High End Systems´ DL.2 is being specified in a variety of projects, from concert tours to corporate events. Read what some of the lighting professionals have to say about our digital lighting product. Click on the highlighted names to link to a full story with photos.
"The DL2's are amazing. Aside from the unlimited graphics and video capabilities, the best thing I've found is that there is no reason to ever carry one or multiple backdrops again. I just use the DL2s and project a different logo when ever I want, and with the Collage Generator you can make them big or small."
"I use two DL.2s on mounted screens, and another two DL.2s on a flat backdrop, both of which are black, and the images all show up just fine. We use all of our own content and we change it up a little bit every day, which you would think would be a hard task but the DL2s are well designed and the process each day is very quick, especially with the Wholehog 3. They both make my job easier."
"The DL.2s are so versatile that for a nearly two-hour show, new images and stock footage continues to alter the look of the three centrally dedicated arch projection windows and all encompassing Gothic stage set.
For about half of the time, the projection windows fly out and the DL2s then converge into an image that projects across a 55-foot wide castle stone backdrop. Song after song there is a transformation that occurs with music and other lighting effects, but adding the DL2s into the mix create an another extraordinary layer. Collectively, the visual becomes a mind-bending experience, but the music is extremely powerful. Watch for tour dates. This show is a must see."
"Every city we have gone to we get the ‘wow’ factor of what the DL2 can do. There are so many ways to use the fixture," says tour LD Kevin Maas of lighting contractor The Opera Shop in Denver. "I have used it to do something as simple as a stage wash for some extra color, as well as to project aerials into the crowd and on a cyc. The band has been really pleased with the fixture. Every day we try to do something new and creative. There are so many stock images and video that can be used. We have even taken freeze frames of stock video clips to use as still images. The use of the DL2s is a great part of creating the mode for each song."
“With the power, technology and capabilities of the DL.2s and the Axon media server, we have provided a product to our client that is second to none.”
LD Dale Sahlin, Central Christian Church, Las Vegas:
"We have added 4 DL.2s and we are getting a lot of buzz in the church biz. These things have changed the way we do services bigtime! It looks like we have a million-dollar LED wall in the back. The DL.2s are shooting a seamless 20'x40' screen with the Collage Generator software. It's amazing."
"DL.2 is an amazing light! They are way brighter than I thought and creating the Collage™ (using Collage Generator software feature) on 12 of them a day is actually pretty easy. Also to be able to move the image around from the band to the house to the rear screens is so cool. In regards to the DL.2, all I have to say is AWESOME. I am so impressed by this light!"
“This project showed the flexibility and image quality of the DL.2s. They are just as impressive producing subtle effects in a theatrical or presentational environment like this as they are in a concert or club application producing special effects."
"The DL.2s provided more control over image attributes, easier projector alignment and simplified media playback than a traditional fixed projector system. Plus we were able to key a video clip of a dove flying over one of the digital slides in real-time within the DL.2, which would have been difficult to do without pre-producing a separate video loop or using a complex video switching system to produce the layering effects we needed."
Jon Griffin, Saddleback Valley Community Church:
"The DL.2s were originally part of our Christmas show. When they added the Fox broadcast (Dec. 24-25 on Fox News Channel), we decided to keep the rig and see what we could do with it. The DL.2s were going to be background at the back of the house for camera since I thought they wouldn't read from 80 feet. When the truck came in and they replaced our house cameras with the broadcast cameras, I threw an image on the cyc and was shocked that it was reading from that distance. From that point on, we decided to use them for the back wall and EVERYONE was extremely shocked and happy with how things turned out."
"The interesting thing is that in the way we're using the DL.2s -- though a bit
tricky, because of their simplicity in use --you really don't notice they are
what they are. No 'wiggling' around screaming 'Look at me!' but pretty
cool, nonetheless...
We're using the optimization feature a good bit on this event. That is really saving a ton of time for the post-production guys -- who are spending long hours producing some pretty cool content. Being able to 'modify' content on-the-fly is proving to be a pretty big selling-point -- or confirmation of a good decision -- for this client.
We're not doing anything here that screams out 'I'm a moving media server!'
but that is part of what I'm finding to be so great about these things. The flashy stuff is relatively easy but the more subtle things, the things that take really take time, make these things shine. To be able to edge blend, control content, scale, adjust aspect, optimize content and mask - all remotely on-the-fly-- is pretty killer. I'm also impressed with intensity. Though they don't quite match the 25Ks we've got in the room, they are having no difficulty keeping up with my lighting - even with some 30-foot plus throws. We ARE shooting at the lower levels that current HD technology allows, but I'm still pretty impressed..."
“The DL.2s worked well. The 5K lumen projected images were surprisingly bright. The cyc curved around the stage and into the audience. We produced a couple videos that filled the 140-foot by 16-foot cyc – it was very dynamic. We also had a number of still graphic looks that changed for each speaker. We used traditional 12K projectors for I-Mag and speaker support shot into 12x16 projection areas on the cyc. The client was thrilled and we have now been awarded additional shows.”
