360
is how this levels up their
event possibilities.
58
00:03:15,760 --> 00:03:19,520
From cinema panels to theatre
productions, even workshops,
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they're now equipped to handle
whatever comes their way and do
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it with style.
So Speaking of flexibility and
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all that creative control you
were raving about, I keep
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hearing about this Elation KL
series being like a big deal.
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What's the story there?
Oh, it's not just a big deal.
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It's a giant leap for LED
luminaires.
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The KL series is all about
precision and reliability.
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These lights are designed for
environments where sound and
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color fidelity really matter,
like XR stages, live television,
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or even some high end theatre
productions.
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Wait, XR stages as in like
virtual production sets, stuff
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like that?
Exactly, on camera work
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especially loves these lights
because of their high CRI.
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That's colour rendering index by
the way.
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It basically means the colours
stay true to life, like you're
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seeing things exactly the way
they're supposed to look.
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No weird tints or shifts.
Huh.
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So it's not just about looking
good, Liv, it's about looking
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good on the playback too.
That makes sense.
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Right, and it gets better.
These lights are whisper quiet.
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There's nothing worse than
trying to film something and
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00:04:25,920 --> 00:04:27,760
having your equipment buzz in
the background.
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00:04:28,080 --> 00:04:29,760
It's a nightmare to sound
engineers.
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The KL series Silent as a church
mouse.
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OK, but silent and high quality
doesn't always mean easy, right?
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How do they hold up in like real
world chaotic setups where
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you're running around trying to
get things ready on time?
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00:04:44,320 --> 00:04:47,520
Oh, you'd love this part then.
They're ridiculously portable,
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00:04:47,880 --> 00:04:50,800
super rugged, but still
lightweight enough to be around
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00:04:50,800 --> 00:04:53,200
fast without feeling like you're
lugging a ton of bricks.
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00:04:53,720 --> 00:04:55,880
Plus the fixtures are designed
to handle last minute
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transitions and they integrate
seamlessly with most control
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00:04:58,960 --> 00:05:01,040
boards.
It's basically plug and play for
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00:05:01,040 --> 00:05:04,080
pros.
OK, so imagine your mid event,
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00:05:04,680 --> 00:05:07,560
something's changed and you've
got what, like 5 minutes to
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00:05:07,560 --> 00:05:11,760
rework the lighting?
Are we talking full on panic or
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can these things actually save
the day?
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00:05:14,080 --> 00:05:17,040
Oh they're lifesavers.
I actually know a shoot.
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Not going to name names, but
they had to redo the entire
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00:05:20,200 --> 00:05:24,440
lighting setup Last minute,
tight deadline, high stakes.
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The KL fixtures gave them the
flexibility to shift gears
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without needing to bring in
extra hands or lose time.
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00:05:31,400 --> 00:05:33,280
That kind of reliability under
pressure.
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Priceless.
So like no drama, it just works.
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00:05:36,640 --> 00:05:39,080
Exactly that.
No drama, just rock solid
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performance every time.
And while we're Speaking of rock
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solid performance, the KL series
is definitely a hard act to
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00:05:45,720 --> 00:05:48,000
follow.
But the Elation Fuse series
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00:05:48,000 --> 00:05:51,800
really takes things up a notch
in terms of versatility and
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00:05:51,800 --> 00:05:56,000
precision.
The Fuse Max Profile and Fuse
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Wash 500 in particular, they're
essentially a lighting
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00:05:59,280 --> 00:06:02,400
designer's dream toolbox.
These fixtures are built to
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00:06:02,400 --> 00:06:05,360
thrive in almost any
professional lighting scenario
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00:06:05,360 --> 00:06:08,360
you can imagine.
OK so walk me through it.
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What makes these like must haves
for the pros?
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2 words.
Vibrant colours, I mean, the
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00:06:13,520 --> 00:06:17,000
Fuse Max alone has this insane
ability to deliver colours that
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00:06:17,000 --> 00:06:20,280
pretty much jump out at you.
Add in the precise optics and
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you're not just casting light,
you're crafting like a whole
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00:06:24,040 --> 00:06:25,800
mood.
It's like you see the scene
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00:06:25,800 --> 00:06:28,640
exactly how the designer
intended, no compromises.
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00:06:29,320 --> 00:06:31,160
Right.
So they're versatile, but give
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00:06:31,160 --> 00:06:33,480
me an example like, where do
these really shine in, you know,
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00:06:33,560 --> 00:06:36,680
the real world?
Oh, for sure, take a theatrical
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00:06:36,680 --> 00:06:39,400
setup, right?
