Rotolight Anova Pro 2 User Review


Andy McKenzie TV-Bay Magazine
Read ezine online
Download PDF
Download PDF

The Anova PRO 2 is the fourth generation of Rotolight’s studio/location light, offering 70% more power output than its predecessor. It is claimed be one of the brightest LED lights ever launched in its class, delivering 10,700 lux at 3 feet yet consuming only 72 watts. Figure 1 shows the front with accessory mounting spigots (1), optional barn doors (2) and a gel frame holder.

Features

The lighting market is highly competitive but this model is notable for its exceptional versatility. It is capable of 14 lighting effects, including a ‘chase’ mode which uses DMX to control a line of lights to simulate a moving light source. Rotolight's wDMX can be used to control up to 512 wireless slaves from one Anova PRO 2 master. A multi-flash feature allows users to capture multiple frames of movement in a single exposure. Enhanced DMX features include FX Slave which allows more precise synchronisation between master and slave Anova PRO 2s.

A 'CineSFX' facility provides cinematographic lighting effects which can be controlled via wirelessly. Operators can also use DMX or wDMX to connect multiple slave Anovas for studio lighting. An aperture dimming feature calculates and displays the correct aperture for a subject at a given distance. 'Designer Fade' provides custom fade up/down production effects.

Rotolight has integrated Elinchrom's Skyport 2.4 GHz HSS wireless flash receiver, eliminating the need to purchase a standalone flash receiver. This can be used to control up to 10 lights wirelessly in four groups at up to 200 metres. High speed sync flash synchronises the light to the camera shutter release (up to 1/8000th of a second speed) for traditional photography. This uses a colour tuneable flash and a modelling light. Auto set-up allows single-click configuration of DMX channel settings on large groups of lights.

Components
Each kit includes one of the following: Rotolight Anova PRO 2; yoke with standard TVMP Bracket; universal power adapter with regional mains cable; gel filter holder; standard filter pack (216 full diffuser (1.5 stops) plus 250 medium, half white diffuser (3/4 stops) plus 184 a 'cosmetic peach' diffuser plus 279 1/8th minus green (magenta); and an impressively detailed user manual.

Options
Among 12 available options for the light are a 95 watt-hour V-Mount battery, dual and quad channel chargers, a double yoke, honeycomb louver, colour filter pack, the barn doors, an optical light shaping diffuser, flight case and travel kit.

Operation
All electrical controls are located on the rear of the lamp head, seen on the right of the photo. These comprise multi-role rotary encoder knobs (1), firmware programming port (2), power switch (3), two mounting brackets for yoke or barn doors (4), menu item or selected value display (5), DMX in/out (6), USB port (7), 13 to 17 volt DC power input (8), flash sync and trigger input port (9) and V-Lock battery plate (10). Dimming range is completely flicker free from zero to maximum brightness. Brightness is adjusted by by rotating the left rotary encoder. Simply rotating the knob adjusts the brightness in 1% increments. Press/hold/rotate adjusts the brightness in steps of 10%. Colour temperature range is from 3150 kelvin (tungsten) up to 6300 kelvin (direct daylight), stabilised across the entire dimming range. An integral exposure calculator shows the brightness setting as an f-stop for the subject at a given distance, referencing the camera ISO and shutter.

Effects
The Anova PRO 2 is capable of an astonishing range of effects such a lightning simulation, strobe (obviously use with caution if intended for broadcast), light pulsing and colour cycle. 'Fire' emulates a burning fire. Multiple lights with slightly different settings and gels can be used to achieve quite realistic fire effects. A submenu set of spinning effects is accessible. 'Film' simulates the flicker from an old cine projector, 'Weld' an electric arc torch and perhaps most ambitious of all 'Chase' uses a line of up to 48 Anovas to simulate passing street lights.

Summary
Compact, very well thought out and robustly built, the Anova PRO 2 is quite simply one of the best and most versatile LED studio and location lights on the market.


Tags: iss136 | rotolight | anova pro 2 | led | lighting | flash light | dmx control | Andy McKenzie
Contributing Author Andy McKenzie

Read this article in the tv-bay digital magazine
Download PDF
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Rotolight Anova Pro 2 LED at NAB 2018

    Rotolight Anova Pro 2 LED at NAB 2018

  • Rotolight Anova Pro 2 shown at BVE 2018

    Rotolight Anova Pro 2 shown at BVE 2018

  • Rotolight at NAB 2012

    Rotolight at NAB 2012

  • Rotolight and TNP at BVE 2012

    Rotolight and TNP at BVE 2012

  • Rotolight at ProVideo2011

    Rotolight at ProVideo2011

  • TNP and Rotolight at BVE North 2011

    TNP and Rotolight at BVE North 2011

  • Rotolight at IBC2011

    Rotolight at IBC2011

  • FilmGear LED lighting at IBC 2015

    FilmGear LED lighting at IBC 2015

  • LiteGear LED LiteMat at IBC 2015

    LiteGear LED LiteMat at IBC 2015

  • Zylight LED Fresnel at IBC 2013

    Zylight LED Fresnel at IBC 2013

  • Telestream Vantage Powerful, Scalable, Software-Enabled Media Processing Platform at BVE 2019

