Prism runs standalone or connects to Titan through Synergy, which means your lighting and media timelines can live in the same cue stack. Format support covers HAP, NotchLC, and DXV with AiM encoding for smoother high-res playback and 10-bit colour. Output options include physical outputs, NDI, and RTSP. The key licensing detail: access is tied to Avolites’ new AvoKey Collection and Travel Collection (A1+/A2+/A3+ and T1+/T2+/T3 Bundle) — one display output per A1+/T1+, two per A2+/T2+, three per A3+/T3 Bundle. DMX pixel support is coming later this year, up to 4,096 pixels on the top tier.

More from Avolites:

Avolites, the leading global lighting control manufacturer, has launched Prism, an intuitive media control interface that allows users to introduce dynamic visuals to their shows without the need for complicated programming. The launch follows an extensive period of early access.

On an increasing number of productions, lighting, video and pixel mapping need to work together as part of the same creative environment, often without a dedicated media team to manage them. For designers, operators and show teams who do not have extensive specialist experience, or the time to experiment with complex media workflows, that can make media feel intimidating, time-consuming or out of reach.

Prism has been developed to change that. Built for both lighting and video professionals, it simplifies the process of media control without simplifying the result, giving users a clear, visual way to create, manage and control media with impact.

Since Avolites pioneered the integration of live lighting and media fifteen years ago, they have supported media within major productions across live music, sporting events, broadcast and performances, including two Olympic opening ceremonies, Coldplay, Maluma, The Rio Hotel Las Vegas, and The Script. Prism builds on that expertise, making intuitive, creative media control available to a wider audience.

When connected to Titan through Synergy, Prism brings media control into a connected Avolites environment, making lighting and media part of one show workflow. Users can work with media alongside lighting, helping screens, displays and pixel-mapped fixtures feel closer to the console and the wider lighting design.

Prism can also be used as a standalone media control platform, making it suitable for live shows, touring rigs, venues, clubs, theatres, museums, galleries, attractions and installations where video, screens or pixel-mapped fixtures need to be managed, updated or repeated consistently.

Key features include a straightforward visual workflow, Titan integration through Synergy, pixel map adjustments, timecode triggering, Media Manager with broad format support including HAP, NotchLC and DXV, AiM encoding for smoother high-resolution playback and 10-bit colour support, adaptable surfaces, layers and regions, 17 blend modes, and output options including physical outputs, NDI and RTSP.

Access to Prism is through Avolites’ new, more powerful AvoKey Collection & Travel Collection, with three versions of each – A1+, A2+, A3+, T1+, T2+ & T3 Bundle – available depending on the number of channels or display outputs needed. When running Prism, A1+ & T1+ will unlock one display output, A2+ & T2+ will unlock two, and A3+ & T3 Bundle will unlock three. By the end of this year, DMX Pixels will also be supported: up to 1,024 (A1+ & T1+), 2,048 (A2+ & T2+) and 4,096 (A3+ & T3 Bundle). Pixels can be between one and four DMX channels, giving you a range from simple intensity through to full RGBW.

Jon Hole, Product and Marketing Manager at Avolites, commented: “With Prism, we wanted to make media control feel accessible without limiting what users can create. We know that more designers and operators are being asked to manage video, screens and pixel-mapped fixtures as part of the wider show, and we wanted to give them a clearer way to do that. Prism simplifies the process, while still giving users the creative control they need to build impressive visual results. Prism brings together a lot of what Avolites has learned from years of working in both lighting and media control and we’re excited to be making that available to a wider audience.”

Learn more about Prism by visiting avolites.com.

Green Hippo, now an ACT Entertainment brand, has been quiet for a while, but the Estuary Series makes it clear they’ve been heads-down building something substantial. Three models, a new processing architecture borrowed from sister brand tvONE’s Calico platform, and a direct pitch to grandMA3 users who want their media and lighting ops in the same language.

The lineup runs from the MC1, a 1RU unit for studios and corporate work with four 4K outputs, up to the MC4, a 4RU arena flagship with 256 layers and sub-frame latency. The MC2 sits in the touring-grade middle: 2RU, four 4K outputs, eight configurable inputs, modular HDMI/SDI expansion. All three share the same feature set: up to 64,000 x 64,000 pixel canvas support, 10-bit/HDR processing, one-frame end-to-end latency, and an open control ecosystem (DMX/sACN, HippoNet, Companion, REST API).

