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Lighting Impression at Alpha & Omega Youth Facility

alpha-omega-church_4Alpha & Omega Church found a dynamic lighting solution for their newly remodeled youth ministry auditorium in a mix of LED lights and Platinum Series moving heads.

Alpha & Omega Church in Miami was looking for a dynamic lighting solution for their newly remodeled Next Level Youth ministry auditorium, something both welcoming and energetic, and found the flexibility they were looking for in an Elation Professional lighting package of LED lights and Platinum Series moving heads.

Total Audio & Visual Solutions (TAVS) of Miami installed the lighting system upgrade during a refurbishment of the space, one that allowed the South Florida production and rental company to start with a fresh canvas. “What I wanted to accomplish with the lighting design was to create an environment where it would leave a great impression on anyone who would be a part of the services,” commented Total Audio & Visual Solutions’ Chris Fernandez, lighting designer on the project. “This design was specifically for their youth building and we wanted to add a modern touch to their auditorium.”The lighting package in the youth auditorium, a large building that can seat up to 1,800 people, is used to light the auditorium stage and consists of 12 SixPar 100™ LED PAR lights, 6 Lumina Strip™ LED battens, 4 TVL 1000™ white light LED array panels, 4 Rayzor Q12 Zoom™ LED moving heads, and 6 Platinscreen-shot-2016-12-09-at-1-09-09-pmum Beam 5R Extreme beam lights. An Antari F-1 Fazer™ is used for atmospheric fog and haze effects.

Flexible Lighting & More“The new lighting system needed to be flexible as it’s used for special events and conferences, as well as youth services,” stated Kelvin Burgos, Director of Sales at Total Audio Visual Solutions. “Besides that, we were looking for fixtures that were well designed and of good craftsmanship, as well as a lighting system that was cost effective and easy to maintain.”Chris Fernandez adds,

“The moving light fixtures and LED fixtures create a fun and energetic environment and the blinders are used to create intimate worship moments or exciting fast chases for the youth. They enhance the environment and provide a place to welcome new people with a modern new fresh look.” Chris says that the well-proven Platinum Beam 5R beam lights set the tone for the entire rig and are primarily used for “awesome effects and eye candy.” He has them placed along the floor with some rigged above on truss. Compact Rayzor Q12 Zoom LED wash lights, also located on the ground and truss, “provide great back light and also eye candy effects.”

Broadcast Ability Because it’s important for the Next Level Youth ministry to reach people outside their four walls, an important aspect of the lighting system was its ability to function as effective broadcast lighting. “Since the clients do a lot of broadcast recording we included TVL 1000 fixtures to create a front TV wash with some SixPar 100 fixtures with barn doors to fill in any gaps,” Chris explains. Located above the audience, the TVL 1000s are white light LED array panels that blend warm white and cool white LEDs for a uniform projection of flat white light and also fulfill the high CRI requirement of broadcast lighting. The compact SixPar 100 PAR color changers with their 6-color LED multi-chips are located above the stage on trussing to provide backlighting on stage and a wide palette of dynamic color washes.Finally, grouped togalpha-omega-church_6ether with ground truss towers towards the back of the stage are Lumina Strips, LED-based batten lights with warm white LEDs that give an incandescent-type light. “These fixtures provide a great blinder effect, which can be used to create an intimate or exciting environment,” Chris says. The variety of lighting looks needed in the youth auditorium was programmed using Elation’s PC-based Compu Show lighting software program.TAVS worked with Miami-based rep firm and Elation partner Freed Sales on the installation, which was completed in March 2016. “Freed Sales helped with the facilitation of the gear and service,” Kelvin says of their role. “They always go above and beyond with their service and support.”

Original Elation Story:

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10 Things Every Programmer Should Know

By Chris Fernandez ( Lighting Designer / Programmer )

Lighting is only a small part of the “entertainment & show business” many students graduate expecting a fast track to the big shows because of their school, but the reality is that, Knowledge, speed, accuracy, people skills, and so on are all vitally important but there is no substitute for experience. Real-world experience with many productions is the only way an automated lighting programmer can become successful. Often times students will begin working at lighting companies, and will not understand why they are not going out to the next big U2 concert or live television broadcast as a programmer.

