May 5, 2025 • 10 mins
This episode highlights how Elation's cutting-edge technologies, including the KL CORE IP and KL PROFILE FC, are revolutionizing outdoor events, historic theaters like Stefan Żeromski Theater and Dakota Theater, and multi-functional venues like Nova Broadcasting Group. Chris and Lacy share personal experiences, showing how LED advancements enhance artistic flexibility and efficiency for modern productions while lowering energy costs and simplifying logistics.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:19):
Hi everyone, welcome back to another great episode on Geezers
of Gear Future Tech. I got to tell you, we really
love to bring you the scoop eachweek, don't we, Chris?
We sure do. This industry is so full of
exciting new tech and news, especially innovations from
brands like our friends at Elation.
Speaking of Elation and their KLseries, here's the thing about
the KL Core IP. It's essentially the superhero
(00:42):
of outdoor lighting. I mean, it's IP65 rated, which
means rain, dust or a sandstorm.It's shrugging it all off and
inside a 400 Watt R GB MALED engine pushing out over 15,000
lumens of outputs. That's not just brightness, it's
broadcasting, theatre, film ready, illumination, even if
(01:04):
you're in the middle of nowhere.Whoa, 15,000 lumens?
That sounds almost blinding, butwalk me through and maybe
explain the our listeners what you mean by the IP rating.
Great question. So IP65 means it's tightly
sealed against dust and can handle water from any direction.
You could dump a bucket of wateron it and nothing still shining
(01:26):
bright, making it perfect for outdoor gigs, especially
unpredictable weather setups. Oh, like summer festivals when
it pours right at Showtime. Exactly.
And it's not just durable, it's versatile.
You can configure this thing as an ellipsoidal with IP67 lens
tubes for focused beams, a Fresnel for soft washes, or even
a monolight for, let's say, filmsets.
(01:48):
It's basically a Swiss Army knife for lighting designers.
Wait, a Leco Fresnel and a Monolight?
Isn't that kind of unusual for one fixture to pull off?
Oh totally it's wild you just swap out lenses or attach a
bones mount for soft boxes, lanterns, whatever you need.
Honestly, it would have saved meso much hassle on so many of my
past projects. What sort of hassles are we
(02:10):
talking? Picture this.
We're doing a festival deep in the mountains.
Storm rolls in hard. The rigging is soaked, the
fixtures are freaking out, half of them dead.
If we'd had the KL Core IP, it would have just laughed off the
rain and worked like a champ. Plus, with its dim to warm and
redshift capabilities, we could have mimicked the warm
(02:30):
incandescent look for the softersets.
I still think about that gig. Man that sounds stressful, but
it's cool to see how this tech could really change the game for
those situations. Absolutely, and let's not forget
the colour flexibility. Full CNY emulation, green
magenta shift, and a virtual gelLibrary designers can create any
(02:52):
mood anytime, right there on thespot.
You know, after hearing about how versatile the KL Core IP is,
it makes me think about theatre lighting.
It's not just about lighting a stage.
It's like you're bringing history to life.
But how does that even work for a place as old as the Stefan
Jaromski Theatre in Poland? All right, so Stefan Jaromski is
a perfect example of blending old world charm with cutting
(03:15):
edge tech. They integrated a mix of Fuse
Max profile moving heads and KL Fresnel 8 floodlights.
Now with these fixtures, they'reable to craft nuanced
atmospheres for performances. Subtle, bold, modern or classic.
And the Fuse fixtures, they're these incredibly versatile tools
designed to work quietly, perfect for a theatre
(03:36):
environment. Quiet.
Oh, because of like the fan noise, right?
Exactly. Theatres demand that sort of
quiet. You don't want a loud fan sound
drowning out an actor's monologue, do you?
Also, it's not just fidelity, it's control.
These lights are capable of colour blending so precise that
you can shift the audience's mood without them even realizing
(03:57):
it. You're fully transporting them
into the world of the play. OK, but what's different when
you're dealing with a place likethe Dakota Theatre in The Hague,
which we spoke about a couple ofweeks ago?
Great question. You might recall Dakota Theatre
transition to all LED lighting including the KL Profile FC and
Fuse Wash 500. What's really impressive here is
(04:17):
that these fixtures give them incredible adaptability.
The KL Profile FC for instance, It's got a full R GB MALED
engine so they can replicate anycolour or temperature they want.
It's like a painter having everycolour on their palette right
when they need it. I remember that discussion and
it sounds cool, but I got to admit it almost sounds too easy.
(04:39):
What's the catch? You're right to ask that.
And the challenge isn't the gear, it's the planning.