The Calico architecture underneath is the interesting bit — tvONE has been shipping that processing engine in broadcast and AV installs for years, so Green Hippo isn’t starting from scratch on the hardware side. Whether that translates into the rock-solid reliability touring crews need from a media server remains to be seen as it gets into the field.

More from Green Hippo on the Estuary Series:

Green Hippo, an ACT Entertainment brand, has unveiled the Estuary Series — a next-generation media control platform engineered for the scale, speed, and creative ambition of today’s most demanding live productions.

Built on the proven Calico video processing architecture from sister brand tvONE and refined for the unforgiving realities of showtime, Estuary delivers ultra-smooth, multi-layered switching across massive LED canvases — with one-frame end-to-end latency, 10-bit/HDR processing, and up to 256 layers of real-time visual control.

Designed for concerts, touring, broadcast, immersive environments, and large-scale installations, Estuary gives operators command over expansive visual systems without the sprawl. The platform supports four canvases up to 64,000 x 64,000 pixels, seamless transitions, and a fully open control ecosystem, including DMX/sACN, HippoNet, Companion, and REST API.

“Estuary is the missing link,” says Bob Bonniol, Chief Innovation Officer at ACT Entertainment. “It marries the power and flexibility of a world-class pixel canvas controller with the control workflow that lighting designers already know and love — the grandMA3 console. For the first time, the lighting operations and the media operations can live in the same language. That changes everything.”

The Estuary Series:

• MC1 — 1RU, four 4K outputs, built for studios, corporate environments, and simulation spaces
• MC2 — 2RU, four 4K outputs, eight configurable inputs, modular HDMI/SDI expansion, touring-grade chassis
• MC4 — 4RU, 256 layers, sub-frame latency, arena and stadium-scale flagship

All three models support high-bandwidth HDMI and SDI modules, advanced IP workflows, and the complete Estuary feature set.

Learn more about the Estuary Series by visiting green-hippo.com.

Elation’s Rebel family has been building out steadily, and the Rebel Line Series slots in as the linear complement to the Rebel Wash fixtures — same RGBL engine, same IP55 chassis philosophy, but now in a tilt-bar format designed to lock together end-to-end for continuous beam lines and pixel arrays. Two sizes: the Line 8 (half-meter, 8 cells, 11,548 lumens, 29.3 lbs / 13.3 kg) and the Line 16 (one meter, 16 cells, 25,355 lumens, 51.4 lbs / 23.3 kg). Both run 60W RGBL per cell with a 4°–35° zoom and 210° of tilt travel — so you’ve got real kinetic movement in a bar format, not just a static wash.

The SparkX pixel layer is the differentiator worth noting. Sixteen 5W cool-white crossing-beam pixels on the Line 8 (32 on the Line 16) run independently from the RGBL array, so you can chase SparkX effects over any color background. That’s a lot of visual vocabulary in one fixture. The mechanical alignment system that lets you gang Line 8s and Line 16s into seamless runs is a practical touring detail — Elation clearly designed this with quantity rigs in mind.

More from Elation Lighting on the Rebel Line Series:

Elation is proud to introduce the Rebel Line Series, an exciting expansion of the Rebel family designed to unlock new levels of creative flexibility in linear lighting. Designed for bold visual impact and no-hassle integration, Rebel Line linear tilt bars deliver powerful output, precision optics, and advanced pixel artistry in a compact, stage-ready IP55 package.

The series includes two models:

Rebel Line 8 – An 8-cell (½-meter / 19.8 in) linear fixture with 11,548 lumens of output.

Rebel Line 16 – A 16-cell (1-meter / 39.5 in) linear fixture delivering 25,355 lumens, designed for larger-scale impact.

Each fixture is driven by high-output 60W RGBL LEDs, producing intense, full-spectrum, fully tunable light that integrates seamlessly with Elation Rebel Wash and Limelight fixtures.

Complementing the RGBL system, 5W CW SparkX LEDs generate striking cool-white crisscross aerial effects over any RGBL background, unlocking a new layer of creative possibilities. Individual control of both the RGBL and SparkX pixels allows designers to easily adapt visual effects, from subtle fades and color shifts to complex pixel-mapped patterns.

