Effects Enhance the value of your lighting investment and the quality of your show with essential High End Systems accessories.

Enhance the value of your lighting investment and the quality of your show with essential High End Systems accessories.
	FQ-100™ Fog Generator Durable, versatile industry-standard unit offering everything from fine mist to massive fog
	LithoPatterns®, Art Glass™ and Special Effects™
	Dichroic Glass Pioneering alternative to gels for richer, longer-lasting color

light

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For maximum quality and reliability, we manufacture a full selection of dichroic filters at our Austin, Texas optical laboratory. Our technicians use a precision process by which multi-layer thin film coatings are deposited on heat- resistant glass substrate using high vacuum deposition techniques. The resulting product offers huge advantages: High transmission levels for potential energy and cost savings. High color selectivity for brighter, cleaner-appearing, saturated color. Lower total cost of ownership due to reduced maintenance and no gel replacement costs.

Controllers

Get a completely integrated High End Systems solution with the award-winning Wholehog® lighting console line and software developed by Flying Pig Systems. These state-of-the-art controllers are developed in tandem with our lighting fixtures to help ensure seamless operation and maximum functionality. Elevate your capabilities with an array of powerful features and a highly user-friendly interface. The Wholehog systems are fully scalable, fully network-compatible, and offer modular program development. For product support information on our controller products, visit the Flying Pig Systems website at www.flyingpig.com.
	Wholehog 3 Console Cutting-edge lighting and show control designed for the largest mega events in a sleek, compact design with intuitive interface.
	Road Hog Full Boar Console Expand your possibilites with an unsurpassed amount of power and flexibility to achieve cutting-edge lighting.
	Road Hog Console The simple and intuitive operations as well as cost effectiveness offer an unprecedented amount of control in a sleek package.
	Hog 3PC Hog 3PC brings you the convenience and power of the Wholehog operating software running on your PC.

