Vari-Lite
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Vari-Lite is a brand of automated, variable-colour
stage lighting Stage lighting is the craft of lighting as it applies to the production of theater, dance, opera, and other performance arts.
systems. Their
intelligent lighting Intelligent lighting refers to lighting that has automated or mechanical abilities beyond those of traditional, stationary illumination. Although the most advanced intelligent lights can produce extraordinarily complex effects, the intelligence l ...
fixtures are commonly used in
theatre Theatre or theater is a collaborative form of performing art that uses live performers, usually actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The perform ...
,
concerts A concert is a live music performance in front of an audience. The performance may be by a single musician, sometimes then called a recital, or by a musical ensemble, such as an orchestra, choir, or musical band, band. Concerts are held in a w ...
,
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,
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and corporate events.


History


Pre-history

The origins of Vari-Lite date to the late 1960s, when college friends Jack Calmes and Rusty Brutsché played together in a
Texas Texas (, ; Spanish language, Spanish: ''Texas'', ''Tejas'') is a state in the South Central United States, South Central region of the United States. At 268,596 square miles (695,662 km2), and with more than 29.1 million residents in 2 ...
-based
blues Blues is a music genre and musical form which originated in the Deep South of the United States around the 1860s. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the Afr ...
band. They built a sound system for their shows that attracted the attention of other acts, who asked to
rent Rent may refer to: Economics *Renting, an agreement where a payment is made for the temporary use of a good, service or property *Economic rent, any payment in excess of the cost of production *Rent-seeking, attempting to increase one's share of e ...
it from them. In March 1970, Calmes and Brutsché, together with sound engineer Jack Maxson, incorporated
Showco Showco was a sound equipment provider of touring sound reinforcement equipment and services to the concert touring industry. It was based in Dallas, Texas, United States. In 2000, Showco was acquired by Clair Global. Showco was established in 197 ...
, with the intention of supplying sound systems to regional
rock concert A rock concert is a performance of rock music. During the 1950s, several American musical groups experimented with new musical forms that fused country music, blues, and swing genre to produce the earliest examples of "rock and roll." The coin ...
s. The company initially operated two sound systems and two trucks from Maxson's garage. The company quickly grew, both in size and reputation, and added lighting equipment to its inventory in 1972. By the end of the 1970s, Showco's lighting equipment was becoming outdated, and the company could not afford to replace it.


Invention

In 1980, Showco engineer Jim Bornhorst discovered that twisting
dichroic filter A dichroic filter, thin-film filter, or interference filter is a color filter used to selectively pass light of a small range of colors while reflecting other colors. By comparison, dichroic mirrors and dichroic reflectors tend to be characteriz ...
s alters the frequencies of light filtered, resulting in an apparent color change. The company exploited this discovery by constructing a fixture equipped with two motors to move the light. An initial prototype of a fully automated lighting system, featuring a
General Electric General Electric Company (GE) is an American multinational conglomerate founded in 1892, and incorporated in New York state and headquartered in Boston. The company operated in sectors including healthcare, aviation, power, renewable energ ...
Marc 350
projector A projector or image projector is an optical device that projects an image (or moving images) onto a surface, commonly a projection screen. Most projectors create an image by shining a light through a small transparent lens, but some newer types ...
, was built in twelve weeks. Showco representatives demonstrated the prototype—known today as the VL-Zero—to members of the British band
Genesis Genesis may refer to: Bible * Book of Genesis, the first book of the biblical scriptures of both Judaism and Christianity, describing the creation of the Earth and of mankind * Genesis creation narrative, the first several chapters of the Book of ...
,https://www.vari-lite.com/global/about, see 1980/1981, retrieved at 1 February 2021. having programmed it to enact two simple cues. Genesis, already a regular Showco client, immediately invested $1 million in the new technology, although a working model, later known as the VL1, would not be available until the band embarked on its '' Abacab'' tour. Showco used the capital to develop the control console, power distribution, and digital
data transmission Data transmission and data reception or, more broadly, data communication or digital communications is the transfer and reception of data in the form of a digital bitstream or a digitized analog signal transmitted over a point-to-point o ...
equipment required to implement the system.