Continuous Beams. Kinetic Motion. Limitless Design

A continuous, uninterrupted linear lens system ensures smooth, unbroken beams with no visible separations. Combined with a rapid 4°–35° zoom range and fast 210° tilt movement, the fixtures transform effortlessly from razor-sharp aerial beams that cut through atmospherics to immersive washes that fill a stage with rich color. An adjustable LED refresh rate up to 25 kHz guarantees smooth, high-speed imaging for demanding camera applications.

A mechanical alignment system allows Rebel Line fixtures to connect with ease, forming continuous beam lines and cohesive pixel arrays that read as a single, unified visual element across any stage or set piece.

Built for the Road — Indoors or Out

Engineered with IP55-rated dust and water protection, the Rebel Line thrives in demanding indoor and outdoor environments. Its rugged yet compact design makes it ideal for touring, festivals, broadcast environments, and permanent installations requiring bold intensity and adaptive color. Included accessories such as a front louver/grid provide greater beam control, while a diffusion filter offers flexibility for softer wash applications when needed.

Precision Control for Modern Productions

The Rebel Line offers a host of other creative control tools. Users can easily adjust the color temperature between 2400K and 8500K for precise tuning, while a virtual gel library offers even more color options. Smooth 16-bit dimming curves and a high-speed electronic dimmer and strobe provide further nuance and impact.

Comprehensive connectivity ensures easy integration into any control environment, with support for DMX, Art-Net, sACN, and RDM, plus NFC configuration and Aria X2 wireless DMX for fast setup and reliable wireless operation.

Leave Your Mark

Each Rebel Line fixture features a customizable logo plate, allowing rental and production companies to brand fixtures with their own identity, ensuring their name shines alongside every moment.

With its powerful RGBL engine and SparkX effects, beam continuity, kinetic movement, and exact alignment system, the REBEL LINE Series introduces a sophisticated, creative dimension to dynamic linear lighting.

Learn more about the Rebel Line Series by visiting elationlighting.com.

ESTA’s Technical Standards Program has published five standards in one batch — covering everything from permanently-installed DMX cabling to RDM firmware uploads to followspot position safety. If your shop deals in any of these areas, these are worth downloading. They’re free at tsp.esta.org.

The headliners for the entertainment lighting world: ANSI E1.27-2-2026 finally codifies requirements for permanently-installed DMX512 control cables — the kind buried in walls and conduit that nobody thinks about until something fails at showtime. And E1.37-4-2026 adds RDM File Transfer Control with firmware upload capability, including a clever low-memory transfer mechanism that works with RDM responders running buffers as small as 64 bytes. That last detail matters for older or resource-constrained fixtures on big rigs.

Also in the batch: E1.66-2026 for followspot positions erected for short-term use (structural, electrical, and personnel safety requirements — relevant to any touring show that rigs FOH spots on scaffolding or temporary structures), E1.62-2021 (R2026) reaffirming specs for portable platforms and staging, and ES1.5-2026, the newest in the Event Safety series, covering medical preparedness at events. One standard — E1.51-2024, covering portable power feeder cable systems for Canada — is currently in a 30-day limited public review, with comments due by August 10, 2026.

More from ESTA’s Technical Standards Program:

ESTA’s Technical Standards Program announces publication of five recently approved standards, now available for download at https://tsp.esta.org/freestandards. They are also available for purchase at the ANSI WebStore and at Accuris.

ANSI E1.27-2-2026, Recommended Practice for Permanently Installed Control Cables for Use with ANSI E1.11 (DMX512-A) and USITT DMX512/1990 Products

This standard addresses requirements for permanently installed cables carrying ANSI E1.11 and USITT DMX512 control signals.

ANSI E1.37-4-2026, Remote Device Management over DMX512 Networks – File Transfer Control with Firmware Upload capabilities

This document establishes the minimum requirements for RDM Controllers and RDM Responders to successfully support File Transfer Control (FTC) between them. It specifically provides a transfer mechanism that can be applied to memory limited Responders with transmit and receive buffers as small as 64 bytes, while allowing scalable improvements (a net reduction) in transfer times for Responders that have larger buffers.