Digital Lighting

	The DL.3 Digital Light integrates a media server loaded with a wealth of digital content with a high output 4-chip light engine, a highly sensitive HAD sensor camera and an infrared illumination system. DL.3 mounts like any other intelligent moving luminaire and controls just as easily with plug-and-play operation using standard DMX cabling and protocols. Production set-up time is reduced as there is no need for RGB cabling, and racks of servers are no longer necessary at front-of-house or backstage area. A Content Management Application running on your MAC or PC workstation or laptop computer gives you remote control of uploading and crossloading content, upgrading software and fixture configuration for multiple DL.3 fixtures on a fixture network. Collage Generator™ This patent-pending feature enables multiple DL.2 and DL.3 units to create seamless vertical, horizontal or central panoramic media projections controlled from a lighting console. Using multiple digital lighting fixtures allow you to increase effective screen luminance. High End Systems not only started the digital revolution, it also offers the widest digital lighting product mix of any manufacturer, priced and scaled for any budget and solution. The DL.3 represents the fourth generation of digital lighting products from High End Systems Inc. and is the flag ship addition to the product line, which includes the Orbital Head, Axon Media Server and DL.2 digital light. System DL.3 software based on Windows XP and DirectX technology Powerful Content Management and Configuration software can remotely manage multiple DL.3 fixtures Integrated Sony camera with Super HAD image sensor technology and infrared illuminator provides live video input and output from fixture location. Supports importing of custom content including: 3D objects, media files, still images. DMX512 and Art-Net support Remote software upgrade capability Royalty-free stock digital art collection featuring more than 1,400 lighting-optimized files including seven new content providers and three new High End Systems stock content folders RGBHV, SDI, and S-Video connections accept a wide range of media device inputs Graphics Engine Simultaneous playback of nine discrete media streams on separate 2D/3D objects 36 object parameters give you graphic controls for each individual media stream including: a choice of multiple play modes and play speeds the ability to define any segment of a video loop including Scrub capability multiple color mixing and visual effects that can be combined any way you choose variable opacity to allow for crossfading or dissolves between media streams full control of image rotation, positioning and scaling on X,Y and Z axes visual modes that let you control brightness and contrast to optimize content video input or camera capture you can apply to 2D/3D objects 52 global parameters provide graphic controls to the composite image created by up to 9 media streams intensity overlays the opacity control to provide system-wide intensity level overall image color mixing applied to composite media stream image color effects including edge colors allow for combined image color mixing multiple mask selections with edge fading and strobe effects Chroma Key effects to layer any content by keying on any colormix to make transparent edge fading for creating montages keystone correction on output projection digital shutters on output projection  viewpoint controls provide ability to change viewing angle/perspective on images Multiple modes for synchronizing all networked DL.3 fixtures Content Management Application (CMA) Versions available for Windows and Mac operating systems Communicates with Axons, DL.2 and DL.3 fixtures over an Ethernet network Uploads and downloads custom digital content to DL.3 fixtures Configures DL.3 fixtures with remote control of all menu commands Hardware 17 motion parameters for mechanical fixture control include: mechanical iris adjustment to full black-out 400-degree pan and 240-degree tilt movement DMX control of projector zoom and focus DMX control of vertical lens shift DMX control of camera functions Full color display and preview monitor/menu functions Powered by an Intel Core2 Duo 2.4 GHz processor with an ATI HD2900 Graphics Processor Gigabit Ethernet for fast content uploading and multiple fixture synchronization Camera provides optical + digital zoom to increase image up to 216X options for 1-30 frame captures per second vertical and horizontal image invert black and white, color negative and freeze frame white balance including red and blue gain control Infrared illuminator allows video capture even in blackout settings Remote video input and output switching let you select live video from external source including another DL.3 fixture's camera feed * Specifications subject to change without notice. Certain specifications may be the result of future software releases. * One year product warranty and technical support Includes touring roadcase The High End Systems products described on this site are protected by patents and pending patent applications. Patents owned or licensed by High End Systems include: US 4,392,187; US 4,602,321; US 4,688,161; US 4,701,833; US 4,709,311; US 4,779,176; US 4,800,474; US 4,962,687; US 4,972,306; US 4,980,806; US 5,010,459; US 5,031,078; US 5,073,847;  The DML-1200 is the first moving digital luminaire which can truly be used as both a super bright, moving light source and a high quality video projector. In light mode, the DML-1200 produces a perfectly circular light beam with a light output equivalent to that of a 1200W hard edged moving light – 12,000 field lumens, and the brightest digital light on the market today. In video mode, the DML-1200 features a fully sealed DLP engine which delivers full color DLP quality video with SXGA+ (1400 x 1050 pixel) resolution. With a light output of 10,000 center lumens, the DML-1200 is the brightest digital light on the market today. An internal optical dimming mechanism ensures smooth, accurate intensity control from 0 to 100%. This makes sure that your fade to black is a true black and not video black. Lighting designers are no longer limited to static, pre-selected patterns and colors. Any image, static or animated can be created and projected. All images are generated by the onboard Axon Media Server, controlled by Art-Net protocol from the lighting console. With its brightness, unlimited image selection and the ability to seamlessly switch between video projection and light mode, cue by cue, the DML-1200 provides designers with pure creativity at their fingertips, whether for fixed or professional rental and staging applications. Rental & Staging Concert touring Car shows Television productions Advertising & branding Theater (Broadway shows) Fixed installations Theater (Broadway shows) Clubs Theme parks   Axon Media Server The Axon Media Server, powered by the award-winning DL.3 graphics engine, provides you with all the cutting edge functions of the DL.3 fixtures including Collage Generator™ and Curved Surface Support—with the flexibility of choosing your own output device. Axon can feed video to Digital Lights, LED panels or large format projectors. It’s the flexible solution for those who already have their own video display device, and want a world of unlimited image possibilities. Axon ships with more than 1,400 stock media clips and has 200 folders for custom media clips. Stock Content is locked down using the XP Embedded Operating System. That means all stock content is protected and consistent among all units. The XP Embedded O/S also protects Axon from drive corruption and O/S degradation over time. With the on-board content management software, you are able to move and manage the local media as well as any Axon, DL.3, or DL.2 on the local area network. Axon media servers use the same graphics engine DMX protocol as DL.3 and DL.2 fixtures(a HUGE bonus when programming)—they operate the same way from a DMX console or via Art-Net. . Axon media servers include dual HD-SDI inputs and support a wide range of display resolutions. Collage™ software feature: Collage Generator™ This patent-pending feature allows multiple media servers to create seamless vertical, horizontal or central panoramic media projections controlled from a lighting console. Collage™ software also provides a method for increasing effective screen luminance. Use Axon at the Front of House area to preview content and programming for your show. Use it to pre-program DL.3/DL.2 fixtures. Connect another live video source (camera, DVD player) to Axon using HD-SDI or S-Video input. So many ways to deliver! SYSTEM Content Management and Configuration software can remotely manage multiple Axon and DL.3/DL.2 fixtures Supports importing of custom content including: 3D objects, media files, still images DMX512 and Art-Net support Royalty-free stock digital art collection featuring over 1000 lighting-optimized files. Supports a wide range of display resolutions. S-Video connection accepts a wide range of media device inputs Dual HD-SDI Inputs Programming compatible with DL.3/DL2 fixtures Software based on Windows® XP Embedded and DirectX® technology . System Axon software based on Windows XP and DirectX technology Powerful Content Management and Configuration software can remotely manage multiple Axon and DL.3 fixtures Supports importing of custom content including: 3D objects, media files, still images. DMX512 and Art-Net support Remote software upgrade capability Royalty-free stock digital art collection featuring more than 1,400 lighting-optimized files including seven new content providers and three new High End Systems stock content folders Dual HD-SDI, and S-Video connections accept a wide range of media device inputs Graphics Engine Simultaneous playback of nine discrete media streams on separate 2D/3D objects 36 object parameters give you graphic controls for each individual media stream including: a choice of multiple play modes and play speeds the ability to define any segment of a video loop including Scrub capability multiple color mixing and visual effects that can be combined any way you choose variable opacity to allow for crossfading or dissolves between media streams full control of image rotation, positioning and scaling on X,Y and Z axes visual modes that let you control brightness and contrast to optimize content video input you can apply to 2D/3D objects 52 global parameters provide graphic controls to the composite image created by up to 9 media streams intensity overlays the opacity control to provide system-wide intensity level overall image color mixing applied to composite media stream image color effects including edge colors allow for combined image color mixing multiple mask selections with edge fading and strobe effects Chroma Key effects to layer any content by keying on any colormix to make transparent edge fading for creating montages keystone correction on output projection digital shutters on output projection  viewpoint controls provide ability to change viewing angle/perspective on images Multiple modes for synchronizing all networked Axon and DL.3 fixtures Content Management Application (CMA) Versions available for Windows and Mac operating systems Communicates with Axons, DL.2 and DL.3 fixtures over an Ethernet network Uploads and downloads custom digital content to DL.3 fixtures Configures DL.3 fixtures with remote control of all menu commands COLLAGE GENERATOR This software feature for Axon, DL.3 and DL.2 has been improved to offer a bigger picture with sharper images and a resolution greater than a High Definition resolution. High End has substantially increased available resolution by 4x from the previous version. Collage Generator now supports any configuration up to 8x16 arrays. Make a horizontal, vertical or central panoramic projection and increase effective screen luminance. Most panoramas can be configured in under 25 minutes. CURVED SURFACE SUPPORT Corrects for shape distortions when projecting onto surfaces that are not flat. • Project Axon onto convex or concave cylinders, angular screens, spheres and disk-shaped surfaces. • Control the amount of correction needed, as well as control the vertical and horizontal center points of the image. HARDWARE 3U standard rack mount Powered by an Intel Core 2 processor with an ATI HD2900 Graphics Processor Gigabit Ethernet for fast content uploading and multiple fixture synchronization Dual HD-SDI Inputs DIMENSIONS 18.3" x 3.5" x 20.8" (65 mm x 89 mm x 528 mm) Weight: 33 lbs. (15 kg)   * Specifications subject to change without notice. Certain specifications may be the result of future software releases. For a complete list of the issued patents and patents pending contact High End Systems. . * One year product warranty and technical support  ArenaView™ Orbital Head System The ArenaView™ Orbital Head is part of a complete turnkey multimedia presentation package for large-scale event facilities. ArenaView allows venues to not only use the entire arena as a creative palette, but as a source of creative revenue for sporting events, concerts, corporate events or any other production that needs an arena or other large facility to hold it. With an ArenaView system, you can: Turn the arena floor (or ceiling) into a projected advertising space. Incorporate and change video on-the-fly as excitement happens. Hold audience attention during halftime, player introductions, intermissions or TV time-outs. Sell customizable sponsor ad packages and let the system pay for itself. Engage the crowd in interactive events, teasers, games. Synchronize with broadcast output and scoreboards. Hit virtually any spot in the arena with video or graphics content. Create return on investment (ROI) by selling to facility renters. ArenaView transforms your arena into a stunning visual showcase by incorporating: The world renown Barco FLM projector with the ArenaView orbital head. An Axon Media Server, which is pre-loaded with rich digital content including media libraries, stock clips, stills and can create real time color and geometric effects. All controlled by a Wholehog control console.

Electric

By Keiji Oenoki and Hector Judez [physics@amersol.edu.pe]
We often experience the power of nature. One of the most fearsome natural phenomena is lightning. Some people might be curious why and how it occurs. Today, we know that lightning is a flow of electricity. In this chapter we are going to study about characteristics of electricity.

Net Electrical Charge Conductors and Insulators Charged Objects Method of Charging Unit of Charge: The Coulomb Coulomb's Law Chapter Quiz

	Section 1. Net Electrical Charge
		Matters are made of atoms. An atom is basically composed of three different components -- electrons, protons, and neutrons. An electron can be removed easily from an atom.

Normally, an atom is electrically neutral, which means that there are equal numbers of protons and electrons. Positive charge of protons is balanced by negative charge of electrons. It has no net electrical charge. When atoms gain or lose electrons, they are called "ions." A positive ion is a cation that misses electron(s). A negative ion is an anion that gains extra electron(s).

What is charge? Objects that exert electric forces are said to have charge. Charge is the source of electrical force. There are two kinds of electrical charges, positive and negative. Same charges (+ and +, or - and -) repel and opposite charges (+ and -) attract each other.

The law of consevation of charge says that charge is neither created nor destroyed. This state ment brings us new question. What do you think about this statement?

Section 2. Conductors and Insulators

Substances can be classified into three types -- insulators, conductors, and semiconductors.Insulators are materials which allow very little electrical charges and heat energy to flow. Plastics, glass, dry air and wood are examples of insulators. Conductors are materials which electrical charges and heat energy can be transmitted very easily. Almost all metals such as gold, silver, copper, iron, and lead are good conductors. Semiconductors are materials which allow the electrical charges to flow better than insulators, but less than conductors. Examples are silicon and germanium.

Example Problem 1.Which one of these is a conductor? (a) dry air (b) lead (c) silicon (d) glass (e.g. "a" )

Section 3. Charged Objects

	When two objects are rubbed together, some electrons from one object move to another object. For example, when a plastic bar is rubbed with fur, electrons will move from the fur to the plastic stick. Therefore, plastic bar will be negatively charged and the fur will be positively charged.

a. Methods of Charging

(Electroscope)

When you bring a negatively charged object close to another object, electrons in the second object will be repelled from the first object. Therefore, that end will have a negative charge. This process is called charging by induction.

When a negatively charged object touches a neutral body, electrons will spread on both objects and make both objects negatively charged. This process is called charging by conduction. The other case, positively charged object touching the neutral body, is just the same in principle.

(Electroscope)

How does lightning start and end?

	Section 4. Unit of Electrical Charge: The Coulomb " C "
	The symbol for electric charge is written q, -q or Q. The unit of electric charge is coulomb "C". The charge of one electron is equal to the charge of one proton, which is 1.6 * 10-19C. This number is given a symbol "e".