Retrofitting historic spaces presents logistical hurdles.
Think old rigging systems, limited space for the fixtures
and the need to preserve the building's integrity.
Oh, that's actually something I've run up against.
Back in, gosh, maybe 2010 I worked with this old community
(05:02):
theater. We only had access to these
pretty heavy old fixtures and itwas a headache finding space for
everything without messing up the architecture.
Exactly. Now imagine if you had KL units
back then. These fixtures, compact designs,
and integrated zoom eliminate the need for tons of extra lens
tubes. Plus, modern fixtures are
(05:23):
lightweight and easier to rig. It's like giving theatres new
creative tools they never had access to with older tech.
OK, but how does that balance with tradition?
Like, aren't there purists who resist this kind of
modernization? Totally.
And that's where smart integration comes in.
It's not about replacing the spirit of these venues, it's
about enhancing it. The Redshift features on the
(05:45):
Fresnel fixtures, for example, can mimic that warm incandescent
glow everyone loves. So while it's LED, it feels
classic. All right, I'll give it to you.
That does sound like the best ofboth worlds.
It really is. These updates are turning
century old theatres into hubs for modern, boundary pushing
productions without compromisingtheir heritage.
(06:08):
It's transformational work, really.
And Speaking of transformations,there's some fascinating stuff
happening in Broadcasting Spaceswith Elations KL series.
We should dig into that next. Yeah, I, for one, am very
intrigued and I love to learn more around this new tech that's
hitting the market. Well, since we just touched on
transformations in historic theatres, let's switch gears and
(06:29):
look at broadcasting. 1 stand out example is Nova Broadcasting
Groups set up in Sofia. They didn't just install a few
lights, they went all in with nearly 450 luminaires from
Elations KL Line. Think KL Fresnos, KL Panels
profiles. It's like an artist having every
brush imaginable for their masterpiece. 450 OK, that's
(06:50):
wild, but why so many? Because of the scale Lacy,
they've got multiple TV studios,radio spaces, and video walls
running 4K. It's a demanding setup.
These fixtures not only deliver consistent color, but they're
being tasked to handle everything from soft studio
backdrops to punchy, vibrant front lighting, all without
(07:11):
breaking a sweat. That's amazing, but I bet it's
not just about looking good, right?
There's got to be more to it. Of course, it's also about
efficiency. These LEDs are built to last,
literally cutting maintenance costs to almost nothing.
Plus, they're extremely energy efficient, which ties into that
big trend we're seeing in venuesgoing green.
Right, like at a KKC up in Denmark.
(07:34):
Yeah, I think you mentioned theyrecently switched to LEDs for
sustainability. Exactly.
It was part environmental and part practical.
Their old fixtures were massive power hogs.
They'd been running 18 2K profiles.
With the new system, it's half the fixtures and a fraction of
the energy. One of their lighting guys said.
They're saving so much power that it's shocking, especially
(07:55):
for a venue operating nearly 18 hours a day.
Wow. And I'm guessing this kind of
setup doesn't only make the accountants happy.
Their creativity's got to be boosted too, right?
Oh totally. With something like the KL
Profile FC used at another upgraded venue, the HOF Theatre
in the Netherlands, you're adding full spectrum colour dim
to warm, precise beam shaping. Designers can make a stage feel
(08:19):
cozy, cinematic or minimalist, all with a single fixture.
It's giving venues the tools to break free creatively without
stacking up gear. So no more climbing up ladders
to switch out gels? Nice space saver too, huh?
Exactly. Not to mention less downtime for
resets at yet another theatre, the Ruth and Nathan Hale Theatre
in Utah. Their entire workflow got
(08:42):
streamlined, they've got elationartiste Monet fixtures alongside
KL profiles and the flexibility of the rig allows them to tackle
anything. Musicals, theatre in the round
setups, even immersive pre show visuals with colour matching
house lights and all without losing focus on delivering
consistent high quality light. All right, sold.
(09:03):
So if you're in the industry, these upgrades aren't just bells
and whistles, they're sort of essential.
Totally essential at this point.Ignoring LED tech is like
refusing to use a smartphone in 2025.
It's not just about staying current, it's about unlocking
both economic and creative potential.
And with fixtures like these, we're not just seeing better
lighting, we're literally seeinga shift in how productions
(09:26):
define what's possible. Well, I feel smarter already,
and honestly, it's kind of exciting to think about how this
tech is shaping the future of live entertainment and
broadcasting. Thanks for today's great
inspiration and education, Chris.
Always a pleasure, Lacey. And with that, folks, that wraps
up this episode of Geezers of Gear Future Tech.