Growth and expansion

The company subsequently incorporated as Vari-Lite Inc. and struck distribution deals to introduce the product into international markets. The Series 200 system launched in 1987, featuring the Artisan Control Console and two new luminaires: the VL2—a direct descendant of the VL1—and the VL3, based on the VL-Zero. This was followed by the VL4, a more compact and brighter version of the VL3, and two upgrades of the original VL2: the VL2B and the VL2C. A smaller backup console was also launched, called the Mini-Artisan. In 1994, Vari-lite set up Irideon Inc. to manufacture automated lighting products for the
architectural lighting Architectural lighting design is a field of work or study that is concerned with the design of lighting systems within the built environment, both interior and exterior. It can include manipulation and design of both  daylight and  electr ...
market, selling it off to Electronic Theatre Controls four years later. In 1997 the company floated on
Nasdaq The Nasdaq Stock Market () (National Association of Securities Dealers Automated Quotations Stock Market) is an American stock exchange based in New York City. It is the most active stock trading venue in the US by volume, and ranked second ...
(NASDAQ:LITE), selling two million shares, in a move which allowed the company to retire almost half its debt. Forty-seven percent of the company remained in the hands of Genesis and Vari-Lite management. The company then began to buy back the
franchises Franchise may refer to: Business and law * Franchising, a business method that involves licensing of trademarks and methods of doing business to franchisees * Franchise, a privilege to operate a type of business such as a cable television p ...
it had created in previous years in favor of establishing new rental offices that offered conventional third-party lighting equipment alongside its own products. In 2002, the VARI*LITE luminaire manufacturing and sales divisions were sold to the
Genlyte Group The Genlyte Group was a company that manufactured and sold lighting fixtures and controls. Products designed by the Genlyte Group include indoor and outdoor fixtures for the commercial, residential, theater, and industrial markets. Genlyte was boug ...
. The rental division, retaining the console division, and continued to develop the
Virtuoso A virtuoso (from Italian ''virtuoso'' or , "virtuous", Late Latin ''virtuosus'', Latin ''virtus'', "virtue", "excellence" or "skill") is an individual who possesses outstanding talent and technical ability in a particular art or field such as ...
product line, eventually merging with the Production Resource Group (PRG) in 2004. In early 2008, the Genlyte Group was bought by
Royal Philips Lighting Koninklijke Philips N.V. (), commonly shortened to Philips, is a Dutch multinational conglomerate corporation that was founded in Eindhoven in 1891. Since 1997, it has been mostly headquartered in Amsterdam, though the Benelux headquarters is ...
. Under Philips ownership, the VLX wash, a high-intensity
LED A light-emitting diode (LED) is a semiconductor Electronics, device that Light#Light sources, emits light when Electric current, current flows through it. Electrons in the semiconductor recombine with electron holes, releasing energy i ...
luminaire, was developed.Philips Vari*lite VLX Wash data sheet 2009 (PDF), retrieved 2 February 2021
Having separated from its parent company Royal Philips, Philips Lighting rebrands as Signify in 2019. Vari-Lite and stablemate
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regain their stand-alone brand status, with a renewed commitment from the business to innovate and support the visions of creative artists worldwide.


Accolades

The company has won three
Primetime Emmy Award The Primetime Emmy Awards, or Primetime Emmys, are part of the extensive range of Emmy Awards for artistic and technical merit for the American television industry. Bestowed by the Academy of Television Arts & Sciences (ATAS), the Primetime ...
s for technical achievement: in 1991, for Outstanding Achievement in Engineering, in the development of the Series 200 system; in 1994, for the development of the VL5; and in 2001 for Outstanding Achievement in Engineering for the Virtuoso console.


Patent infringement lawsuits

In 1989 Vari-Lite
sued - A lawsuit is a proceeding by a party or parties against another in the civil court of law. The archaic term "suit in law" is found in only a small number of laws still in effect today. The term "lawsuit" is used in reference to a civil acti ...
Syncrolite, Inc. and founder, former Showco president Jack Calmes, over alleged patent infringements. Calmes countersued, claiming that his former business partners had kept the development of the Vari-Lite system from him at the time of his departure, causing him to lose money when he sold his Showco stock. The case was resolved in Vari-Lite's favour. In August 1995 Vari-lite sued High End Systems, seeking unspecified damages and an injunction against the manufacture of the Status Cue system, including the Cyberlight and Studio Color luminaires. The matter was eventually resolved out of court. In 1999, Vari-lite obtained a preliminary injunction against Danish firm Martin Gruppen A/S, which barred the import, sale and lease of several lighting products within the United States. Martin responded by releasing updated products that lay outside the scope of Vari-Lite's patents.


Control systems

From the very start, Vari*Lite consoles were computerised, transmitting digital multiplexed signals to the luminaires.