ANSI E1.62-2021 (R2026), Minimum specifications for mass-produced portable platforms, ramps, stairs, and choral risers for live performance events

This standard addresses requirements for mass-produced portable platforms, stair units ramps, and choral risers used for events such as live drama, musicals, fashion shows, and concerts. It also covers railings provided as fall protection accessories for these units. It gives minimum payload and sideways force handling specifications. Custom platforms or complete stage systems are outside its scope.

ANSI E1.66-2026, Safety Standard for Followspot Positions Erected for Short-term Use in Entertainment Venues

This standard addresses safety requirements for followspot positions in or on structures erected for short-term use, and positions not covered by ANSI E1.28. It is applicable to followspot positions indoors and outdoors. It addresses structural, electrical, and personnel safety requirements associated with non-permanent followspot positions.

ANSI ES1.5-2026, Event Safety – Medical Preparedness

The latest publication in the Event Safety series, this standard provides guidance to assist in mitigating reasonably foreseeable physical and psychological health and safety hazards at events. It includes guidance on how to plan and provide medical support services, from initial setup to final disassembly of the event.

One standard now in limited public review

E1.51-2024, The selection, Installation, and use of Single-conductor Portable Power Feeder Cable Systems for use at 600 Volts Nominal or less, for the Distribution of Electrical Energy in the Television, Film, Live Performance and Event industries in Canada is now in limited, 30-day public review. Sections 2.2 and 4.2 have been revised, and the review considers only those revisions. Download the public review documents at https://tsp.esta.org/tsp/documents/public_review_docs.php, and return any comments before the review period ends on 10 August 2026.

Download all five standards for free by visiting the ESTA Technical Standards Program free standards library.

What’s worth paying attention to is the optical system: a proprietary 13-lens setup delivering a 40:1 zoom range — spanning 1.1° to 45°. That kind of range in a single fixture gives you everything from a laser-tight aerial beam to a proper wash without swapping units. Add CMY color mixing, ultra-fast gradient CTO on disc (3000K to 6800K), a 15-color fixed wheel, 10 rotating quartz gobos, 25 fixed metal gobos, two sets of three combinable prisms, and an animation wheel — this isn’t just a beam machine. It’s fully loaded. IP65 rating means it goes outdoors without a raincoat, and the integrated LumenRadio CRMX TiMo wireless RDM receiver means you can address and control it wirelessly. Pricing TBD — contact your Ayrton distributor.

More from Ayrton:

After more than 15 years of success with discharge-lamp luminaires for applications demanding high-intensity beams, and with well over a hundred thousand units in service, the planned obsolescence of that type of source has forced our industry to radically rethink its philosophy.

In 2017, Ayrton created the first digital luminaire capable of replacing those outmoded light sources. But it was in 2022, with Cobra and its immediate worldwide success, that we established this new technology for the long term, followed by the consecutive launches of Kyalami and Mamba. Today, building on those achievements and with more than 20,000 laser-source luminaires sold, we are entering a new era with this technology and the creation of Rawbeam 350: a brand-new digital luminaire with less extreme characteristics, designed for more versatile applications. Thanks to its unique design and aluminium structure, Rawbeam 350 establishes itself as the lightest and best-equipped fixture in its category. Like all Ayrton luminaires since 2023, Rawbeam 350 was developed as an ultra-compact, versatile luminaire capable of operating in all outdoor and indoor conditions, including saline environments, while maintaining full accessibility and an astonishing weight of just 25.4 kg (56 lbs).

Rawbeam 350 delivers exceptional illuminance of 1,340,000 lux at 10 metres (32.8 ft). It is equipped with a 160 mm (6.3 in) front lens, while the proprietary 13-lens optical system offers a 40x zoom range and an operating span from 1.1° to 45°.

Built around essential functions, Rawbeam 350 offers extensive equipment and features a CMY colour-mixing system and an ultra-fast gradient CTO on discs, enabling perfect colour reproduction. A wheel of 15 complementary colours, a multi-colour RGB-CMY animation section, and a CTB correction filter complete the set of tools dedicated to colour. Rawbeam 350 is equipped with multiple graphic tools, including 10 rotating gobos and 25 fixed gobos, 4 beam reducers, and an animation wheel that allow you to sculpt the light. The gobos can be combined with two sets of three combinable rotating image-multiplying prisms, creating a multitude of complex volumetric effects for truly breathtaking looks. Two Frost filters complete the palette of graphic tools.