You've got a shift between drama
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00:06:39,400 --> 00:06:42,040
and spectacle.
Maybe you need a sharp spotlight
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00:06:42,040 --> 00:06:44,240
for a soliloquy.
Then quickly switch to a
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00:06:44,240 --> 00:06:47,280
sweeping wash that covers the
entire stage for a musical
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00:06:47,280 --> 00:06:50,600
number.
The Fuse Wash 500, for instance.
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00:06:50,600 --> 00:06:53,240
It's got this motorized zoom
that lets you go from tight beam
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00:06:53,240 --> 00:06:57,160
to soft spreads in seconds.
No manual fiddling, just control
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00:06:57,160 --> 00:07:00,640
it from the desk.
OK, but can they handle like the
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00:07:00,640 --> 00:07:04,200
crazy timelines?
You know when setups get chaotic
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00:07:04,320 --> 00:07:06,600
and you've got what, minutes to
make something happen?
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00:07:07,040 --> 00:07:09,360
Oh absolutely.
These things are built for high
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00:07:09,360 --> 00:07:12,160
pressure environments.
Picture and award show set up
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00:07:12,520 --> 00:07:16,520
tons of moving parts.
One of those last minute oh we
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00:07:16,520 --> 00:07:20,320
need a new look in this corner 5
minutes ago kind of situations.
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00:07:20,880 --> 00:07:22,720
Boom.
The Fuse series steps in with
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00:07:22,720 --> 00:07:25,240
seamless adjustments.
It's what they're designed for.
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00:07:25,840 --> 00:07:29,840
That's actually kind of
incredible, but I have to ask,
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00:07:29,840 --> 00:07:31,920
what about when things don't go
as planned?
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00:07:32,680 --> 00:07:35,160
Like, ever hear of a story where
these things kind of saved the
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00:07:35,160 --> 00:07:36,720
day?
Oh definitely.
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00:07:37,000 --> 00:07:39,600
There was this concert where the
venue lights malfunctioned right
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00:07:39,600 --> 00:07:42,040
before the show.
They had a few fuse units in the
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00:07:42,040 --> 00:07:44,640
rig and they ended up
redesigning the lighting on the
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00:07:44,640 --> 00:07:48,200
fly using just those.
No one in the audience even
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00:07:48,200 --> 00:07:50,880
noticed something was off.
That's what I'm talking about.
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00:07:51,040 --> 00:07:54,840
Life saving versatility.
Wow, it's like they're not just
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00:07:54,840 --> 00:07:57,680
tools, they're kind of like
creative partners.
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00:07:57,680 --> 00:07:59,560
Is that fair to say?
Exactly.
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00:07:59,560 --> 00:08:02,360
They're not just functional,
they enhance what's possible.
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00:08:02,640 --> 00:08:05,320
You're not fighting the gear,
you're partnering with it to
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00:08:05,360 --> 00:08:08,000
elevate the experience.
All right, I'm sold.
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00:08:08,480 --> 00:08:11,720
The Fuse series sounds like it's
got everything Power, precision,
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00:08:11,720 --> 00:08:14,760
flexibility, and it just makes
life easier.
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00:08:14,760 --> 00:08:16,960
What's not to love?
Couldn't have said it better
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00:08:16,960 --> 00:08:19,440
myself.
And honestly, this is where
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00:08:19,440 --> 00:08:22,040
lighting tech is headed.
It's all about supporting
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00:08:22,040 --> 00:08:25,320
creativity while meeting the
demands of modern production.
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00:08:26,240 --> 00:08:29,160
The Fuse series, it's leading
that charge.
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00:08:29,800 --> 00:08:32,799
Well, Chris, I've learned so
much today, but I think that's
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00:08:32,799 --> 00:08:34,360
all the time we've got for this
episode.
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00:08:34,840 --> 00:08:37,600
Yeah, this was a blast.
And hey, for everyone out there
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00:08:37,600 --> 00:08:40,919
passionate about shows and the
gear they use or just curious
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00:08:40,919 --> 00:08:43,480
about the magic behind the
scenes, stay tuned.
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00:08:43,799 --> 00:08:46,320
There's always more to uncover.
Thanks for listening.
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00:08:46,880 --> 00:08:49,320
And on that note, we'll see you
next time on Geezers of Gear
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00:08:49,320 --> 00:09:09,000
Future Tech Bye.
Music to your ears.
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00:09:09,200 --> 00:09:11,080
Hey, hey, hey.
Let's go.
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00:09:11,440 --> 00:09:17,760
New gear vibes, new tech jive
gearheads unite.
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00:09:18,760 --> 00:09:20,760
We keep it live.