LaserLink – Laser Like A Moving Light – By ArgonTV

LaserLink – Laser Like A Moving Light

With Marco Stümpel and Lightline Lasertechnik GmbH

 

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Are You A Laser Designer Frustrated with Laser?

Watch the video above to find out LaserLink…

 

Download the pdf (right click, save as) here <======

If you prefer to read, scroll down to get the (slightly edited) transcript of the video. 

 

 

LaserLink – Laser Like A Moving Light

Tim Bennett: Laserlink is a laser just like a moving light.

 

Now I’m kind of old school.

 

I come from the early 1990s where we used to just dream of having a laser that would have a moving light or a moving head.

 

And WOW our dreams have come true.

 

Fast forward to now, moving heads seems to be all the rage!

 

And as I researched this…

 

As I looked into LaserLink, I discovered a company behind LaserLink that was just an expert and a leader in what they’re doing.

 

And I found out that they were just producing some amazing products.

 

In fact, the picture behind me is a picture from one of their events.

 

So as I delved into the research, it started to overwhelm me and I thought, “you know what, why don’t I just ask the people that make Laserlink, what it is, what it does and how we can use it.”

 

So I reached out to Lightline Lasertechnik based in Germany, who actually produced LaserLink and I met and talked with the Managing Director, Marco Stümpel, who agreed to join us today…

 

And it gives me great pleasure to welcome Marco to ArgonTV.

 

Marco thanks very much for being here.

 

How are you?

 

Marco Stümpel: Yeah I’m fine. Thank you for inviting me Tim.

 

Yeah I heard of your channel…

 

I didn’t know that it exists, but I think it’s a great opportunity to share laser related or light related things here on this platform.

 

So I’m excited to be here.

 

Thank you very much.

 

Tim Bennett: And thank you for taking the time, because I know you’re a busy guy, you’re a busy company and you’re an expert in the industry.

 

So I really appreciate you taking the time to share what you have with the community.

 

Because I think, what you have is something that, you know, is very in demand.

 

One of the problems that we always used to have in the old days, was trying to coordinate the laser guys with the lighting guys and you seem to have perfected that.

 

But before we talk about LaserLink, why don’t you just share with the community a little bit about LightLine Lasertechnik as a company.

 

How long you’ve been operating and what you’ve been doing.

 

Marco Stümpel: Yes sure!

 

So I was always interested in physics and lasers, so that was one thing.

 

So when I was, I think 15, I bought my first kit for helium neon laser and I saw actually, my first red laser spot in school and so, I was totally fascinated, like everybody is when when you see the laser point or laser beam for the first time.

 

 

That really thrilled me.

 

And so I started to read about it and to know how a laser works and all that.

 

That was in the school time and then later on, when I was thinking of what I’m going to do for business and for living, the second thing I’m very interested in, is flying.

 

So I wanted to be a pilot, but at that time, when I finished school, in 1991, The Lufthansa here in Germany, they did not have any jobs.

 

So it was decided to go the other way and to start to study physics and so I went that way and decided, together with my parents, so

 

I had to pay for it…

 

Whenever Lufthansa comes back to take or taking pilots or you know, educating pilots, then I’m going to go back to Lufthansa.

 

But that never happened so I…

 

It was a hobby back then, this show laser thing.

 

I went to a discotheque and saw the laser shows in the discotheques.

 

That fascinated me and the local disco here they had a laser, ion laser system and the light operator there, allowed me to have a look inside and so that went on and on.

 

But I always thought, “okay…” when I looked at this laser system here I thought “okay now this is made out of wood.

 

It should be made out of a stable material” and I tried to… I thought I would make it better and then after one or two years, I decided to buy a small CNC machine and do aluminium milling and and went deeper into the show laser theme.

 

I looked at companies here in Germany, who were building lasers, like Tarm and Lobo and all these guys and so I started to to offer laser systems also to local discotheques here or do shows and this is where I founded the company.