Key Specifications:

• Light source: Phosphor-converted laser, 6800 K, rated life L70 up to 12,000 hours, speckle-free
• Output: 1,340,000 lux at 10 m (32.8 ft) — narrow angle
• Front lens: 160 mm (6.3 in)
• Zoom: 1.1° to 45° (40:1 ratio, 13-element optical system)
• Colors: CMY, variable CTO 3000–6800 K, 15-color fixed wheel, RGB-CMY animation section, CTB
• Gobos: 10 rotating quartz glass gobos, 25 fixed metal gobos, 4 beam reducers, animation wheel
• Effects: 2 sets of 3 combinable rotating prisms, light and heavy frost
• Movement: Infinite pan and tilt, 8- or 16-bit resolution, auto repositioning
• Control: DMX (43-channel mode), ArtNet, sACN, RDM; integrated LumenRadio CRMX TiMo wireless RDM
• Power: 660 W max / 550 W typical; 100–240 V universal
• IP rating: IP65
• Weight: 25.4 kg (56 lbs)
• Dimensions: 339 x 592 x 297 mm (13.3 x 23.3 x 11.7 in)
• Operating temp: -20°C to 45°C (-4°F to 113°F)
• Min. safe distance: 25 m (82 ft)
• Availability: Immediate

Learn more about the Ayrton RawBeam 350 by visiting ayrton.eu.

More from CHAUVET Professional:

A fixture workflow app that delivers information to production pros on-site, Unrival is said to make prep, patching, configuration, maintenance, and future fixture monitoring faster, easier, and more reliable for a wide variety of fixtures.

Unrival is a dedicated, freestanding app that gives users direct control of setup, patching, configuration, testing, firmware, and diagnostics for applicable fixtures without having to climb a rig, dismantle a setup, or fight through fixture menus. Access to fixture settings is directly available, without having to check physical displays.

With Unrival, fixture settings can be patched and edited faster, while redundant time-consuming tasks are reduced by applying repeatable templates across multiple fixtures. Patch data from existing workflows can also be imported easily. Even when power is off, the app allows users to prepare compatible fixtures. Rapid Patching using an imported patch list (ChamSys CSV, ChamSys QR Code, and MVR) allows fixture patch data to be imported directly from existing show or project information rather than being entered manually at the fixture.

For non-CHAUVET NFC-enabled fixtures, the imported patch list still functions as an easy-to-use manual patching checklist, helping the user work through fixtures in an organized way and check off each one as it is manually entered.

The app easily organizes fixture work by job, trip, or deployment. It also quickly accesses diagnostics, scan history, and fixture health data. It can be updated wirelessly over Bluetooth.

Learn more about the Unrival app by visiting chauvetprofessional.com.

Tura is part of Tomcat’s broader pre-rig truss ecosystem — the same family as their Tura Pre-Rig truss — so if you’re already running that system, adding the cable management raceways is a logical extension. The modular design means you configure it to your specific cable and connector requirements rather than adapting to a one-size-fits-all solution. Faster warehouse prep, cleaner load-ins, more consistent builds from show to show. For touring shops and production companies doing high volume, the time savings add up fast.

More from Tomcat:

Cable Management, Perfected. Every production depends on efficient cable management. From warehouse show prep to final load-in, organized power and data routing helps crews work faster, improve safety, and deliver cleaner, more professional productions. Tura’s customizable cable management raceways are designed to help crews prepare faster, load in more efficiently, and keep productions organized from warehouse to venue.

A Better Way to Run Cable Forget loose cable bundles and improvised routing. Tura provides a dedicated pathway for power and data, keeping cables organized, protected, and exactly where they’re needed. The modular raceway system mounts where it’s needed and can be configured to accommodate different cable and connector requirements, giving production teams the flexibility to build cleaner, safer, and more efficient systems.

More Than Cleaner Cable The benefits of organized cable management extend far beyond appearance. By reducing warehouse show prep time and simplifying load-ins, Tura helps crews prepare equipment faster, improve consistency from one production to the next, and maximize efficiency throughout the touring process. Less time managing cables means more time focused on the show.

