What you have to know about Hyperion
To celebrate 50 years of innovation, Spotlight presents a new series of professional 300W LED luminaires featuring a new rounder, sleeker design.
The new Hyperion series is designed for large installations such as theaters, film and TV studios with a performance comparable to a 2000W halogen fixture, but with a more compact size and reduced heat production.
The colour version uses a system of six colours to generate rich saturates and subtle, theatrical pastels. It combines diodes that emit the usual primary colours – red, green and blue – with further sources of amber, cyan and lime.
This combination allows the luminaire not only to emit a wider spectrum and with a more uniform curve, capable of producing white light with a colour temperature ranging from 2700K to 8000K, but gives also a minimum CRI of 94 and a maximum of CRI 97.
This is a remarkable improvement of the average CRI compared to an RGB, RGBW or even RGBWA source.
The cooling system combines large upper slots with active ventilation.
It offers a standard automatic mode, a “silent” mode and a mode that allows the control from the console.
Another adjustable parameter is the LED refresh rate, which allows it to be used in applications that involve video shooting, avoiding annoying flickering.
In the 6 Colour version, the new source is combined with a sophisticated firmware that allows colour control in different modes. First of all, the “booster” that makes the fixture capable of self-powering the creation of individual colours when not all channels are simultaneously at full.
In the simplest three-channel mode, the colour is controlled via a pre-set virtual colour wheel that has eight different colour temperatures of white, plus 30 main colours and eight free presets to load user-selected colours. Another mode allows a simplified RGB control using internal algorithms that automatically calculates the amber, cyan and lime elements. If you’d rather use subtractive colour mixing, there is another mode which allows control in the CMY colour space. This is useful when also controlling discharge fixtures as it allows one method to be used for everything
Two other modes are especially designed for the use of the fixtures in the TV studio: for coloured light there is the HSI mode, suitable for use with cameras, while for white light there is a mode with the variable colour temperature and +/- green control.
Another mode allows direct 8-bit control of the various RGBACL colours plus a general dimmer and variable speed strobe effects, while a last mode adds colour control with 16-bit precision, the virtual colour wheel, an independent control of colour temperature, dimmer and strobe.
The source has two response curves for dimmer control via DMX: a linear one and one that emulates the response of an incandescent lamp. This last curve also includes the possibility of setting the delay typical of halogen lamps. For further realism in the emulation of tungsten sources, the white adjustment offers the traditional orange toning effect while decreasing intensity, also known as red, or amber shift.
The module containing the source has 5-pin XLR for DMX & RDM in and through (the same connector also allows the firmware update) and PowerCon connectors for power in and out. An LCD display allows the local setting of the luminaire. This display is reversible and can be set for auto power off.
The rear panel also includes two rotary encoders for the dimmer and the virtual colour wheel with 8 white colour temperature levels, plus a preselection of 30 main colours and 8 free presets to load the colours of your preference.
A final feature on this module is the ease of maintenance: it has a hinge opening to allow easy access to all the components of the fixture.
Thanks to these characteristics, the Hyperion luminaires are able to meet the most demanding requirements of professional users both for the quantity and for the quality of the light.
The 6C Hyperion Fresnel (link) uses a 200mm high efficiency lens, LED source of 300W to 6 colours (red, green, blue, amber, cyan and lime) for a wider choice of shades and a purer white, with colour temperatures from 2700 to 8000K and CRI colour rendering from 94 to 97. The zoom opens from 12.5° to 43°.
The Hyperion Pure White Fresnel (link) also has a 200mm front lens but, compared to the colour model, it achieves pure white, with 3200K or 5600K colour temperatures and a CRI colour rendering of 95. Zoom opens from 9°to 45°.
The white model of this fixture has all the characteristics of the 6 Colour module that are not related to colour mixing: the possibility of using a dimming response curve to emulate that of a tungsten source (without, of course, the orange toning ), regulating the LED frequency and controlling the ventilation also via DMX.
Obviously, both Fresnel luminaires are ready for the addition of barn doors and colour frame.
The 6C Hyperion Profile (link) combines the LED module with interchangeable optics. As standard, it is available with two different zoom lenses – one from 15 ° to 30 ° and the other from 25 ° to 50 ° – but it is nevertheless compatible with a wide range of fixed divergence lenses already on the market (and, for many users, already in the warehouse). It incorporates a traditional profiling system with four rotating blades, and there are available the usual additional options for ellipsoidal parabolic profiles: an iris, type A and type B gobo holder, color frames.
All models are designed for optional wireless-DMX control, for yokes that allow the traditional pole control, and for mounting in one of the ARC series DMX control yokes (with pan, tilt and motorised zoom).
Video presentation of the series: