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Canto USA Launches NEW Aurora X1- Game Changer for the Live Event Industry

Canto USA announces the arrival of Aurora X1. A revolutionary LED followspot designed specifically for large venues and arenas. The Aurora X1 is Canto USA’s first LED arena followspot and it packs quite the punch. This X1 is equivalent to a 3,000 watt Xenon followspot and is the brightest LED followspot in its class.

It comes equipped with 6 +1 color changer that incorporates an integrated independent single frame gel holder that can be used for specialty effects such as CTO or frost. Also included are built in rigging points, a heavy duty stand with fine adjustable pan knob handles on both sides for ease of use and carrying. The X1 is also modular and upgradeable, allowing for the LED module and lens tubes to be swapped out quickly and easily. It is available in short, medium, or long throw options.

“Weighing less than 160 pounds, the X1 is the lightest and brightest LED followspot on the market that is manufactured in the USA. It’s so bright, seeing is believing.” -John Luhrs

Here at Canto USA, we strive to provide you with the most revolutionary lighting products that will bring your venue to life, and we have done just that with our new Aurora X1.

The Aurora X1 is now available for purchase.

Contact your local rep or dealer for additional information.

The Aurora X1 Line of Followspots

Canto USA Aurora Followspot X1 Product Photo

About CantoUSA

Founded in 2013, Canto USA is a manufacturer of houselight retrofits and followspots. The company offers a wide range of products and services designed to our mission: “Our customers come first. In order to do this, we continuously train our team on the latest trends and needs of the industry, while at the same time becoming a trendsetter in the development of new products and technology that no other company has available.” 

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CantoUSA Provides Real World Photometrics

At CantoUSA, we know that accurate photometric information is crucial in your decision-making about followspots. By measuring the intensity of light coming from our fixtures, we are able to set expectations of how bright our followspots and retrofits are to suit your needs. We have found that gathering real-world photometrics is invaluable. To that end, we use a specific method for gathering, compiling, and distributing our photometric data. A few weeks ago, we performed photometric testing at the US Cellular Center in Asheville, NC for the Tango followspots. Below is our method and a couple of photos from that research as an example.

How we gather and release the information:

  1. To begin, we use a real performance facility. This is because we’ve determined that shooting a light across a warehouse is not the same as a performance facility. Warehouses have many reflective surfaces from equipment and floors to ceilings and walls contributing to the outcome of the measurement. Therefore, we use a real-world performance facility as this is the only fair way to start the process.
  2. We then start by setting up tape marks with a laser distance meter for specific distances. For the Tangos, we set up tape marks at 100’, 125’, 150’, 175’, 200’ and 225’.
  3. Next, we use a new lamp and bench focus to a flat beam. The beam must be flat, since a peaked beam is not desirable by designers, users, or operators. We also view a peaked beam as misleading info that leads to less desirable results that can have a negative impact on a performance.
  4. For our light meter, we like the Seconic C-700-U as it provides a reliable set of data. We are sure to do a new black calibration between each zoom setting and each fixture.
  5. We zoom the fixture to its smallest angle, in this case 4.5 degrees. We then use the light meter and take three measurements at that distance. The data is recorded on a laptop to be compiled later.
  6. Next, we zoom the fixture to its widest setting, in this case 9.5 degrees. We utilize the same method used for the smallest angle and record the data.
  7. We do this with each fixture, then look for outlier readings to see if we have any potential errors. If so, we do a re-shoot and see if we can recreate that issue.
  8. Once we have what we believe to be solid data, we compile it.
  9. To compile the data, we look at each distance and average the three measurements taken for the published number. While we do measure to one place after the decimal point, we round for the published data.
  10. Next, we do a peer review. We look at data we have collected from the fixture design process and other data we have gathered in our day-to-day process with the fixtures. We ask ourselves this question, “Do these numbers make sense?” If so, we roll with the findings. If not, we try to figure out why and what may be different so we can better our method at the re-testing.
  11. Finally, once we are satisfied that we are correct, we send the data to Marketing where they publish the photometric data on the cut sheets.
CantoUSA Tango Photometrics Testing Photo
We zoom the fixture to its smallest angle, in this case 4.5 degrees. We then use the light meter and take three measurements at that distance. The data is recorded on a laptop to be compiled later.
CantoUSA Tango Photometrics Testing Photo
Next, we zoom the fixture to its widest setting, in this case 9.5 degrees. We utilize the same method used for the smallest angle and record the data.

It is our goal to provide accurate data about our products and how they will work for your space. We know that trust is important, and we hope that we can win and keep yours in the years to come as we innovate lighting for the future of our industry.

If you have any questions about this or any other product, please feel free to give us a call at 888.252.5912 or email us at info@cantousa.com.

Special thank you to Gene Blankenship at the US Cellular Center for hosting us to take these photometrics in the setting where the Tangos are being used!

Canto Tango Followspots

Canto Tango Followspot Product Photo

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The Art of Followspot Operation

Linford Hudson, nicknamed “Mr. Followspot,” recently received a special recognition Olivier award for his fifty years of followspot operation at the London Palladium. The full article on him can be found here by “The Stage.” It is an enjoyable read, rich with history that Mr. Hudson witnessed firsthand with all the artists he worked with and shows he was part of. At 72, he is no longer at the Palladium, but still lighting shows, and doesn’t have any signs of slowing down.

Linford Hudson receiving the special recognition Olivier from Andrew Lloyd Webber. Photo: David Levene Phot

Linford Hudson receiving the special recognition Olivier from Andrew Lloyd Webber. Photo: David Levene

CantoUSA got its start with followspots, and we can appreciate and relate to the fondness with which Mr. Hudson spoke of them. We offer tungsten, ceramic, LED, and HID styles of light sources. We strive for ease of operability and maintenance, and always look forward to how can we produce better and brighter followspots. Between followspot operators, deck electricians, board operators, board programmers, lighting designers, house electricians, and stage electricians, there are so many roles within lighting a show or event, and we want to make the job as easy as possible.

Brian Moon, VP of Product Development, commented that, “I’ve had the pleasure of working with some very fine followspot operators who were still operating carbon arcs. This was only 2006, so thirteen years ago, and these were still their primary followspots at arenas across the country. Operating those can be extremely tricky due to changing out carbon rods between intermission, as well as having the feed motor crap out in the middle of the show, and manually having to feed the rod in order to maintain the arc.

As for what makes a good followspot operator, Mr. Hudson said in “The Stage” article: ‘Concentration, finesse, and feeling. My lamp is my baby, it becomes a part of me. That’s my living. Some guys think it’s just a job. But doing it and doing it properly are two different things. You also have to know how to improvise.

When a followspot is run correctly, you never notice. When it isn’t, you can’t help but notice. Picking up an actor on a completely dark stage takes a lot of practice and timing. Followspot operation takes a great deal of focus, and you have to follow the performer you’re lighting up very carefully. We at CantoUSA appreciate what you do, the work you put in, and are always listening to end-users’, operators’, and designers’ feedback. We aren’t the ones operating equipment every day, so your feedback is invaluable to us as we create more models for your use. 

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