See the show.
Before the doors open.

See the light on people, not just on the floor.

Add performers and the audience, and the video screens behind them, so you see the whole picture.

• Performers and audience: standing, arms up, a singer or a guitarist, and blocks of audience, lit by every beam, gobos and all, in Fast quality too.
• Video screens: LED walls and projection screens that show video, images, or pixels from a console’s pixel mapper over DMX.
• Screens light the stage: the people in front of a screen catch its light.

Light that behaves like the real thing.

Every beam lights the set and the truss, and in Realistic quality whatever stands in a beam stops it.

• The whole set is lit: imported stage, set and venue models and the truss catch every beam, in Fast and in Realistic.
• Real shadows: in Realistic, performers, set pieces and truss cast shadows through the haze.
• More real spotlights: 8 on a typical graphics card and up to 12.
• More from GDTF files: a second gobo wheel and an animation wheel with their real images, framing shutters with four moving blades, and lasers drawn as thin lines in their own colour, brighter in haze.
• Big rigs stay fluid: a 146-fixture festival rig went from 2 to about 50 frames a second on the same PC, and the picture stays sharp on slower PCs, with an option to keep full resolution always.
• Fast with real stages and screens: a detailed stage model with 12 LED screens on one video went from about 20 to 60 frames a second, and videos on the screens play more smoothly. Imported models are optimised automatically when they load and look exactly the same.

Cold sparks and CO2 jets, live in 3D.

Special effects play from any console’s DMX, right next to the lights, so the whole look is in the plot.

• Cold spark machines: sparks fly as high as the height channel says and fall back round the machine, with a warm glow on the floor and light on the people and set near them. Hung on a truss pointing down, they make a spark curtain.
• CO2 jets: a white plume that shoots up and billows out, lit by the beams crossing it, and by the jet’s own LEDs, coloured from DMX, on jets that have them.
• Add them in one click: + Sparks / CO2 places spark machines or CO2 jets along the front of the stage, on the floor in front or on a truss. Fixture files named spark, CO2 or cryo are recognised, and any other type can be made one.
• Set up per type: spark height or jet reach, the channel and value that fire it, the height channel and the clearance. Test fire shows them with no console.
• Zones to keep clear: a red zone round each effect in 3D, never in the output or exports, and a dashed circle on the stage plot with each type’s clearance in the legend. Each can be hidden: the View tab in 3D, a toggle in the stage plot dialog, and a type set to 0 m has none.

The visualiser shows what the console’s DMX asks for. Firing effects safely stays the console’s and the operator’s job.

Fly through the rig. Export it in 4K.

Build camera moves from your favourite views, then export stills and videos for the design pack, a poster or the client’s presentation.

• Camera moves: fly-throughs from view to view, built from keys you set by orbiting. Each key holds, then the camera travels on: smooth, gliding through, linear or a cut. Loop, scrub, and start the DMX recording with the move.
• 4K stills: PNG images up to 3840 × 2160, sharper than the screen.
• MP4 videos from 720p to 4K at 25 to 60 frames a second, drawn frame by frame, so nothing is dropped however heavy the rig. The light comes from the show’s scenes or a DMX recording, and the screens’ videos stay in step.

See the load on every point.

An optional module, off until you need it: build the rig with real truss and hoists, and see the weight and power it adds up to.

• Truss types: box 30 or 40 cm, triangle or ladder, on ground-support towers or hung on chain hoists (1 to 12 per truss).
• Loads on every motor and tower, from the truss and its fixtures, with each truss’s weight and the rig’s total. Points over the limit show in red, with the loads over the points in 3D.
• Weight and power per fixture from their GDTF files, or typical values you can correct.
• Power per circuit in watts and amps, with circuits over their size in red.
• Rigging plot in the stage plot PDF: the plan with every hanging point’s load, plus tables of points, trusses and power circuits.
• Your choice: hide the load labels in 3D and keep the numbers, or switch the module off and the rigging tab, loads and PDF pages go away.

Weights and loads are estimates for a qualified rigger to check, not a structural calculation.

Select in one, see it in the other.

On the same PC or across the network, the visualiser links to LUMEN: selections follow both ways, and you aim moving heads with a click in 3D.

• Selection both ways: fixtures selected in LUMEN are outlined in 3D, and a fixture clicked in 3D is selected in LUMEN. It uses LUMEN’s phone remote, which has to be on in LUMEN.
• Aim with a click: click a spot on the stage, the set or a performer, and LUMEN’s selected moving heads point there, each with its own pan and tilt worked out on its 3D model.
• Record the look: one click saves it as a position palette in LUMEN.
• Labels in 3D: fixture names and DMX addresses next to every fixture.
• LUMEN on another PC: run LUMEN on a touch screen or a small PC at the desk, and the visualiser on a laptop. Find LUMEN on the network lists every LUMEN with its phone remote on, with its show and a lock when it has a PIN: pick one and type its PIN.
• Everything works over the network: selection both ways, aiming, position palettes and LUMEN’s groups. The link reconnects by itself.
• Follow the show: the patch and stage plan follow the show open in LUMEN, a couple of seconds after each change.
• Your placement stays: fixtures you place in 3D stay where you put them, even when they move on LUMEN’s plan. Place from LUMEN’s plan puts them back in line with it when you want.