“We considered all new visual technology on the market that time. DL.2 promised more potential than any other solution. DL2s can provide us with lighting effects, video projection, bright laser imitating, interactivity when using with the camera, and 3D objects. The most powerful thing we have ever seen was the Collage Generator feature, which we will use for projections on the surface of circus arena (13x13m). With DL.2 we get much more than we expected! The ability to quickly use sponsor logos, special theme and custom content has already helped us to speed-up paybacks of our investors.”
“DL.2 forced my imagination and gave birth to new ways of implementing my ideas in the show. We were carried away by the effects. Most of all I was impressed with the new software features: Collage Generator, 3D-objects, Curved Surface Control, special effects (rain, film, fuzz, wobbulation, chroma shift, visual mode). We can add custom content with the CMA software quickly and easily. I combined graphic layers and made fades and mixes in hundreds of ways.”
"I fully expect you (HES) to keep this Digital Lighting thing going!
I see a lot of potential with a family (no obsolescence) of
digital lighting totally taking over as the new 'High End'
fixture of choice. Most lighting have a single dimension
of texture but your digital fixture offers a full range of choice,
whether you are looking for straight up video image or
using the fixture as a standard automated fixture or
for projection break-up and so on. So I really do not see
any reason why this fixture will not be chosen as a better
solution for lighting all around once people get with it."
Gus, Neg Earth Lights:
"Since Neg Earth started providing DL.2s for the touring market, our
clients have been using them for multi-source image projection. The
labor time in this has been workable, using the traditional edge-blending, but saving time is paramount on the gig. Collage Generator
meets this time saving requirement! I know our clients welcome Collage
Generator as another arrow in the DL.2's quiver! Plus I can have some
fun with it in the workshop!
Thom Discher, Main Light Industries:
"Personally, (with Collage Generator), I love the fact that you can cover large areas without compromising intensity. You no longer need to try to place your units at great distances and zoom them out until they are almost not visible. Just collage them in and the stage or wall or set is washed. This is particularly good for atmospherics: sky, water, etc."
"I'm finding the DL.2 a really enjoyable unit to work with. I find that there is enough power in the fixture to provide great projections, provided one is considerate toward lighting levels on stage.
I've been touring on several productions with DL.2 and have had no issues at all in terms of reliability.
I like the CMA (Content Management Application) and its ability to exchange a copy of content between servers - it runs like a dream on my mac.
I started using my own 3D objects to expand the capabilities of the graphics engine even further. I love the effects modes and find content can be modified in almost any manor required. It took me a while to get my head 'round the 170 channels, but now DL.2 feels like driving any other automated fixture."
"The DL.2s produced mesmerizing effects. Their output exceeded that of a static 10k video projector focused on another section of the same bar."
LD Richard Cadena, Mark Schultz tour:
"They rock. The projections look great. We had two edge-blended DL2s with a throw distance of about 20' and the image covered most of the 20'x40' backdrop, or at least the part that mattered (we were projecting above the drum riser, the drums and the drummer's head). The Collage Generator really makes a huge difference and it's really easy to set up. It only took me a few minutes each day after load-in to adjust my preset palette and it looks great - much better than I expected. The CMA makes it very simple to load graphics. The artist asked us for specific images during preproduction and I was able to download some graphics from the Internet right there on the spot and throw them up on the backdrop in a matter of minutes. We haven't even scratched the surface of its capabilities."
“DL.2 allows us to do the tour with only two people rather than with a video crew of four or five people. The Powers That Be can equate it with dollars and cents, everything from fuel costs to local crew costs. That’s how the DL.2s come into play. We also need a package like this that takes us to a variety of venues, from state fairs to casino showrooms.”
"Montblanc contacted Tim Parsons to provide a seamless 65-foot wide by 18-foot tall image of either a mountain scene or diamonds. He and I decided on the DL.2s for a few reasons: the room was very small, about 70 feet by 140 feet deep; there was not enough room to do a standard three-screen rear projected blend, nor could we rear-project this blend because then the speakers would be shadowing it.
"Our only solution was to front-project DL.2s from the truss and shoot them at an angle behind the speakers. This is where the many keystone correction functions came in very handy. After tweaking with the DL.2s' global engine and the Collage Generator feature, we were very happy with this video quality image."
“Since clients have come to rely on us to integrate projection and lighting effects, buying the DL.2s made a lot of sense. This technology enables us to offer a greater level of visual effects for clients with a fraction of the setup time."
"These DL2s are amazing. i have heard lots of stories about these fixtures from various people, mainly lighting companies telling me they were rubbish, they weren't bright enough, hard to tech, unreliable. Having tried these for myself now i can say that all these rumors are completely untrue. The DL2 has been brilliant.
it has taken me no more than 5 minutes everyday to align these fixtures using the (Hog) iPC. i have seen people messing about with projectors for hours trying to get them properly aligned, but i have had no problems; it's intuitive, simple and quick -- a great bonus when you are touring on a day-to-day purpose. The distance between fixtures and the projection surface has changed everyday so far, but with the zoom feature i have had the same size image throughout.