 

Because you have to be a company not a private person, to be able to sell or to rent out your lasers.

 

 

I bought my first laser the Spectra Physics 168 and shortly after the first Coherent Pure Light, which was the laser back then, and build housings and we started to sell systems to local discotheques and they worked fine.

 

So I was in the middle of a competition, kind of a competition with the big global players and so that’s where it all started and it went on and on so we also we only used Coherent lasers and today we have a very good relationship with Coherent.

 

Later with the OPSL, so we were the first to introduce the OPSL, that I found somewhere on the internet for forensic application, the Coherent TracER, which is for crime scenes to see in other liquids and so I saw that there was a five watt green laser inside, powered by a battery and I called up my Coherent guy and said “okay what’s in there?”

 

Because I knew that the JEnoptik, the green laser was already there with Sollinger Blitz, for example, and I wanted to have something on my own and started this cooperation, intense cooperation with Coherent and so we brought out the OPSL (Optically Pumped Semiconductor Laser) and so then the ion laser days were gone.

 

But I am still an ion laser guy.

 

When I look here, I have two lasers here, still sitting on a desk here somewhere and I also dealt with the Sabre lasers, 171’s, so I know all about, more or less, all about where we all come from in the laser business and what we have today with the laser diodes and all this technology.

 

So yeah we will focus on OPSL.

 

Sold almost 100 diodes.

 

Had great projects.

 

Did installations worldwide and we were a supplier for reselling companies, but also for other rental companies and so that’s what we also still do today.

 

So we built the projectors, sell it out to the UK or to the United States and that’s where those lasers are then used for shows.

 

And so the whole DMX idea, if you’re asking me how we come to the DMX now, is that while we were doing shows, we experienced this atmosphere in the front of house that you had to sync yourself with the lighting guys and that’s, I mean, it was always a strange situation.

 

I don’t know if people can agree, but when you enter the front of house and you come up with your computer, and then go “oh my God!

 

Now this laser guy comes with his funny stuff and the laser stuff and… so there was already a vibe that was not perfect I would say.

 

 

Tim Bennett: And yeah, I think that’s funny that you say that because…

 

…if it’s okay if I jump in, because as a laser guy, we used to think the other way around.

 

We’d be there and the lighting guys would turn up and we’d go “we don’t need the lighting guys we just want blackout.”

 

You know and then the LED screens come and “we don’t need them either.”

 

So I think it’s funny to see from the other side of the the desks.

 

Marco Stümpel: Yeah absolutely!

 

That’s true, but, you know, but when it comes to real big shows, big events, like here in Germany like Parookaville, or something, it’s all super professional.

 

So you cannot show up with any with any simple or yeah cheap stuff. So it has to be professional, but then the other thing, when it comes to the show of course the artists, like David Guetta, or whoever, they want to have it perfect.

 

I mean, you cannot just trial and error and hit some buttons to see if the laser beams might hit the the sound.

 

So that’s not it and this is where… and you cannot really solve that by keeping the laser guy separately on one side and the lighting console, the LED and the video on the other side.

 

So it has to be in sync and then it’s not that important, if you have a real complex laser effect.

 

I mean laser guys always want to make it very complex… now we can do 60k now fade in, beam brush, whatever, I think that’s not… it’s important to have a good technology.

 

Same with the laser projectors itself, but I think, it’s sometimes even better if you have simple effects, but when they’re in sync and when they fade out with the lights together and change color exactly with at the same time, when the light color changes or LED then it looks all in sync and in harmony and that’s what we want…

 

So this is what we see and what we feel, that it has to be in sync and this is, for example, the laser ray… the laser bar that you have behind you, it’s a very very simple effect, but it’s the simplicity of the beauty of the laser itself, the beam, so it’s not complicated.

 

Can just do beams and on and off, fade in and out and that’s it, but we saw the reaction from the lighting guys that “oh now this is” and suddenly they like lasers.

 

Sometimes before, it was like, “oh no lasers… it looks like a cheap disco effect,” but when they have the control on their desk, suddenly this changes.