Series 100

Originally known simply as ''The Vari-lite System'', Series 100 used a patented
protocol Protocol may refer to: Sociology and politics * Protocol (politics), a formal agreement between nation states * Protocol (diplomacy), the etiquette of diplomacy and affairs of state * Etiquette, a code of personal behavior Science and technolog ...
based on
RS-422 RS-422, also known as TIA/EIA-422, is a technical standard originated by the Electronic Industries Alliance that specifies electrical characteristics of a digital signaling circuit. It was meant to be the foundation of a suite of standards that ...
, which sent positional, beam and colour information, via a
rack-mounted A 19-inch rack is a standardized frame or enclosure for mounting multiple electronic equipment modules. Each module has a front panel that is wide. The 19 inch dimension includes the edges or "ears" that protrude from each side of the equ ...
computer A computer is a machine that can be programmed to Execution (computing), carry out sequences of arithmetic or logical operations (computation) automatically. Modern digital electronic computers can perform generic sets of operations known as C ...
, to up to 32 individual Vari-lite luminaires (later known as VL1s), at up to 30 times a second. Up to three computers could be linked together under the control of a single console, giving a maximum system size of 96 luminaires. The transmissions were unidirectional, and the
error checking In information theory and coding theory with applications in computer science and telecommunication, error detection and correction (EDAC) or error control are techniques that enable reliable delivery of digital data over unreliable communica ...
was quite rudimentary, checking each transmission bit 5 times and applying the majority result. As the information was retransmitted multiple times each second, the result was no noticeable errors by the luminaires. However, the
refresh rate The refresh rate (or "vertical refresh rate", "vertical scan rate", terminology originating with the cathode ray tubes) is the number of times per second that a raster-based display device displays a new image. This is independent from frame rate ...
of a full 96 channel system was visibly noticeable if, the low-numbered channels were rigged close to high-numbered channels (in Vari*Lite
jargon Jargon is the specialized terminology associated with a particular field or area of activity. Jargon is normally employed in a particular Context (language use), communicative context and may not be well understood outside that context. The conte ...
, a "channel" referred to a whole device, regardless of how many parameters it had). In order to distribute both power and data, 6 channel "dumb"
repeater In telecommunications, a repeater is an electronic device that receives a signal and retransmits it. Repeaters are used to extend transmissions so that the signal can cover longer distances or be received on the other side of an obstruction. Some ...
boxes were used. The cables carried both data and power. In order to meet safety standards, the data cable was rated at 600 v, to allow it to be used in
3 phase 3 (three) is a number, numeral and digit. It is the natural number following 2 and preceding 4, and is the smallest odd prime number and the only prime preceding a square number. It has religious or cultural significance in many societie ...
power applications. The channel number (also known as an address) was set with three thumbwheel switches on each lite and a common practical joke on the part of non-Vari-lite crew, would be to renumber random "lites" (this became a common way of referring to a Vari*Lite unit on both sides of the Atlantic). The designation ''Series 100'' was not applied until 1987, upon the release of the Series 200 system.


Series 200

By contrast, the Series 200 system was designed to employ a
proprietary {{Short pages monitor The Vari-lite VL3 was the company's first attempt to create a moving head wash luminaire, designed overall to light larger areas of a stage with softer-edged beams of light; in contrast with the tighter, often hard-edged beams produced by spot luminaires. The VL3 was built to complement the VL2 spot luminaire and released at the same time, in 1987, as a part of the (then) new Series 200 system. Externally, the luminaire was of an identical size and design to the VL2, save for the presence of a larger (6" / 150 mm), convex, slightly frosted lens—its key distinguishing feature. A wider range of lenses, with a variety of beam angles mimicking those found in
PAR64 A parabolic aluminized reflector lamp (PAR lamp or simply PAR) is a type of electric lamp that is widely used in commercial, residential, and transportation illumination. It produces a highly directional beam. Usage includes theatrical lighti ...
lamps, had been originally planned, but was not implemented on the VL3. The idea was later revived for the VL5. Internally, the VL3 marked a return to the original idea of using twisting dichroic filters, to gradually vary the colour of the beam (see US Patent 4602321). This was made practical by the simpler optics employed in a wash luminaire, which do not produce the same beam artifacts that the optics of a spot luminaire would, using this type of colour change mechanism. The subtractive, CMY (Cyan Magenta Yellow) colour mixing system designed for the VL3, featured three sets of three dichroic filters, each set independently rotatable; with the cyan filters at the rear, closest to the lamp and the magenta filters to the front. In their "open" position, the filters sat edge-on to the axis of the light beam, so that only white light emerged. By rotating the filter sets into the path of the beam, a wide variety of colours could be created—from light pastel shades, to deep saturated hues. A similar mechanism, with three, frosted glass vanes in place of dichroic filters, sat in front of the colour mechanism and was used to provide variable beam diffusion / width control, from a narrow spot to a wide flood. Further beam width control was introduced, with the motorisation of the lamp base; which allowed it to be moved through the reflector, along the beam axis. Another, major departure from the VL1 and VL2, was the use of a custom-made, tungsten lamp as the light source, which ran at a maximum of 53 volts and consumed 475 Watts. This was dimmed by a new type of lamp power supply—the IPS, with ''I'' standing for ''Induction'', instead of ''Arc''. Despite allowing lighting designers and programmers to create the kind of gradual colour changes and soft-edged washes which were unachievable with the VL1 and VL2, the VL3 was not a long-term success; mainly due to the tungsten lamp not being bright enough to handle longer throws, especially when set in darker colours. This compromised its ability to provide frontal illumination, reducing its role to mostly backlighting and beam effects. The VL3 began to be replaced by the VL4 from 1991. There may be a one or two left in existence, for exhibition / archive purposes, but the vast majority had been converted to VL2B luminaires by the end of 1994, which in turn were later upgraded to VL2Cs. A large number of VL3 luminaires can be seen surrounding the central, circular screen, in videos of
Pink Floyd Pink Floyd are an English rock band formed in London in 1965. Gaining an early following as one of the first British psychedelic music, psychedelic groups, they were distinguished by their extended compositions, sonic experimentation, philo ...
's ''
Delicate Sound of Thunder ''Delicate Sound of Thunder'' is a live album by English progressive rock band Pink Floyd. It was recorded over five nights at the Nassau Coliseum in Uniondale, New York, in August 1988 and mixed at Abbey Road Studios in September 1988. It was ...
'' tour.


