Digital Lighting Injects Design Drama into Drug Launch

Two dozen digital lighting fixtures combine to enhance creativity and save costs
January 28, 2011
DL.3 fixtures collage together to create seamless blending

DL.3 fixtures collage together to create seamless blending

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A dose of 24 High End Systems DL.3 digital lights was the perfect prescription for a pharmaceutical drug launch. The DL.3 - a combination of automated light with digital video - solved a design dilemma and saved the client thousands of dollars in costs.

Joe West, designer and creative director of Plexus in Elk Grove, IL, had client requests to fulfill: 1) suggest a theme, and 2) hide the set for walk-in, and 3) create a meeting look of 50 years ago.

The launch theme he created was a “50-year revolution” - the amount of time between the old drug and its new recent replacement. West carried out the “drug revolution” theme by bringing in a “digital revolution” to the company’s meeting in October at the Anaheim Convention Center.

“We covered the set with black drape, hung one 4:3 screen to run an old time product video on front of the black drape that traveled up 80-feet to reveal the set,” West says. “It was achieved with great success; the truss and 24 DL.3s gave the set a never-before-seen look for a corporate meeting.”

DL.3s painted the cycs with video. There were four 15x40-foot side cycs and a 20x50-foot center cyc. Not only was there no physical cost of “painting” cycs, but DL.3 saved thousands of dollars to the project and labor costs of 100-plus man-hours in hanging and focusing projectors, West says. “DL.3 has become an important part of the base environmental design for function and cost savings.”

West turns to the DL.3 every chance he gets, with designs almost always featuring white set elements to serve as the preferred palette for projections.

“DL.3 is the most versatile design product on the market today for lighting designers. It’s a great introduction for new designers creating a niche for themselves in designing with video as a primary lighting source. I’m also always impressed with it’s reliability as well,” he notes.

A Wholehog 3 console controlled the launch under programmers Warren Flynn and Adam Dunaway.

Says Dunaway, “The most brilliant capability of the DL.3 is how versatile it is because of its tightly integrated software and hardware features. My most often used feature is the Collage(TM) to paint non-traditionally shaped projection surfaces. From domed ceilings to archways to fully surrounding an audience in 360 degrees of visual imagery, the ability to seamlessly blend so many projection fixtures into almost any imaginable arrangement is a powerful design tool. Add to this the speed in which the programming of ultra large Collage canvases can be done, the advantage for quick content uploads and changes to occur via gigabit ethernet to the network of media servers.”

Dunaway recently added DL.3s to a 12-week run of Bob Dylan’s 2010 tour. “Surprisingly many still doubt the DL.3’s brightness and ability to hang alongside ‘big dog’ projectors or punch through retina-blistering stage washes,” he notes. “However, the DL.3 offers ways to even things up on the most challenging situations. I have used DL.3’s successfully alongside static projectors rated many times its lumen output. The combined advantage of the DL.3’s Collage and multiple lens options provides strength in numbers often overlooked.”

West says the dose of DL.3s satisfied the client, and he’ll prescribe the digital lights for future design dilemmas.