 

That was a really really interesting experience that, suddenly they loved it and so, that was the first step more or less.

 

And so this is why the message is it has to be on the light console and it has to be simple and it has to be, it has to work intuitively (is that the right word?) so it has to…

 

I mean when you get a new lamp or new moving light, you have to familiarize yourself with that, of course and you know, load the fixture and try and this and that, but it has to be fast and also they have to work with it and then then the whole workflow is like it should be and same with the lasers, with the projectors and also with LaserLink is that it’s not made for… it’s not made for pure laser shows.

 

It’s a light effect and it is by accident, it’s a laser, but but you cannot do graphic shows with that.

 

So that’s not made for it.

 

 

Tim Bennett: Excellent and I think it’s really interesting the way that the the two technologies have merged over the years, because I remember, and I like what you say about making things simple.

 

The very first laser I ever had was a gas filled 100 milliwatt air cooled argon…

 

Marco Stümpel: American yeah ALC?

 

Tim Bennett: Yeah ALC… and it had a very small keypad and it was just very simple.

 

You just push buttons and it was tunnels, beams, flat scans, just super super simple and I always felt that those those simple things were the ones that the people liked.

 

You know, you put a flat scan overhead and everyone puts their hands up and they want to stand in their tunnels and everything like, that so I totally agree with you that keeping it simple is really nice.

 

Also that you know the integration of the two, traditionally it has been the laser man and the lighting man and to get them to work together in sync has always been a challenge, so I think it’s really fascinating and very timely that something like LaserLink has come out and in a moment you’re gonna actually demonstrate how we can get to play with it and what it does and how we can use it yes?

 

Marco Stümpel: Yes absolutely…

 

I mean there are options to control lasers by DMX.

 

That’s nothing new, but it’s more or less that you have always something in between.

 

So we have the LaserLink and we have the projector and that’s it and there’s no special converter in between, like I don’t know, some software or a laser computer way just trigger effects.

 

We tried that as well, but first of all, it’s more expensive.

 

So you need that stuff or you need to have other stuff as well, you need to do software updates.

 

I’m sure you know what I’m talking about.

 

So you come to the show and suddenly something pops up.

 

Now you have to make an update right now.

 

So that was something that would really screw things up and certainly a light operator wouldn’t like that.

 

You know, these these things pop up.

 

So it has to be simple.

 

It has to be what… it has to work, but then it has to work very very good.

 

So to give you one example, the resolution of the channels.

 

When you have, in a big stadium and you just want to move a circle left and right, the resolution for the output is really important because when you sometimes… and some songs move it very very slow, you see these this thing (Juddering) and uh so that it’s not really really smooth.

 

So this is why the resolution has to be really high, because the lights also move very very smooth.

 

It has to be at least as good, because otherwise no light designer or light operator would want to use it, if it looks kind of crappy.

 

So this is how the approach was and still laser is a special thing you cannot, you know, it’s not a moving light, but we’re trying to be as close as possible, because you know, laser safety is something that we have to take care of.

 

If on one hand you want to keep it simple, you have to on the other side respect laser safety and things like that.

 

Especially if you’re doing shows with hundreds of watts.

 

So this is why we integrated a few safety features, but I come to that a little later.

 

 

Tim Bennett: Okay! So in a moment we’re going to take a look at LaserLink, but first we’re going to take a quick break but just to let you know, I’m having a very interesting conversation here with Marco Stümpel about LaserLink and we’ll be back in just a moment.

 

 

 

 

Tim Bennett: Welcome back to ArgonTV. I am having a absolutely enthralling conversation here with Marco Stümpel about LaserLink and basically we we are joining or combining lasers to lighting desks.

 

So Marco, why don’t you give us a walk through what it is that LaserLink actually does.

 

Marco Stümpel: Yeah so yeah we have to talk a little bit of about the hardware but very very short, I don’t want to tell boring things here.

