For its tenth anniversary, AYRTON returns to the origin of its name, a tribute to the late great Brazilian car racer Ayrton Senna for whom Yvan Peard, a car racing enthusiast, had the greatest admiration. This message is conveyed by the authentic Formula 1 car exhibited on the stand with the AYRTON colours. It is caressed and highlighted by the beams of the WILDSUN 500 wash with the beautiful colours, which have the best in onboard technology.

The primary goal of this stand was to show the new products developed by AYRTON during the year. Around a dozen projectors are each perched on a column with an integrated screen stating all of their features and which provides visitors with a demo control button. The WILDSUN 500 wash now comes in five versions in order to specifically meet the various colorimetry needs. The small WILDSUN 200 S moving head (S as in Stage with cool white and saturated colours) and the COLORSUN 200 S sensibly fixed, ICECOLOR 250, 500, 1000 the luminaires that appeal to everyone everywhere in auditoriums, on television sets, outdoors, during festivals, in architecture with their fabulous flux teamed with great angular distribution range thanks to its quickly interchangeable filters, new ROLLAPIX lightstrips that I invite you to discover in detail opposite along with the VERSAPIX used as the structure for a giant ball exhibited on the stand. The power of the LEDs in the 32 VERSAPIX used exceeds 3800W! With its pointby- point RGBW management, it comes alive in all its colours.

ROLLAPIX Between artists and audience There can be no middle way… What comes to mind when we see this small luminaire is its obvious usefulness in a lighting kit. And immediately you wonder why no manufacturer has thought of it before. Because at first sight, the ROLLAPIX has nothing extraordinary, even if it is attractive, compact and discreet: a small striplight that rocks! When switched on, it is obvious that it is a fine-tuned tool since the precise shape of the beams reveal a high flux and a very narrow angle and when the console operator, sends the multicolour palette, we discover that the LEDs are controlled point-by-point. The chaser and strobe effects leave no doubt as to the quality of the electronics: It’s fast. Very fast. We are light-years away from the speed of a mechanical shutter! But when the double zoom gets involved, making the beam appear and disappear in half- strips, I smile with pleasure: they have thought of everything! ROLLAPIX was born to create light curtains, doors, coloured light rays and unlimited rainbow effects. It started its career in Dimitri Vassiliu’s lighting kit on Julien Clerc’s Acoustique tour. Since each group of 4 LED’s is fitted with a 8°- 32° zoom lens support, two zooms can be individually controlled andused for the famous appearing/disappearing effects of beams, and half-diode pumping. ROLLAPIX uses the concept introduced on the WILDSUN 200 and COLORSUN 200 and standardised on all effect luminaires, i.e., 4G with an individual control for each component on each LED providing the option to create runs and rainbow effects.

VERSAPIX Comes in all shapes and colours. Turns red when it flies off the handle The most mobile of fixed luminaires It is even a rapidly rotating cylinder that disappears, poof! You get the picture. VERSAPIX satisfies a concept of modularity and it is its shape of a quarter saucer, with a 90° resonance angle, which allows all imaginable types of luminaires whilst its electronics allow for all kinds of extravagances. Eight collimators are spread over the quarter-lightring. In native mode, these high-output optics diffuse very narrow 7.5° beams produced by RGBW 15 W LED sources. The colours are highly saturated and the white is set at 6500K as are all the products in the S as in Stage range in order to please concert and stage lighting designers. Consequently in the standard version, each beam is clean, clearly shaped and travels far. It is by adding optional elliptical or spherical filters at the collimator output that a horizontal light, vertical beams or even wider and diffused beams can be achieved. This is where the effect of the luminaire is determined: Do I project narrow beams, light the room with a luminous mass or break it up fan-style? A well-studied filter holder with polarising key at the collimator output. VERSAPIX also bears the precious letters 4G, which promise the separate management of each component in each LED in order to finely and independently work the colour in each, in this case 32 channels, and simulate the mobility of any device. The inside is also impressive since VERSAPIX, under its cast aluminium cover, which already takes part in thermal exchanges, hides a heat-transfer gas heat sink behind each LED source. Fantastic! Eight heat pipes are spread in arch form behind the sources in order to dissipate heat, assisted by two internal fans. The air flow is determined by a true guide that does not omit to ventilate the power supply. AYRTON really provides the means to optimise the cooling of the LEDs and maximise the light’s flux and colour stability, which can therefore ensure prolonged positions in architectural applications.

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