(09:47):
If you liked what you heard or you've got lighting stories of
your own, hit us up. Until next time, stay lit.
(10:08):
Oh, La La with music to your ears.
Hey, hey, hey. Let's go.
New gear vibes, new tech jive gearheads unite.
We keep it live.
Hi everyone, welcome back to another great episode on Geezers
of Gear Future Tech. I got to tell you, we really
love to bring you the scoop eachweek, don't we, Chris?
We sure do. This industry is so full of
exciting new tech and news, especially innovations from
brands like our friends at Elation.
Speaking of Elation and their KLseries, here's the thing about
the KL Core IP. It's essentially the superhero
(00:42):
of outdoor lighting. I mean, it's IP65 rated, which
means rain, dust or a sandstorm.It's shrugging it all off and
inside a 400 Watt R GB MALED engine pushing out over 15,000
lumens of outputs. That's not just brightness, it's
broadcasting, theatre, film ready, illumination, even if
(01:04):
you're in the middle of nowhere.Whoa, 15,000 lumens?
That sounds almost blinding, butwalk me through and maybe
explain the our listeners what you mean by the IP rating.
Great question. So IP65 means it's tightly
sealed against dust and can handle water from any direction.
You could dump a bucket of wateron it and nothing still shining
(01:26):
bright, making it perfect for outdoor gigs, especially
unpredictable weather setups. Oh, like summer festivals when
it pours right at Showtime. Exactly.
And it's not just durable, it's versatile.
You can configure this thing as an ellipsoidal with IP67 lens
tubes for focused beams, a Fresnel for soft washes, or even
a monolight for, let's say, filmsets.
(01:48):
It's basically a Swiss Army knife for lighting designers.
Wait, a Leco Fresnel and a Monolight?
Isn't that kind of unusual for one fixture to pull off?
Oh totally it's wild you just swap out lenses or attach a
bones mount for soft boxes, lanterns, whatever you need.
Honestly, it would have saved meso much hassle on so many of my
past projects. What sort of hassles are we
(02:10):
talking? Picture this.
We're doing a festival deep in the mountains.
Storm rolls in hard. The rigging is soaked, the
fixtures are freaking out, half of them dead.
If we'd had the KL Core IP, it would have just laughed off the
rain and worked like a champ. Plus, with its dim to warm and
redshift capabilities, we could have mimicked the warm
(02:30):
incandescent look for the softersets.
I still think about that gig. Man that sounds stressful, but
it's cool to see how this tech could really change the game for
those situations. Absolutely, and let's not forget
the colour flexibility. Full CNY emulation, green
magenta shift, and a virtual gelLibrary designers can create any
(02:52):
mood anytime, right there on thespot.
You know, after hearing about how versatile the KL Core IP is,
it makes me think about theatre lighting.
It's not just about lighting a stage.
It's like you're bringing history to life.
But how does that even work for a place as old as the Stefan
Jaromski Theatre in Poland? All right, so Stefan Jaromski is
a perfect example of blending old world charm with cutting
(03:15):
edge tech. They integrated a mix of Fuse
Max profile moving heads and KL Fresnel 8 floodlights.
Now with these fixtures, they'reable to craft nuanced
atmospheres for performances. Subtle, bold, modern or classic.
And the Fuse fixtures, they're these incredibly versatile tools
designed to work quietly, perfect for a theatre
(03:36):
environment. Quiet.
Oh, because of like the fan noise, right?
Exactly. Theatres demand that sort of
quiet. You don't want a loud fan sound
drowning out an actor's monologue, do you?
Also, it's not just fidelity, it's control.
These lights are capable of colour blending so precise that
you can shift the audience's mood without them even realizing
(03:57):
it. You're fully transporting them
into the world of the play. OK, but what's different when
you're dealing with a place likethe Dakota Theatre in The Hague,
which we spoke about a couple ofweeks ago?
Great question. You might recall Dakota Theatre
transition to all LED lighting including the KL Profile FC and
Fuse Wash 500. What's really impressive here is
(04:17):
that these fixtures give them incredible adaptability.
The KL Profile FC for instance, It's got a full R GB MALED
engine so they can replicate anycolour or temperature they want.
It's like a painter having everycolour on their palette right
when they need it. I remember that discussion and
it sounds cool, but I got to admit it almost sounds too easy.
(04:39):
What's the catch? You're right to ask that.
And the challenge isn't the gear, it's the planning.
Retrofitting historic spaces presents logistical hurdles.
Think old rigging systems, limited space for the fixtures
and the need to preserve the building's integrity.
Oh, that's actually something I've run up against.