 

And so I here have a small projector where the LaserLink controller is integrated…

 

 

So just one channel for other manufacturers or we built that as well, into the projector, just the board and the display and you see here…

 

You can… let me see… change the DMX address, you have the small thing that you need,(the pen) because your finger is sometimes, a little bit too big, so you can put it in here and pull it out, so that you can do all the changes, like DMX address, ArtNET, scan speed, so this is something you have to do first, because you want to have your projector set up correctly that you can then just just use it.

 

And so this is why… this touch screen here is integrated and here’s the DMX, artNET, you have the scanner setup, you have a test picture, so without anything connected, for safety or for setup, you can turn on a test pattern, for the scanner.

 

You can do a geometric correction.

 

 

For example, if they’re not all really well aligned in the rig, you sometimes have to rotate and if you want to project something for abstracts or something, sometimes the screen is not really a square then you can do a geometric correction.

 

So there’s a little bit more than the simple… you already maybe see that it’s a little bit more complex than a simple DMX to ILDA, something so there’s some intelligence in here already.

 

You can use it, but you don’t have to!

 

So what else do we have?

 

You can also save or load setups.

 

So if you go “like now I have a parameter set for really flat test pattern,” if you want to scan just of the crowd, you can prepare that and save it or load it if you want.

 

What else do we have?

 

The system set up, like network settings, calibration touch screen, factory settings, error log, etc, and also the color calibration, where you can change the fade in and out of the of the LaserLink.

 

So let me just activate that.

 

I don’t know if you see that behind me?

 

Tim Bennett: Yes!

 

Marco Stümpel: I’m going to take this away now and go to the actually working laser projector here.

 

So can you see that?

 

 

So what you see there, is a line and RGB and then you see another flat line, where you would see how the white in this case would fade in and fade out.

 

So we have on the right side, we have 100 brightness and it goes then to to the edge and you see if you have some issues with green, red or blue or orange, because this is just not RGB.

 

So if you have projectors like with the OPSL, with extra yellow or extra orange or whatever, you can do that separately for each line.

 

So and if I change now this, you know, this line that goes from one side to the other, you go into color calibration.

 

I’m just going to dis-align that now, okay?

 

I hope you can see that?

 

Tim Bennett: Yes yes!

 

Marco Stümpel: See it great! I’m taking the green, that’s for example, the threshold and go up with that, so that’s the the left side of this graph.

 

Can you see?

 

Tim Bennett: Yep!

 

Marco Stümpel: That it goes up or it can also go down.

 

See the green?

 

So the green line goes down.

 

Can you see that?

 

Tim Bennett: Yes

 

Absolutely!

 

Marco Stümpel: Okay and then you can also go into the… to the middles, because sometimes the diodes… it’s not a linear fade in, so sometimes they do something like that.

 

So you can also change the middle calibration.

 

You see then this line makes a bow now.

 

See that?

 

Tim Bennett: Yep!

 

Marco Stümpel: And you can do that with all the the lines you have available.

 

So you can, once you have set that up, you’re sure that your crappy laser, if you have a really cheap laser, so this fade in fault, let me call it that way, would be corrected by this calibration.

 

Tim Bennett: I noticed that as you’re moving that green line, it’s actually affecting the fade out, on the white line.

 

Marco Stümpel: Yes it does.

 

It’s a little bit pink.

 

I don’t know if you can see that.

 

So when the green threshold is very low, of course, then blue and red would fade in earlier, so then you would see that.

 

Now if you leave this, the fade in and fade out would be actually, it would fade in pink.

 

But we don’t want that, so this is why I’m going to, because I need this for the demo and you see with this laser, which is of course one of our products, has a really really straight line and fades in really really good.

 

I’m just going to bring that a little bit down and we tried that with other lasers, really cheap lasers and you can really mix them.

 

You know 20 watts with 30 watts in the middle and everything and it really really fades out as good as possible.

 

With this calibration, it really fades in as white and fades out in white so this is what the lighting guys want.