From Warehouse to Venue Every production demands speed, flexibility, and reliability. Tura’s customizable cable management system helps crews maintain organized builds, reduce unnecessary cable handling, and streamline setup and teardown. By reducing warehouse show prep time and simplifying load-ins, Tura helps production teams spend less time managing cables and more time focused on the show. Whether you’re supporting a single event or an entire touring schedule, Tura is designed to help crews work smarter from the warehouse to the venue.

Learn more about the Tura cable management system by visiting tomcatglobal.com.

ETC’s Response Mk2 Gateway family has been a reliable workhorse for DMX-over-Ethernet in install and touring rigs for a while now. The 4-port version is a known quantity — compact, solid, plays well with Eos and everything else on the network. The 8-port options give you twice the DMX universe density without doubling your rack space, which is the kind of math that makes system designers happy at 2am during load-in.

Two variants: a full-width version with 8 XLR connectors, and a half-rack version with terminal connections. That terminal model is the interesting one — same footprint as the existing 4-port, but with 8 universes on board. Mount two side-by-side in a 1U rack slot and you’ve got 16 DMX universes in the space most racks waste on a blank panel. Useful for LED cove-heavy installs or festival-scale touring racks where universe count is a real constraint.

More from ETC:

ETC is expanding its Response Mk2 DMX Gateway family with two new 8-port options: a full-width Gateway with (8) XLR connections, and a half-width Gateway with (8) terminal connections.

Kirk Starks, ETC Marketing Product Manager, says, “No matter if there are a bunch of homeruns from LED coves running back to an equipment rack, or a complex concert rig, I’m excited about the possibilities that come with trusted DMX control from these new 8-port gateways.” These higher-density gateways deliver the same system functionality at a lower price, while utilizing less rack space. With multiple mounting options and repositionable network ports, the Response Mk2 8-port DMX Gateway fits comfortably wherever it is needed.

The Terminal version is the same size as ETC’s current 4-port Gateway, packing twice the number of 3-position terminal connections into the same amount of space. Using an existing rack-mount kit, it is possible to get 16 ports of DMX output into a 1U rack space by mounting two 8-port terminal gateways side-by-side. Spend less of your budget to achieve the same number of DMX outputs with the Response Mk2 8-port Gateway.

Learn more about the Response Mk2 8-Port DMX Gateway by visiting etcconnect.com.

The range spans two standalone consoles (the D3-010 and D3-110), a fader wing, a 1U rack processor, and a touch-panel remote — meaning you can build out a rig to match the gig rather than buying more console than you need. The D3-010 handles 8 universes, the D3-110 jumps to 24. Both run full Titan. If you’ve ever wished Avo made something that didn’t require a wheeled case, this is the answer.

More from Avolites:

UK lighting and visual control manufacturer Avolites launches a fresh new range of D-Series control consoles – the D3 – uniting power, performance and portability, in a family of five compact, stylish and fully-featured packages.

The D3 family has been developed for a world that is constantly on the move, also underlining a new and innovative approach from Avolites since becoming ‘A Robe Business’ at the end of 2023.

Smart design and engineering and expedient sizing are at the heart of the D3 series philosophy.

The D3-010, D3-110, D3 Wing, D3 Core and D3 Touch are all powered by Avolites’ Titan software, offering cost-efficient, intuitive programming and operation, coupled with flexible control for multiple lighting solutions.

The D3 family presents a clear strategic vision. It makes quality lighting and visual control more widely available to a greater range of operators, technicians and projects, thanks to Avolites’ ‘learn it once’ approach to software development.

D3-010

Small, self-contained and affordable, this entry-level stand-alone D3 product handles up to 8 universes of DMX control without needing a laptop, offering full programming via 10 faders, 3 encoder wheels and 12 Macro buttons.

An external monitor is quickly added to access the power and flexibility of Avo’s stable Titan processing, and a D3 Wing effortlessly expands the surface with more faders if needed.

D3-010 is ideal for clubs, mobile rigs and events, or for freelancers wanting to travel light but without compromising on functionality. It is also a perfect size for ‘tech’ desks needed in rehearsal spaces or pre-production prep scenarios.

D3-110

Powered by Avolites Titan, this console is perfect for larger shows, with 24 DMX universes of precision control, inbuilt touch screen, serious processing and speed, and that Avolites fingertip ergonomics. The D3-110 is a great option for festivals, gigs, performance and dance shows, plus rental and touring fleets across all sectors.