VL4

Marketed under the strapline, ''Smaller, Lighter, Faster, Brighter'', the Vari-lite VL4 was the company's second moving head wash luminaire, designed to replace and improve upon the VL3. It was first made available for rental in 1990. At roughly half the size and weight of its predecessor, the VL4 did much to address market concerns regarding the size and weight of moving lights in general. A customised 400W short arc discharge lamp, updated from the one employed in the VL2B and coupled with a chemically brightened aluminium reflector, ensured that the output far exceeded that of the disappointing VL3. The subtractive, CMY colour change mechanism was a reduced-size version of the one used in the VL3, but beam diffusion was handled by a
tambour In classical architecture, a tambour ( Fr.: "drum") is the inverted bell of the Corinthian capital around which are carved acanthus leaves for decoration. The term also applies to the wall of a circular structure, whether on the ground or rais ...
-inspired design; with motor-driven, vertical slats of increasingly diffuse glass, that were drawn (internally) across the front end of the luminaire from both sides (see US Patent No. 4972306). As with the VL3, further beam width control was achieved by moving the motorised lamp back and forth inside the reflector, along the beam axis. Intensity control was provided via a mechanical shutter (the discharge lamp being non-dimmable). A second, "strobe" shutter, designed to snap open and closed as fast as possible, was incorporated into the intensity mechanism. The VL4 also featured a 12-bit Motorola processor, over the 8-bit one used in the VL2 and VL3. Despite being a technical improvement over the VL3, the small size and compact design of the VL4 led to a number of reliability issues—particularly with overheating. The densely constructed and relatively front-heavy head of the luminaire was also prone to overshooting (and then bouncing back to) its intended position at the end of fast movements. Many problems were addressed in a major upgrade programme, carried out over several weeks in the early 1990s, which featured over 135 modifications to the design. These ranged from the simple placement of a blob of rubber sealant somewhere in the luminaire, to the wholesale stripping down, extensive modification and total rebuilding of the Pan and Tilt mechanisms, to combat the overshooting problem. The new, compacted design of the APS400 lamp power supply suffered similar problems to the earlier APS power supplies, although these were mostly cured with the eventual application of the "X-mod". Ultimately, the small size of the luminaire made it impossible to upgrade the light source to a brighter, 600 Watt lamp (as had been done with the VL2C upgrade). Increasingly bright, competing luminaires from rival manufacturers, coupled with continuing reliability issues and high maintenance costs, saw the VL4 largely replaced by the VL5 within a decade of the latter's release. Very few remained in service beyond the first years of the 21st century and fewer still are in existence today, except maybe a couple held for exhibition / archive purposes.


Series 300 luminaires


VL5 / VL5 ARC / VL5B / VL5 LED wash

The VL5 was the third moving head wash luminaire to be produced by Vari-lite and was released in September 1992. It uses the Dichro-Tune radial CMY color mixing system (see US Patents 5073847 and 5186536). This system gives smoother transitions between colours and more even pastel shades, than that used in the VL3 and VL4; but is slower in end-to-end travel and gives the fixture the unmistakable black dot at the front of the fixture. A fourth set of vanes carry diffused glass to soften / widen the beam. Unlike the VL4, there is no other beam control; although the native beam angle can be pre-set using interchangeable lenses, which mimic the beam angles found in PAR64 lamps (an idea first proposed for the VL3). Design-wise, the VL5 responded to calls from entertainment lighting designers, for lighter, simpler, more reliable and (above all) cheaper moving light technology, which did not have to be controlled by a proprietary console. It was the first Series 300 luminaire, which could be controlled by either Vari-lite Series 200 data, or DMX512-A data, via a Vari-lite Smart Repeater (VLSR) box. Whichever data type was used, the mains voltage tungsten lamp used in the VL5 is dimmed remotely; using standard, stage lighting dimmer technology. This considerably reduced the cost of the luminaire and removed the need for a large upper enclosure, it being possible to incorporate the remaining electronics in the yoke of the unit. The lamp itself was an updated design by Philips, strengthened to withstand the forces on the white-hot filament caused by high-speed movement of the head. The VL5 was the first moving light to use "cold mirror" technology to provide a cool, high-intensity light beam, which could be placed close to objects and people, without burning them. The VL5s reflector is, in fact, a very large dichroic filter, which only allows infra-red light to pass through it, while reflecting the remaining visible light forward. The idea had been in use for some time before, most notably in MR16 halogen downlighter lamps, but never scaled up to this level. The prototype VL5 cold mirror reflector allegedly cost US$100,000 to produce. The idea works well in producing a cool beam output, but can raise the rear end of the head to flesh-searing temperatures, after just a few minutes' operation at maximum intensity. The VL5 was the first convection-cooled moving light, requiring no fan and therefore producing almost no noise. This has made it a popular choice for television lighting and other noise-sensitive applications. The VL5 Arc introduced a 575W discharge lamp to the design. As this could not be electronically dimmed, the diffuser vanes were replaced with black metal ones, which acted as a mechanical dimmer. Beam width control was initially carried out using an innovative "Liquid Lens"—again designed by Jim Bornhorst (see US Patent 5774273)—which pumped a liquid silica-based gel into a series of lentil-shaped cavities, set between two plastic membranes—thus altering their refractive index and giving a variable beam angle of 13–34°. However, this range fell short of that originally promised in the R&D stage and was not generally wide enough, to be useful for creating the kind of broad washes of soft-edged light, normally expected by users from this class of luminaire. The liquid lens fell further out of favour, after some users obtained the
MSDS A safety data sheet (SDS), material safety data sheet (MSDS), or product safety data sheet (PSDS) is a document that lists information relating to occupational safety and health for the use of various substances and products. SDSs are a widely ...
for the gel being used in the lens and expressed concerns at its potential toxicity. Following this, many VL5 Arcs were rented out without the liquid lens, using instead the same, fixed-focus range of lenses designed for the original VL5. The original VL5 had offered a wider range of green shades than the VL4, but enabling it to do so had compromised its ability to produce pale, daylight and "steel" shades of blue—which are more useful to lighting designers, especially those working in Theatre and TV. The VL5B featured an alternative filter set, which restored the ability to produce pale blues, but reduced the overall number of useful colours available—especially darker, more saturated shades in the blue-green range. As a result, the VL5B is mostly used in Theatre and TV productions, where its specialised colour range is more often specifically required. The VL5B uses the same, 1000W tungsten lamp as the original VL5, powered by remote dimmers. The VL5 has proved to be Vari-lite's most long-lived product and is one of the most popular stage lighting units, of any kind, ever made—with over 3,500 built. Its simple workings, ease of maintenance and overall reliability, have made it a favourite among lighting crews for almost twenty years and—as of 2010—it is still readily available for hire from a number of rental companies; continuing to illuminate stages around the world. The smooth, elegant, early-1990s design—informed by the classic PAR64 Parcan lantern—has not dated appreciably and still looks "current" when used alongside more modern equipment—to the extent that the basic look of the head has been carried (along with that of the VL6), into many, post-Series 300 Vari-lite luminaires. In November 2019 the VL5 LED wash was presented.