There is a good reason you see the same programmers name on all the big shows: experience.

While anyone can learn to which buttons to push on a lighting console it takes many years programming to learn how to get the most out of your lighting fixtures.


When starting with a new rig you should always study the fixtures digital multiplexing protocol so you understand what happens to the fixture with different dmx values.


Of course if you do not know much about your console how can you be expected to program it? You don’t have to be a expert but you need to at-least know how to patch create cues, recall cues , network and backup data.


Once you have explored your fixtures and understand the consoles features its essential you know how to connect the two together. Properly patching the desk & addressing the fixtures is a skill every programmer must possess.  To often  I have seen productions where the programmer did not create the patch because they did not know how to navigate it..


The most basic function you should be able to accomplish is to move fixtures from point a to point b using a repeatable method.


Our industry usually gives the lighting team the late night shift so be prepared to spend many long nights programming on your visualizer or at the venue.


The most common color mixing in moving lights uses three graduated dichroic filters: cyan,magenta and yellow also know as CMY. By combining the three you can create plenty of colors. This is usually called subtractive color mixing because you are filtering wavelengths or colors out of a white light. On the other hand additive color mixing is accomplished by adding several sources together to get close to white. For example most light emitting diode (LED) fixtures use that by combining RGB sources red,green,blue.


You would be surprised how many times I’ve encountered new programmers who don’t understand the concept of tracking or knew it existed. Conventional lighting consoles commonly record all values for all channels into every cue. Moving light consoles make use of tracking by recording only channels with changed values in every cue this greatly reduces the amount of data in each cue and 20160926_152545enables many tricks for dynamic programming & playback.


A good programmer will protect all his or her data in the console with their life. You are hired to enter data into the board and to make sure its protected. proper backup & saving routines are useful. If something goes wrong and all the data is lost. Then you are the only person to blame.


If a lighting designer ask for a particular look or effect and you are unsure how to do it or create it.

ADMIT IT! Do not tell your LD or Boss that it is not possible; either find a way to make it happen or tell him or her you dont know how to do it. One LD told me a time when is programmer said he could not select fixtures based on evens or odds. The LD told him that it was possible because his last programmer did it all the time. Again the programmer said it was not possible. The LD called his last programmer to explain it to him over the phone.. Needless to say that was the last time that programmer was ever hired.


Write down support numbers for technical issues, And most importantly network I know a couple of programmers I love to get advice from and ask questions too when dealing with problems or wanting to learn new ways to accomplish certain things.



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Lighting for TV & IMAG – A Collaboration

By Chris Fernandez ( Lighting Designer / Programmer)

The introduction of IMAG to your venue can be an easily thought idea, but It’s no secret that lighting is not exempt from the IMAG / TV microscope. Fortunately, with a few adjustments and accommodations, it is possible for the lighting designer and video director to exist in harmony.

Anyone can hang key lighting / source 4 lekos & think it looks good to the eye or in person, & any programmer can push buttons and make things light up. but the reality is that lighting design & implementation doesn’t work like that. Stage lighting is a practice that requires attention to detail.

I have no proof of this, but I would venture to guess that most LDs, especially in churches, aren’t initially drawn to the job because of front and back lighting for TV. Most, myself included, found that they can be much more creative with moving lights, LEDs, video projection, and set designs. It’s worth remembering that it’s not just people that the camera sees – it’s what is surrounding them as well.


The first consideration is quantity of light. When a video engineer has to run the gain wide open, the image gets grainy, detail is lost, and quality is degraded. In order to prevent this, it becomes the lighting designer’s job to make sure that there is enough light on each subject. This can be done with a light meter that measures footcandles. As a general rule of thumb, 50-60fc is a good starting point. You’ll want to aim for at least the high end of this range for more important pieces, such as sermons for (churches), special talent & props, etc.