 

Tim Bennett: Yeah.

 

So I was going to say so that would help reduce…

 

I know when some of the lasers fade out, they go through colors.

 

And you know let’s say you got a red effect and then it shows as you fade out, it shows a blue.

 

You absolutely don’t want that, you know.

 

Is that what that is?

 

Marco Stümpel: I think really then, something is really wrong then.

 

So if you’re using multi-line, this is for orange, if you want to fade in an orange always imagine a stage with moving lights.

 

When they move the dimmer up and then it fades in an orange.

 

So that’s with all the lights and LED and you don’t want that with a laser.

 

Yeah! And my experience is that once something is wrong with the laser, so if it fades out on the threshold already in red, and then goes to orange they say “oh no we don’t want that… it’s no we cannot use the laser, it’s not it’s not brilliant enough, it does this fault” and then you’re out.

 

Because the lighting, the light designers especially and also the artists, they see this, because it’s visible and and then you’re out.

 

So you have to… so this is why we decided to have this implemented to avoid this.

 

Because when it’s not really, you know, smooth moving fade in out in a proper way, then they don’t want to use the laser and we want the lighting people to use the laser.

 

So this is why we implemented it.

 

Yeah, that looks great!

 

So I give you now, going to the operation, I will show you some simple features, because I cannot show you everything, I would bore everybody.

 

So I don’t want that.

 

So Reimar will help me here and so we set up one or two lasers. Here’s two lasers, but we’re going to start with one laser and just fade in a simple circle.

 

So there it fades in and first of all, yeah, when you see the channel list of the LaserLink, you will see that it looks quite like a like a moving light, so we really talked a lot and tested with professional lighting guys.

 

How do you want the order of the channel?

 

This is where it starts or how you want the rotation?

 

Where is zero?

 

Where is left?

 

Where is right?

 

This is why the shutter and you know pan and tilt and all these things to be as close as possible to moving light.

 

So first of all we have the gobo channel.

 

Like you have the global wheel and a moving light.

 

So it’s the gobo channel.

 

I don’t know how many gobos we have… Reimar?

 

Reimar: The ability of 255.

 

Marco Stümpel: So we can go up to 255 gobos.

 

And then where the gobos are, some of them are fixed gobos like you see here and they… we also tried to… we looked at how… what what kind of gobos are in professional moving light?

 

So we also try to be as close as to the shapes they already have, because if they make a star gobo, we want to have a star gobo, that looks as much as this, you know, as the gobo in a moving light.

 

Also if you use the prism effects, how can we solve that?

 

And we have some so-called modifiers, where you can change the gobo, but I will talk to about that later.

 

In addition to that, some of those gobos, are animated gobos, because it’s a laser and we want to have a sine wave that moves like a sine wave.

 

So I mean with six gobos you can do all the rotation stuff, but here, you see one of the sine waves and you can change the speed of the animation and do laser-like effects, because after… at the end of the day, it is of course, still a laser.

 

So we have them as well.

 

Then we have the so-called modifiers, where you can like I don’t know, double or stretch it a little bit, to make it more like a Lumia prism effect gobo wheel stuff, whatever, and I don’t know, if we can do that.

 

Tim Bennett: And how easy is it to actually move this effect, like up and down, left and right?

 

Marco Stümpel: Well you can you go to pan and tilt.

 

We can do that position.

 

You go to position just move it left and right and that’s it.

 

So you see, it’s cut it now, on the lower edge.

 

This is something you can calibrate.

 

Do you want to have it open?

 

Do you want to have it clipped?

 

Or do you want to have it fade out?

 

That’s also something that you can choose from, because sometimes, it looks better when it’s really, when it hits that line hard and sometimes it looks better when it fades out soft.

 

So you can decide to do that.

 

So then, we have, what else do we have?

 

The color.

 

Very simple, you can go to the color picker, like all the lighting guys do.