VL6 / VL6B / VL6C / VL6C Plus

The Vari-lite VL6 was designed to complement the VL5, as a simple, lightweight, cheap-to-hire, moving head spot luminaire; but did not appear on the market until mid-1994—almost two years after the VL5. As a Series 300 luminaire, it could be controlled either by Vari-lite Series 200 data or
DMX512 DMX512 is a standard for digital communication networks that are commonly used to control lighting and effects. It was originally intended as a standardized method for controlling stage lighting dimmers, which, prior to DMX512, had employed ...
, via a Vari-lite Smart Repeater (VLSR) unit. The unusual "cyclops" design carried just two wheels: one for colour and one for gobos, each with 12 positions (including 1 open). The dichroic filters and gobos in the VL6 were interchangeable between the two wheels. With gobos set in both wheels and placed in the beam path, it is possible to "morph" between them, by adjusting the focus of the motorised lens (See US Patent No. 5934794). Placing dichroic filters in both wheels, allows additional colours to be created beyond the basic palette afforded by a single wheel, although this potential has not been widely explored. A new process of laser-etching very high resolution designs, onto the very small glass gobos designed for the VL6, was developed and patented by Vari-lite (see US Patent No. 5728994). A custom HTI-400 discharge lamp was once again chosen for the light source, requiring mechanical dimming and fans to cool the head of the luminaire; although these were smaller and considerably quieter, than those used in previous luminaires. As with the VL5, a dichroic, "cold mirror" was used as the reflector. Like the VL5, the VL6 had no upper enclosure and a new, modular, rack-mounted version of the APS power supply (the APS6) was designed to remotely power the lamps, via VLSRs. Six APS6 units could be mounted in one rack at a time. A dimmer dimmer module (the C3) with the same overall form as the APS6 was also designed, with the intention of allowing the lamps of VL5s and VL6s to be powered together, from the same lamp PSU rack, via a common VLSR. However, in Europe, the limitations of the C3 circuitry meant that insufficient voltage could be produced, to raise the 230 V version of the VL5 lamp to its maximum possible intensity; leaving the output looking dim and yellow. There was also the potential for accidental connection of VL6 lamps to dimmed mains supplies on "mixed" VLSRs, which rendered the lamps instantly and permanently useless. As a result, VL5 lamps continued to be mostly driven by third party dimmers and VL6s by APS racks, with the two types of luminaire usually running on separate VLSRs. The lightweight design of the VL6, meant that much faster moves were possible than with previous Vari-lite spots; although this was compromised by the weight added in the VL6B upgrade. Performed in 1998, the VL6B upgrade added a wider aperture zoom lens, with a 13−35° range and an additional rotating gobo wheel, with 5+1 positions. This added considerable weight to the head of the luminaire and made it front-heavy, to the extent that a counterweight was required to provide balance and bolted to the outside of the rear of the head. The VL6C upgraded the light source to 600 W, with commensurate measures taken to improve head cooling, heat resistance and to upgrade the APS6 lamp power supplies. In December 2007, The Production Resource Group (PRG) completed an upgrade of their entire stock of 1,200 VL6C luminaires to accept a 700W short arc discharge lamp. Modifications to the airflow system were made to improve the reliability of circuit boards and motors, with upgraded wiring and connectors for all motors and pan/tilt mechanisms. Improvements to the ignitor reduced the hot restrike time from 8 minutes to 1 minute and a new lamp douse switch was fitted, to allow lamp power to be disconnected at the luminaire itself. This upgraded version of the VL6C is referred to as the VL6C Plus.