Back in, gosh, maybe 2010 I worked with this old community
(05:02):
theater. We only had access to these
pretty heavy old fixtures and itwas a headache finding space for
everything without messing up the architecture.
Exactly. Now imagine if you had KL units
back then. These fixtures, compact designs,
and integrated zoom eliminate the need for tons of extra lens
tubes. Plus, modern fixtures are
(05:23):
lightweight and easier to rig. It's like giving theatres new
creative tools they never had access to with older tech.
OK, but how does that balance with tradition?
Like, aren't there purists who resist this kind of
modernization? Totally.
And that's where smart integration comes in.
It's not about replacing the spirit of these venues, it's
about enhancing it. The Redshift features on the
(05:45):
Fresnel fixtures, for example, can mimic that warm incandescent
glow everyone loves. So while it's LED, it feels
classic. All right, I'll give it to you.
That does sound like the best ofboth worlds.
It really is. These updates are turning
century old theatres into hubs for modern, boundary pushing
productions without compromisingtheir heritage.
(06:08):
It's transformational work, really.
And Speaking of transformations,there's some fascinating stuff
happening in Broadcasting Spaceswith Elations KL series.
We should dig into that next. Yeah, I, for one, am very
intrigued and I love to learn more around this new tech that's
hitting the market. Well, since we just touched on
transformations in historic theatres, let's switch gears and
(06:29):
look at broadcasting. 1 stand out example is Nova Broadcasting
Groups set up in Sofia. They didn't just install a few
lights, they went all in with nearly 450 luminaires from
Elations KL Line. Think KL Fresnos, KL Panels
profiles. It's like an artist having every
brush imaginable for their masterpiece. 450 OK, that's
(06:50):
wild, but why so many? Because of the scale Lacy,
they've got multiple TV studios,radio spaces, and video walls
running 4K. It's a demanding setup.
These fixtures not only deliver consistent color, but they're
being tasked to handle everything from soft studio
backdrops to punchy, vibrant front lighting, all without
(07:11):
breaking a sweat. That's amazing, but I bet it's
not just about looking good, right?
There's got to be more to it. Of course, it's also about
efficiency. These LEDs are built to last,
literally cutting maintenance costs to almost nothing.
Plus, they're extremely energy efficient, which ties into that
big trend we're seeing in venuesgoing green.
Right, like at a KKC up in Denmark.
(07:34):
Yeah, I think you mentioned theyrecently switched to LEDs for
sustainability. Exactly.
It was part environmental and part practical.
Their old fixtures were massive power hogs.
They'd been running 18 2K profiles.
With the new system, it's half the fixtures and a fraction of
the energy. One of their lighting guys said.
They're saving so much power that it's shocking, especially
(07:55):
for a venue operating nearly 18 hours a day.
Wow. And I'm guessing this kind of
setup doesn't only make the accountants happy.
Their creativity's got to be boosted too, right?
Oh totally. With something like the KL
Profile FC used at another upgraded venue, the HOF Theatre
in the Netherlands, you're adding full spectrum colour dim
to warm, precise beam shaping. Designers can make a stage feel
(08:19):
cozy, cinematic or minimalist, all with a single fixture.
It's giving venues the tools to break free creatively without
stacking up gear. So no more climbing up ladders
to switch out gels? Nice space saver too, huh?
Exactly. Not to mention less downtime for
resets at yet another theatre, the Ruth and Nathan Hale Theatre
in Utah. Their entire workflow got
(08:42):
streamlined, they've got elationartiste Monet fixtures alongside
KL profiles and the flexibility of the rig allows them to tackle
anything. Musicals, theatre in the round
setups, even immersive pre show visuals with colour matching
house lights and all without losing focus on delivering
consistent high quality light. All right, sold.
(09:03):
So if you're in the industry, these upgrades aren't just bells
and whistles, they're sort of essential.
Totally essential at this point.Ignoring LED tech is like
refusing to use a smartphone in 2025.
It's not just about staying current, it's about unlocking
both economic and creative potential.
And with fixtures like these, we're not just seeing better
lighting, we're literally seeinga shift in how productions
(09:26):
define what's possible. Well, I feel smarter already,
and honestly, it's kind of exciting to think about how this
tech is shaping the future of live entertainment and
broadcasting. Thanks for today's great
inspiration and education, Chris.
Always a pleasure, Lacey. And with that, folks, that wraps
up this episode of Geezers of Gear Future Tech.
(09:47):
If you liked what you heard or you've got lighting stories of
your own, hit us up. Until next time, stay lit.
(10:08):
Oh, La La with music to your ears.
Hey, hey, hey. Let's go.
New gear vibes, new tech jive gearheads unite.
We keep it live.
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