 

 

They, you know, when they try and they go to the color picker, so you can adjust that and in addition to that, same as in the gobo channel, we have some special laser effects, that you cannot do with a moving light, but are in addition, the animated gobos.

 

Here in the color program, we have already color program, where you can…

 

…now the circle is half green half pink, you can have it, the separation of the colors, you can have it soft, it can move, you can decide, go right or left, so you can make nice effects taking just a simple color, a simple tunnel and let it stay over the audience and just play with the colors.

 

You can also say, “okay I want to have black together with my chosen color.”

 

So that’s also nice, you have white, this is, you know, the idea of the the prism, extra prism wheel.

 

Right here in the color program.

 

So what else do we have?

 

We have shutter, strobe, strobe channel, what’s this now?

 

So this is shutter and at a certain point, it starts to, it starts to strobe or and like the things you need on a big stage.

 

Tim Bennett: Yeah I think this is very nice.

 

How it’s bringing everything into one package so that one operator can, one lighting designer can control everything in a very simplified and this is designed for live use yes rather than pre-recorded or can you do pre-recorded?

 

Marco Stümpel: Yeah, like with the moving light, if you have a GrandMA3, the light shows are all pre-programmed for the closing show for big festivals.

 

It’s a moving light and they program it before as well, or if you want to pre-program it, it’s now integrated in the Depence 2, and it’s for free, unlike with other products, you have to have a Beyond connected or somewhere in the network.

 

Or if you want to use a DSP (digital signal processor), you actually have to have a DSP there in the network and we decided now we want to generate creativity, so that the light operators and the designers, can use the LaserLink unlimited, without having anything connected and then you can pre-program that in Depence 2, using as many lasers as you want.

 

We have been working with Depence, I know those guys already for 20 years, and we tested a lot and when you pre-program it, connect your LaserLink and you connect your laser, it behaves exactly like in the simulation, that I sent you this link before, where our friend Lars Geilker made a short video already, especially with Depence and the LaserLink, maybe you can show the link later on and yeah, and so to make it as simple as possible, and also affordable as possible, for the users.

 

Tim Bennett: Awesome!

 

And I like what you were saying just now, all I need is a laser, LaserLink and away I go.

 

That’s very nice.

 

I think, especially as some of the software programs that control lasers, they’re really expensive and a lot of the lighting designers, you know…

 

So I think that’s a great tool.

 

So fantastic. I think that’s that’s a great overview of what you’ve been doing and it looks like a great little tool.

 

So we’ll we’ll take another short break and I’ve been talking to Marco Stümpel from LightLine Lasertechnik and we’ll be back in just a moment!

 

 

 

Tim Bennett: Okay.

 

So welcome back.

 

I am here with Marco Stümpel from LightLine Lasertechnik and we’ve been talking about LaserLink and it looks absolute absolutely fascinating and I think the simplicity of how it’s used is very attractive, but you had something else that you wanted to share about it, correct?

 

Marco Stümpel: Yes and it’s unique…

 

So right now, we have one small projector connected, doing just a circle and you can have a second laser or how many lasers as possible or if like you want, but we thought that if you want to make a flat line, you have a show with a song, where it’s really a soft melody and then you want to make a timed beams on the beat, you have to then decide or create really the cues and so we thought no we don’t want to prepare the cues, it’s all in real time, it’s all calculated on the processor.

 

We just add a second software channel that is completely individual and you have the complete channel list once again on top of this and just fade in or just use a second object, second gobo rotation, whatever.

 

They’re completely independent from each other and then you can do that.

 

You know, have this soft flat line or tunnel or whatever or wave and just then do the beams and it was really… we’re very proud of how the output is, because some normally, when you fade in a second object, we all know that with the track, then the scanner speed goes down and starts to flicker and all that and this is something that surprised many people who worked with this already, that they don’t see on… they don’t… almost don’t see any difference when the second object comes in.

 

So the circle stays with this frequency as stable as possible and then you can do whatever you want with the second gobo.

 

So this is unique I think.