VLM

The VLM was a double-sided mirror mounted in a VL5 yoke, with the added twist that the mirror could spin continuously. Partially developed to counter the moving mirror effects of being able to produced a fat beam, and partly as a unique lighting effect, it was produced in limited numbers.


VL7 / VL7B

The VL7 spot luminaire marked a return to a much larger design. As a Series 300 luminaire, it could be controlled by either Series 200 data from an Artisan console, or DMX512 data from a third party lighting console, via a VLSR unit. The Philips MSR 700 SA lamp, with a colour temperature of 5600°K, was chosen for the light source and driven remotely, from newly upgraded APS6 lamp power supplies. In keeping with its predecessors, the VL7 featured a number of innovations. First and foremost (at least from a marketing point of view) was the CVF colour system. This featured neither wheels nor twisting filters, but rather a pair of comparatively large, oblong, dichroic filter plates, which could be moved in the vertical and horizontal plane. Each plate carried three basic shades, carefully graduated to merge across the longer, horizontal plane. In the vertical plane, the three basic shades were progressively etched away with lasers, so that they were fully saturated at the top, but completely clear at the bottom. One filter plate carried the colours red, green and blue; while the other carried cyan, magenta and yellow. US Patent Nos. 5825548 and 5969868 describe the concepts behind the CVF colour system. Both patents make mention of a colour wheel and a fixed position wheel was included in the finished luminaire. This could carry both colours and/or gobos, but was mostly used for the latter. There was also a rotating gobo wheel, with a total of six positions and a strobe shutter, which could run at up to 7.25 Hz. A further, more subtle innovation, saw the use of a new, collection optics system, that guaranteed a much flatter and more even beam than had been produced by previous Vari-lite luminaires, which were prone to "hot spots" if not set up correctly. The ideas behind this component of the VL7 were described in US Patent No. 6123436 The quest for optical excellence continued with the near projection-quality zoom lens; which featured an unprecedented 8:1 ratio, in the shape of a 5–40° beam angle range—a feature made more remarkable, by its highly compact design (see US Patent No. 6046861). Despite these innovations and Vari-lite's previous experience, development of the VL7 was fraught with problems; originally unveiled in 1997, it was not released onto the market until 1998. Behind schedule, over-budget and not fully tested, the initial run of VL7 luminaires immediately fell victim to a wide range of teething troubles, for which—in most cases—there was no immediate cure. This left technicians only able to replace failed parts, rather than fix the problems which were causing them to fail. For example: a problem in the CVF, which caused the teeth to soften and become stripped from the belts that drove the filter plates, was traced to their drive gears, which had been made of a material with a high
Specific Heat Capacity In thermodynamics, the specific heat capacity (symbol ) of a substance is the heat capacity of a sample of the substance divided by the mass of the sample, also sometimes referred to as massic heat capacity. Informally, it is the amount of heat t ...
. Once this was understood, the gears could be changed, but not before several hundred belts had already required replacement. Further problems with the CVF caused cracks to appear in the (expensive) filter plates, although this did not always immediately affect the quality of the beam output. Even when the CVF's mechanical bugs were cured, the fact remained that it often travelled through a range of green-coloured shades, in between the start and end colours of a change. Although ''all'' additive (RGB) or subtractive (CMY) will produce a tertiary colour—which may sometimes become visually dominant, in an aesthetically displeasing way—when cross-fading between a primary and secondary hue; it is ''always'' a product of and therefore more likely to harmonise with, the hues at the start and end of the colour change. Green was not regarded by users as a pleasant alternative to this and although a programming workaround was developed by operators, it was a time-consuming process to apply to multiple cues, that slowed down the speed of colour changes. The luminaire had been released before the new, Series 200 software version required to control it from an Artisan was completely ready and—to begin with—it could only be controlled as a DMX luminaire, from a non-Vari-lite console. Maintenance was complicated by the location of some sub-assemblies in the luminaire, the Pan unit proving especially difficult to replace. The VL7 also featured more cooling fans than previous Vari-lite luminaires—a total of four and despite marketing claims of "virtually silent operation", the noise they produced did not go unnoticed by users. The VL7B replaced the fixed colour / gobo wheel, with a four-leaf motorised shutter gate, which could be used to mask the edges of the beam and could be rotated by 50°. The maximum speed of the strobe shutter was also increased slightly, to 8 Hz. The VL7 design was not a long-lasting success—certainly when compared to its Series 300 stablemates. Its unwieldy shape, size, weight and noisiness, plus the difficulty of maintenance and early unreliability, combined to make it unpopular with lighting technicians, operators and designers alike. By this time and despite Vari-lite's vigorous defence of their patents, there was a ready choice of alternatives available from competing manufacturers, which offered the same functions and brighter outputs. Many—if not most VL7s—were eventually returned to the VLPS agencies by sub-distributors and rental associates, to be hired only if specifically requested for a production.