Example Problem 2.How many electrons are there in 1 C of charge? (e.g. "1.00*10^10")

Section 5. Coulomb's Law

The magnitude of force that a particle exerts on another particle is directly proportional to the product of their charges and inversely proportional to the square of the distance between them.where: F is the force between the two particles, q1 is the net charge on particle A, q2 is the net charge on particle B, d is the distance between the particles, k is a proportionality constant which is 9.0 * 109 Nm2/C2. The direction of the force is on the line from one particle to the other.

Example problem 3. Object X has a positive charge of 5.0 * 10-6 C. Object Y, carrying a positive charge of 2.5 * 10-6 C, is 0.03 m away. A. Calculate the force on X. (e.g. "+1.0*10^10 N", or "-1.0*10^10 N") B. What would the force be if the charge on Y were negative. Solution

Example problem 4.An object, A, with +8.25 * 10-6 C charge, has two other charges nearby. Object B, -3.5 * 10-6 C, is 0.030 m to the right. Object C, +2.50 * 10-6 C, is 0.050 m below. What is the net force and the angle on A? (e.g. "1.0*10^10 N, 10 deg.") The electric force is vector quantity. Try to solve the problem graphically. Solution

Section 6. Chapter QuizTry Chapter 11 Quiz and see how much you learned.

light

By Hector Judez [physics@amersol.edu.pe]

1. Luminous and illuminated bodies
2. Luminous flux and illuminance
3. Colors
4. Reflection of light
5. Refraction of light
6. Chapter Quiz

Of all the electromagnetic waves, light is the only portion of waves that can be detected by the human eye.

		Section 1. Luminous and illuminated bodies.
		Light is produced by a luminous body. A light bulb is a luminous body that emits light in almost every direction.Light travels in straight lines at 299,792,458 m per sec in vacuum. When light hits an object, it is reflected. An illuminated body reflects light. When a ray of light reaches our eyes, the receptors in our eyes will produce a different color sensation depending on the wavelength of the light wave.

		Section 2. Luminous flux and illuminance.
		The amount of light produced per unit of time is called the luminous flux, P. The unit for this is the lumen, lm.If we only want to know the amount of light produced by a source on a specific object (table, chair), we have to use the formula for illuminance, E. This formula tells us the amount of light per meter square at a certain distance. E = P/4(pi)d² Thus, the illuminance is just the luminous flux divided by the area of a sphere. Why a sphere? For example, lets put two objects in different places, both of them two meters away from a source of light. As you can see the illuminance on these objects is the same. This is because almost every source of light emits light in all directions and two objects within the same radius receive the same amount of light. However, objects that are placed at different distances have different illuminations. The closer an object is to a source of light, the more illuminated it will be.

Section 3. ColorsRed, green and blue are known as primary colors, because when they are added together white light is formed. By mixing primary colors in pairs we obtain secondary colors. Red and green produce yellow. Blue and red produce magenta, and blue and green produce cyan.

		Section 4. Reflection of light
		If we draw a line perpendicular to a surface, this line is the normal of the surface. When a ray of light hits the surface of an object, part of the light is reflected. If the ray of light is in angle with the surface, then the angle between the incident ray and the normal will be the same angle between the normal and the reflected ray. They are not completely flat surfaces. When millions of rays of light hit the rough surface of an object, they are reflected in all directions. This is how we can see illuminated objects. How does a mirror reflect light?

		Section 5. Refraction of light
		When a ray of light passes from one medium to another, it bends. Depending of the new medium the light will travel faster or slower. If the light travels faster in the second medium, then this medium is called the rarer medium. On the other hand, the medium in which the light travels slower, in this case the first one, is called the denser medium. When a ray of light enters a denser medium, it is bent towards the normal. When a ray of light enters a rarer medium, it is bent away from the normal.

There is an index of refraction (n) between the two mediums. To get a value, we have to divide the sine of the angle in vacuum or air by the sine of the angle in the denser medium.In the example above, the index of refraction would be n = sin a / sin b

Some of the light is always reflected. However, when a ray of light goes from a denser medium to a rarer medium, all the light will be reflected if the angle of incidence is greater than the critical angle. The critical angle is the angle of incidence for which the refracted ray is at 90 degrees with the normal. How do lenses refract light?

Section 6. Chapter 10 Quiz Easy... All right. Try this quiz.