 

Tim Bennett: That’s great and as he’s fading in and out I can see there’s almost no noticeable difference in the the two and it’s important because one of the things that I’ve always been like, Grrrrr…. about is when you put up a second image, it kind of pulls the other one in, so I think that’s great.

 

Do you actually have a LaserLink there that we can actually see?

 

Marco Stümpel: Yes, so it’s either integrated in the projector, you saw that already, or this is the standard.

 

It’s a small box with also, you can put it in the truss if you have a laser somewhere.

 

 

You just want to fix it put on a safety and all that.

 

So the hardware is very stable.

 

It goes in here, goes through Powercon and on the other side, you have artNET network, DMX in and out, one nice thing about the network, so when you have to change the values, for example, the size or the general horizon of the safety zone or point out camera position, you can do that as well.

 

You can actually spot out a camera, when there’s a camera somewhere, but you can also use a web browser to change all the values, so you don’t have to climb up and push buttons on the system.

 

You can just connect your laptop and do all that via the network.

 

So here we have 2 hardware ILDA outputs.

 

So we’re right now we’re just using 1, though with the two software channels, keep that in mind, and there’s just another one.

 

We can also build it in a rack with 10 channels or 16 channels or whatever.

 

So this is just one option.

 

Then you have the touch screen here, and you can use your finger, using the touchscreen or you can also pull it out (the pencil) and do all the calibration scenes.

 

So this is what the hardware looks like.

 

 

Tim Bennett: I really like that you got a screw in pencil or pointer, because you know it’s going to get lost.

 

Marco Stümpel: I know, but you can use your finger, but it’s nice to have one…

 

Sure… You can also use a pen or something.

 

So it’s not an electrical touch thing so it’s no pressure.

 

Tim Bennett: Okay great and you know, I think this is going to cause a lot of interest in the industry and when we release this video, I think a lot of people be interested in it.

 

So how do people get in touch with you if they want to contact you, because I mean we can’t give them all the information about LaserLink in a video like this.

 

They’ve really got to talk to you.

 

How do they get in touch with you?

 

Marco Stümpel: Yes…

 

Well they they can visit our website www.lightline.de but we have a special and that’s the more important website it’s www.laserfixture.de and so there you can register and download the newest fixtures or the software for the different consoles, updates, you can download the manual, channel list, etc, and as I said it’s integrated with Depence,

 

So if you do the simulation stuff, so then the guys from from Syncronorm are the guys to talk to and so just… we can also send out demos.

 

So for lighting designers want to test this or laser, you know, serious laser manufacturer can also test it.

 

They can visit us.

 

We have a demo studio here.

 

We can do tests and we can rent it out and whatever or just buy one.

 

So you can choose when you want to buy one between one or two channel and of course, the one channel, it’s just a software thing, so if you want to go later on to use the second channel, you just type in this special code and then software is updated to do a channel operation.

 

Tim Bennett: Okay!

 

Well, Marco I want to thank you and your whole team for putting this all together and showing LaserLink to us.

 

I think it’s a great tool and I really appreciate you being here.

 

Before we go, because we’re about to wrap up i’d just like to ask you, what’s your secret to success?

 

I like to ask everyone.

 

Marco Stümpel: My secret of success… maybe it’s not a secret, but always be honest and be correct.

 

Do it with passion and do it as good as possible.

 

Once I wrote on my booth in Frankfurt “There’s just one way to do things and that’s the right way” and so maybe that tells it all yes.

 

 

Tim Bennett: Awesome… Well, thank you very much for your time here today I really appreciate, not only you, but as I said, the whole team behind you, that put this all together and sharing this information.

 

I’ve been having a wonderful conversation with Marco Stümpel from LightLine Lasertechnik, based in Germany about LaserLink and we’ll be back with another very exciting episode of ArgonTV very soon.

 

 

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This post “LaserLink – Laser Like A Moving Light” Was written exclusively for Argon Animation Inc by Tim Bennett © 2020