Series 500 luminaires


VL500 Wash / VL500 80V Wash / VL500A Wash / VL500D Wash


Series 1000 luminaires


VL1000 Arc ERS


VL1000 Tungsten ERS / VL1000 Tungsten ERS w/Dimmer


Series 2000 luminaires


VL2000 Spot luminaire

Similar to the VL2416, the VL2000 spot series was available for outright purchase rather than rental only. The range began with the VL2201 spot fixture in the early 2000s. VL2201 This was essentially a DMX version of the popular VL6b featuring an Upper Enclosure (UPE) housing the arc power supply for the MSR400 short arc lamp and low voltage supply for electronics and motors. The lightweight luminaire featured an 11+1 slot fixed gobo wheel, the same as the VL6 range, 5+1 slot rotating gobo wheel, edge control, 3:1 zoom, 11+1 slot colour wheel and single blade dimmer mechanism which could also function as a strobe. Similar to early series 200 and 300 fixtures, the colour and gobo wheel speed is exceptionally fast allowing for effects that can't be achieved with other brands of spot fixture. Electronic focus allows for morphing between gobos. The 2201 fixture has a smooth cold mirror reflector with lamp adjustment allowing for a flat or peaked beam. VL2202 The VL2202 luminaire was very similar to the VL6c fixture. Specification was the same as the VL2201 except it featured a 19-35 degree 3:1 zoom range, a faceted cold mirror reflector for a perfectly flat beam, and a MSR700 short arc lamp for higher output. Vari Lite produced an upgrade kit for 2201 fixtures to allow them to be converted to 2202 fixtures The VL2201 was discontinued and the VL2202 renamed as the "VL2000 Spot".


VL2000 Wash luminaire

The VL2000 Wash fixture began life as the VL2402. They were renamed as the VL2000 wash the same time as the spot range was renamed. The VL2000 wash is the same size and design as the spot range for a consistent hanging configuration across the range. The fixture features a MSR700 short arc lamp, the same exceptionally fast 11+1 slot colour wheel, as well as a three-wheel CYM colour mixing system to allow for a nearly unlimited range of colours. This more traditional wheel mixing system differs from the previous Vari Lite Dichro*Tune radial colour mixing system employed in the VL5 and VL2416 wash fixtures. The fixture has a single blade dimmer system, which allows for strobe effects, as well as zoom optics for a 12 to 57 degree beam angle. The VL2000 wash is a DMX only fixture. The VL2000 range of fixtures are discontinued and replaced by the VL2500 range, which feature colour mixing on spot and wash, higher torque pan and tilt motors, and an improved glass dimming system. The VL2500 range is still a current product. Many service parts are compatible between the VL6 through to VL2500.


VL2416 Wash luminaire

Despite its numerical designation, this was the first new luminaire to be produced following the VL7 and hence became unofficially known as the "VL8" among American crews. The VL2416 marked a major sea-change in the Vari-lite business model, in that it was the first Vari-lite luminaire that could actually be purchased. Previous luminaires had (in)famously been available for rental only. The head was closely based on that of the VL5 Arc, with radial CMY colour mixing and mechanical shutter dimming fast enough to also provide strobe effects. The liquid lens was discarded and beam width controlled instead, by a new type of zoom optics(see US Patent 6809869). This uses two plates of glass; one with a surface covered in several dozen, small (<10 mm), convex lenses and the other moulded with corresponding, concave depressions, into which the lenses precisely fit. When the plates are brought together, they effectively form a flat piece of glass, through which light passes unaffected. Moving the plates apart increases the angle of the beam, producing a very wide range of angles (5–55° in this luminaire) over a very short range of travel (<25 mm)—leading to a compact design with rapid operation (1.2 seconds end-to-end). A similar system can be seen in operation on some, early 21st-century LED stage lighting fixtures, with a variable beam angle function. As this was a self-contained luminaire, the Upper Enclosure (UPE) was restored to the design, to carry the lamp power supply and DMX related electronics. The VL2416 could only be controlled with DMX data. There was no facility for control from a proprietary Vari-lite console.


VL2500 Spot luminaire


VL2500 Wash luminaire


Series 3000 luminaires


VL3000 Spot / VL3000Q Spot


VL3000 Wash / VL3000Q Wash


VL3500 Spot / VL3500Q/ VL3015/ VL3015LT Spot

The VL 3500 is similar to the 3000 series.Manual VL3500™Spot Luminaire (PDF), retrieved 3 February 2021


VL3500 Wash / VL3500 Wash FX


VL3515 Spot


Series 4000 luminaires


VL4000 Spot


VL4000 BeamWash


VLX Series luminaires


VLX Wash

The VLX Wash is a light in the Philips-aera from 2010; it uses LED technology and is programmable.