We are shooting a DVD in HD at Long Beach Arena next week, and have
been in various meetings with the director and the producers this week. They came to see the show in San Francisco to get a feel for it, and all of them went away absolutely amazed at how bright the DL.2s were. The director himself commented on the fact that he couldn't wait to use them on another project, he was also blown away with the definition of the onboard cameras, so much so that he is taking a feed from all 4 of them and recording them for the DVD.
The management have also been impressed with the fixtures. You know
that getting money out of band management can be like trying to get
blood out of a stone, but they are so happy with these things that we are
considering trying to rent some in Australia when we go over there in
a month. In short, everybody is really happy and I cannot see a time where I
wouldn't want to use these on any tour. I look forward to getting more time with these fixtures and really seeing what we can do with them. i'm sure the possibilities for artistic input are endless.
Congratulations to all at High End involved in this product. This is
without a doubt the best fixture I have ever used."
"I really liked the on-board server and all of the content that was available. We didn't have the budget to create all original content, but there were plenty of pieces that we could choose from to give us nice scenic looks and movement that fit well with the music. I really like the DL.2s with all of the extra tricks you can play with your image. Just being able to color an image, or rotate and change the axis are just a few of the new features I really dig."
"The one surprise for me after using the DL.2s for the first time was the light output. It was very effective even with using a full width LED cyc wash. As always, ambient light level is a factor, but that will hold true for any projection system. This was the first show that I specified the DL.2s. I was very impressed with the capabilities. I was able to do everything we set out to do and more. To re-quote a phrase from a recent publication: 'I have found my new digital light.' “
"We used the DL.2s to project on to the custom white Hard-LED panels that flanked the stage as well as provided dynamic imagery to introduce the new marketing campaign to both employees and celebrities that attended both events. The camera allowed interesting new effects and perspectives to the video and live feeds that scattered the soundstage. It helped us push the limits of the video system and how imagery is presented. HES is the first place I look when a client says, 'I want something that no one has seen before!' "
“I chose the DL.2 as a compact reliable easy to install projector that we could truss mount. Having one easily-installed unit saves immense time and the onboard media server is useful for a multi-projector show.”
“The DL.2s are great; we are loving them! Throughout the show the DL.2s project band images plus other content to songs on a scrim above the band. We hold out to the end of the show to use the aerial effects. The DL.2s are on the top of two 10-foot towers, which leaves a lot of play to hit anywhere in the venue!”
“The DL.2s drew the most attention. 'What is THAT?' they'd ask. People were stopping dead in their tracks to see what was going on! It drew great response!”
“I found the DL.2s to be bright, robust and easy to use. I liked the stock content and the ability to work in 3-D space. It was cool to apply images to objects and further expand my capability for creating unique looks on stage. The ease of working with layers and all of the other parameters made learning the light a breeze. The DL.2 performed very well and proved to be pleasantly stable. It is easy to hang, power up and program. I am also pleased that the media server is built-in. It makes for a more contained system and seemed much easier to work with in that configuration.”
“From Catalyst to DL.2, media servers have gotten easier and more reliable. Thanks, HES, for a product worth trusting your show on the road with.”
Marty Postma, Retinal Resonance:
“The response to the DL.2 by event planners was huge. Everyone was very excited to see the new realms of possibilities DL.2 now brings to our craft, especially in the area of custom imagery. People were simply blown away when I went on to the Internet, downloaded a logo, sent it to the DL.2 and then manipulated it in the 3-D environment. All done in just a few minutes. No more custom gobo headaches. Last minute accommodations are now a reality. Not to mention the new and exciting ways to make logos and graphics more integrated within an overall design via DL.2."
“I came up with the idea of wanting to use a line of imagery on the riser. At first, I was going to use 11 rear-projection screens. It was going to be horrifically expensive to create this two-foot underworld under the riser. It would also be a technical challenge. Then I thought of using the DL.2s. It fit perfectly. I was quite impressed with the brightness. The fact that the server is self-contained appealed to me, too. The global keystone correction is awesome. The playback is very frame accurate - rock solid.”
"Many people ask me why I bought the DL.2s. It's usually with a sense of ignorance about the product and the amount spent on a single light, when one can buy so many more of the standard (automated lighting). I truly cannot say I know what is the right choice for someone else. What I do know is the DL.2 has been a success for me; not only short term, but I consider the purchase to be an investment in participating in the next evolution of lighting -- and I have always preferred to be there, both for the excitement and the availability of proper budgets to sustain growth. Some believe that less expensive fixtures are less risk and are often drawn to invest based on cost of a fixture alone. Those people do not feel the movement of the industry. As in Vegas, until you bet big, you will lose. So thanks to High End for the winning hand."
“We’ve found the DL.2 an extremely useful tool for LDs. It’s a great deal brighter than the more conventional projectors traditionally used, and it's been very well received.”
“When I first saw it, it blew my mind. It opens up a lot of possibilities to designers to use it as an instrument with aerials or projecting video onto performers as well as doing texured backgrounds, scenery. It’s a very powerful tool. Take it out for a test spin. Get out and try it. Who needs a gobo ... you've got seven gobos and they spin... when you can have millions of colors and layers of streaming video? What’s not to get here?”