The second consideration is quality of light. What is sometimes accepted as good lighting for a room can quickly become bad lighting for video. There’s two big pieces to look at when improving quality. The first is angles. Angles done well can create shape, form, and effect on a person or object. Angles done poorly can create ghostly looks and distracting shadows. A big key to this is backlight. Without backlight, subjects can be lost in the background. Backlight is one of my favorite things to play with, because of the effect it can give. Some LDs will run their backlight even twice as bright as their front light. The second consideration iscolor temperature. We can all spot the difference between the blue-white of a moving head and the yellow-white of an incandescent fixture. In a live setting, our eyes can adapt and are okay with the difference. On camera, the difference isn’t nearly as pleasing. The goal here is to match color temperatures. Using color correction gel in conventional lighting, or a CTO filter in a moving light, these temperatures can be matched so that after white-balancing, every color is replicated correctly. One additional point worth making is that when shopping for LED fixtures, make sure you find lights labeled as “flicker-free”. Many cheap lights will create an incredibly obnoxious strobe effect when seen by the camera.

Finally, the third thing to consider is the difference in light. If you want a video engineer in your good graces, make his job easy for him. This means that no matter where a camera is pointing, it’s receiving the same amount of light. For an LD, this isn’t always as easy as it sounds, because lights can differ in brightness based off of distance, lamp life, hot spots, and gels. One way to make this job easier is with diffusion. Diffusion comes in a range of strength, from strong silks all the way to a fine frost. This will even out shadows, hot spots, and take hard edges off your spotlights. This is especially useful if you have a speaker that likes to go on trips from one side of the stage to another.


For me info on any projects you might have feel free to email me.

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3 Reasons why TAVS stands behind D.A.S Audio



I have always considered myself to be somewhat of a contrarian. Although a difficult character trait to have in this industry it has helped us identify our core market. It is no secret that audio professionals can be somewhat brand-bias and creatures of habit. You could say we rub some the wrong way but we refuse to be just another AV company. When TAVS came to be we tried it all but we where requiring three key non-negotiable elements in the audio manufacturer we where looking to partner with for sound reinforcement and install offerings to our clients. We found that in DAS and the value per db of first-class sound was unbeatable.

1. Quality

Without a doubt we have a zero tolerance for compromise in quality at TAVS. DAS boasts top of the line R & D facilities and personnel based out of Valencia, Spain. When you unpack even one of their affordable products it just feels intentionally put together for a purpose. This caught our attention instantly and led us to put the different products they offer through their paces TAVS style and our expectations where exceeded. From their components to the electronics in their products they collaborate with top names in the industry to solidify a product ready for the most rigorous use.

2. Growth potential

We needed a manufacturer that offered a complete product line to meet the various market demands of an audio production and integration house. Whether it be Artec, Action, Aero, Sound Force, or the other lines in-between they have a solution for most applications which was another plus for us. Needless to say as a blue-collar start up company we could not afford at the time some of the gear we own today but DAS saw beyond that with us. Not for one moment did we ever feel the first day we walked into their Miami office that because we where not investing 6 figures that we where not valued to them. This is something we went thru before with several manufacturers and their personnel. DAS saw our vision and guided use into a product line
that would work perfectly for our needs at the time and could be expanded upon without having to completely reinvest.-DAS DEMO 20

3. Practicality

You could have what is considered the best PA on the market but if the wrong guys flew the rig and ran the board it likely sounded the bullhorn mounted on the ice-cream truck. But jokes aside I think most pros would tell you that DAS plays ball with the best and even if it didn’t come in on that one particular rider it would be a counter offer seriously considered by any pro firm about offering their client quality sound. DAS makes products that are a production house’s best friend in regards to versatility and simplicity of deployment. DASnet combined with EaseFocus make predicting the alignment and fine-tuning of our PA easy as can be.

Working with DAS has given us the ability to grow tenfold every year. They support us in every project, sale, and event that comes along when needed. Their showroom is always open to our clients and if we need to bring the showroom to the client that can always be arranged provided the right circumstances. Not many would take a small family ran company like ours under their arm and empower us how they have. I guess you can say their vision is similar to ours. We strive to be ever evolving and despite the naysayers we stay vigilant to the market demands while always improving our service and product offerings.

Total Audio & Visual Solutions