VLX3 Wash


Series 400/700 luminaires


VL440 Spot


VL770 Spot


Other products and accessories


VLM

The VLM (Vari*Lite Mirror) was a result of a brainstorming session to try and solve the problems of never being able to offer every possible luminaire in an automated yoke. Vari-Lite designed a unit which was basically a two sided metal mirror mounted inside a Series 300 yoke. The tilt end stops were removed giving the unit the ability to spin continuously on that axis. The units were used with much success on a series of Belgium TV shows where they were used in conjunction with a series of Robert Juliat 1200w profiles. However, a limited number of units were produced and they never became a mainstream product.


VLDi

The VLDi (Vari*Lite Dimmer interface) was a 96 channel 0–10 V analogue interface between a conventional dimmer unit and the Series 200 control system. Each unit took up 100 of the 1000 available control channels, which gave the Artisan control console considerable potential. However, in many cases at the time the lighting designer on a show and the Vari*Lite operator were different people, and so many designers opted to retain the conventional lighting console. As well as this, the Artisan had been designed to control moving lights and did not provide many of the tools that conventional lighting desk operators had come to use. The final nail in the coffin for the VLDi was the mass migration of the lighting industry to the
DMX512 DMX512 is a standard for digital communication networks that are commonly used to control lighting and effects. It was originally intended as a standardized method for controlling stage lighting dimmers, which, prior to DMX512, had employed ...
protocol. The "i" in the VLDi acronym is still generally included in all verbal and written communications referring to the product. This is done to avoid potential confusion with the initials o
Vari-lite Deutschland (VLD)


Mini ACS Rack

A single-output version of the Series 200 ACS Rack, designed mainly for test purposes, and small (2-4 fixture) implementations.


Smart DMX

Introduced to replace the obsolete VLDi, the Vari-lite Smart DMX unit converted Series 200 data into DMX512 data, allowing control over conventional, third-party dimmers, from Vari-lite's proprietary Artisan console. This was used mainly to control dimmers which were powering the lamps of VL5, but also to control "conventional" portions of stage lighting systems, without the need (and cost) of a second console and operator.


UDM

An upgrade to the Smart DMX, the UDM allowed Artisan Plus consoles to patch and control third party moving fixtures via DMX-512. It allowed control of up to 64 fixtures on a single universe per UDM.


Floyd Droid

A custom-built effects unit, designed for Pink Floyd's ''Delicate Sound of Thunder'' tour. Four were built and respectively nicknamed Manny, Moe, Jack, and Cloyd. They featured arrays of motor-driven mirrors, and (mostly) scanned multiple, tight beams of light over the audience; while avoiding potential hazards to vision, associated with producing such effects using high-power lasers.


Irideon Inc.


History

Irideon, Inc. was a subsidiary company formed by Vari-lite in 1994, to target the architectural lighting market by offering colour-changing luminaires, able to dramatically illuminate buildings and outdoor structures in ways which—until then—could only be imagined. Two Irideon luminaires were initially produced: The AR500 and the AR5. Irideon Inc. was sold to Electronic Theatre Controls (ETC) in November 1998; as a result of the difficult conditions experienced by Vari-lite, during their first year of trading on the stock market. Under ETC's stewardship, the AR50 was completed and a two new luminaires—the AR6 and AR250—were created. Manuals for some Irideon luminaires are still available from ETC.


Irideon Luminaires

In chronological order:


AR500

A large, metal-cased luminaire, designed for outdoor use and finished in a grey powder coat. The Pan and Tilt functions were not motorised, so the luminaire should perhaps not be considered as a true moving light. Colours were created using the same, radial DICHRO*TUNE mechanism that had been developed for the VL5. As with the VL5, there was also a set of diffuser vanes to alter the beam width. A further set of black metal vanes were used to control intensity, as the luminaire employed a 500W discharge lamp as a light source, driven by an internal lamp power supply.


AR5

A much smaller luminaire, with a head approximately 300mm in length, available in a black or white finish and designed for indoor use. All functions were motorised, including Pan and Tilt, making the AR5 a true moving light. Colour, Intensity and Diffusion were handled by miniaturised versions of the mechanisms used in the AR500, using just eight vanes per set, instead of sixteen. The light source was a 35W discharge lamp, powered from an internal supply.


AR6

A recessed, non-moving version of the AR5. Mounted inside a case designed to fit within the area of a standard ceiling tile and intended for use in downlight applications.


AR50

A larger version of the AR5, with all functions motorised. Development was apparently begun under Vari-lite ownership of Irideon and completed by ETC.


AR250 / AR250C

A smaller version (plus variant) of the original AR500, with non-motorised Pan and Tilt and a 250W discharge light source.


References

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External links


www.vari-lite.comVintage VARI-LITE promotional footageMore vintage VARI-LITE promotional footageTest & demo at VARI-LITE Europe from the Invisible Touch tour lighting programExcerpt from Genesis' Invisible Touch tour demonstrating multiple VL unitsPartial Vari-lite timeline on Philips website
* ttps://www.namm.org/library/oral-history/jim-bornhorst Jim BornhorstNAMM Oral History Interview (2012) 1981 establishments in Texas American companies established in 1981 Technology companies established in 1981 Companies based in Texas Privately held companies of the United States Technology companies of the United States Stage lighting Stage lighting instruments