The console is robustly engineered and ready for action, delivering optimum performance in a stylish and streamlined case, with a mixture of USB A and C ports for file transfer, device control and systems integration.

It is a great option for small to medium sized venues that have small FOH footprints and for high-spec rental enterprises needing full adaptability and rapid deployment.

Avolites D3-010

Avolites D3-110

D3 Wing

This adds 20 high-quality faders to D3-010 and D3-110 workflows for more hands-on and physical control during live playback as well as during cue stacking and speed programming. Aesthetically, the D3 Wing seamlessly matches the elegance of the D3 range, complete with the same lines, angles, finishes and cool ‘Avo red’ LED scheme. It is road-ready and install-friendly.

Occupying minimal real estate, it brings maximum flexibility to the control space for media layers and effects. The D3 Wing steps up the game without needing to replace the console.

Avolites D3 Wing

D3 Core

This is a D3 processor in a neat 1U rack-mounted version running Titan, bringing versatility and control practicality to installations, remote controlled shows and space-challenged locations. Applications include control rooms, theme parks, attractions, museums, theatres and AV environments where long-running pre-scheduled shows are timecode triggered.

Avolites D3 Core

D3 Touch

The D3 Touch is a straightforward, pre-configured Titan remote control interface for use with any D3 product, targeted at venue and installation markets where daily operators need simple access and guaranteed reliability. It enables non-technical staff to switch on/off anything from looped show playbacks to house light presets, from cleaning lights to architectural schemes.

Avolites D3 Touch

Learn more about the D3 family by visiting avolites.com.

The fixture does motorized 200 degree tilt and a 4 to 44 degree zoom, so it can pull double duty as a tight curtain or a wide area wash depending on what the show needs. At 23 kg (50.7 lbs), it is manageable enough to deploy in quantity without your riggers hating you. iQ.Mesh wireless is on board for those situations where running data cable to every bar in a stadium rig is not your idea of a good time. Pricing has not been announced yet.

More from GLP:

The GLP WildBar 16 – a weatherproof LED bar designed for impressive show moments. With high light output, great flexibility and robust construction, it is the ideal choice for festivals, stadiums, clubs and many other applications.

With 16 x 40-watt RGBL LEDs, the WildBar 16 delivers a total output of up to 10,300 lumens and an impressive 561 kcd. The color mixing is optimized for maximum brightness and output.

Light curtain or area wash
GLP’s WildBar 16 combines a motorized 200° tilt with a zoom range from 4° to 44°. This allows you to create either ultra-parallel 4° light curtains with long reach or evenly wide washes for area illumination – all from a single fixture.

Endless pixel lines
Thanks to the patented identical pixel pitch both within and between fixtures, multiple bars can be seamlessly combined. The result is perfect pixel pitch and homogeneous effects that can be reproduced across endless LED lines – ideal for pixel mapping and large-scale installations.

Precise color rendering with iQ.Gamut
The iQ.Gamut colour technology, known from GLP’s X5 Series, delivers both rich primary colors and delicate pastel shades, along with perfectly reproducible white light. Features such as ColorMix modes, realistic tungsten emulation and consistent color matching simplify design work and ensure uniform color across all fixtures.

Creative effects at the push of a button
The integrated FX engine offers a wide range of pattern effects that can be flexibly combined with tilt and zoom. This makes it effortless to create flowing looks – from rhythmic accents to atmospheric visuals.

Easy operation and smart control
Two clearly structured DMX modes – Basic and Pixel – allow for quick patching and easy re-patching. Supported protocols include DMX, RDM, ArtNet, sACN, and GLP iQ.Mesh for wireless networking. With the iQ.Service App, firmware updates, service functions and device configuration can be conveniently managed via smartphone.

Built for the outdoors
With a rugged metal housing and IP65 certification, the WildBar 16 is reliably protected against rain, dust, wind, confetti, pyro particles and mud.

Compact and efficient
Weighing just 23 kg (50.7 lbs), the WildBar 16 is easy to rig and can be deployed in larger quantities without difficulty. Its compact design and focus on essential features make it a particularly cost-effective solution.

Learn more about the WildBar 16 by visiting glp.de.