    Telestream Vantage Powerful, Scalable, Software-Enabled Media Processing Platform at BVE 2019

  • Dedolight DLED3 shown at IBC 2018

    Dedolight DLED3 shown at IBC 2018

  • Dedolight show the LED Raptor Bicolor at IBC 2018

    Dedolight show the LED Raptor Bicolor at IBC 2018

  • Jonathan Harrison interviews Dedo Weigert with the DEDOLIGHT DLED3

    Jonathan Harrison interviews Dedo Weigert with the DEDOLIGHT DLED3

  • Force 7 LED LEKO light from BBS at IBC 2017

    Force 7 LED LEKO light from BBS at IBC 2017

  • Kino Flo Celeb 850 and Freestyle LED lights at IBC 2017

    Kino Flo Celeb 850 and Freestyle LED lights at IBC 2017

  • PhotonBeard - LED Redhead - at BVE 2015

    PhotonBeard - LED Redhead - at BVE 2015

  • Zylight F8 LED Fresnel at NAB 2013

    Zylight F8 LED Fresnel at NAB 2013

  • Area 48 Colour from BBandS Lighting plus more announcements at NAB 2019

    Area 48 Colour from BBandS Lighting plus more announcements at NAB 2019

  • Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

    Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • Cirrolite and Kino Flo at BVE 2017

    Cirrolite and Kino Flo at BVE 2017

  • Cineo HS2 at IBC 2015

    Cineo HS2 at IBC 2015

  • LiteGear at IBC 2015

    LiteGear at IBC 2015

  • Cineo Matchbox at IBC 2015

    Cineo Matchbox at IBC 2015

  • Litepanels at BVE 2015

    Litepanels at BVE 2015

  • LCA - LITEGEAR at BVE 2015

    LCA - LITEGEAR at BVE 2015

  • Rosco at BVE 2015

    Rosco at BVE 2015

  • Photon Beard Platinum Blonde at IBC 2014

    Photon Beard Platinum Blonde at IBC 2014

  • Photon Beard Photon Beam at IBC 2014

    Photon Beard Photon Beam at IBC 2014

  • Zylight Fresnel updates at IBC 2014

    Zylight Fresnel updates at IBC 2014

  • Photon Beard on BroadcastShow LIVE at IBC 2013

    Photon Beard on BroadcastShow LIVE at IBC 2013

  • AC Entertainment Technologies at BVE 2013

    AC Entertainment Technologies at BVE 2013

  • Litepanels at BVE 2012

    Litepanels at BVE 2012

  • Jonathan Harrison at BVE North 2011

    Jonathan Harrison at BVE North 2011

  • Litepanels at IBC2011

    Litepanels at IBC2011

  • Gekko at IBC2011

    Gekko at IBC2011

  • SmallHD shows the Cine 7 monitor with camera control and integrated Teradek Bolt at NAB 2019

    SmallHD shows the Cine 7 monitor with camera control and integrated Teradek Bolt at NAB 2019

  • KitPlus filming rig used at BVE 2017

    KitPlus filming rig used at BVE 2017

  • Filming kit review from NAB

    Filming kit review from NAB

  • Kino Flo at NAB 2016

    Kino Flo at NAB 2016

  • Dedolight at NAB 2016

    Dedolight at NAB 2016

  • Photon Beard at IBC 2015

    Photon Beard at IBC 2015

  • Zylight at IBC 2015

    Zylight at IBC 2015

  • Dedolight at IBC 2015

    Dedolight at IBC 2015

  • Kino Flo Select at IBC 2015

    Kino Flo Select at IBC 2015

  • LCA - Inteca products at BVE 2015

    LCA - Inteca products at BVE 2015

  • Zylight on BroadcastShow LIVE at IBC 2013

    Zylight on BroadcastShow LIVE at IBC 2013

  • Sonifex at BVE 2012

    Sonifex at BVE 2012

  • Pixelution at BVE North 2011

    Pixelution at BVE North 2011

  • DoP Choice show the latest lighting solutions at NAB 2019

    DoP Choice show the latest lighting solutions at NAB 2019

  • Area 48 Color and more from BBS Lighting at IBC 2018

    Area 48 Color and more from BBS Lighting at IBC 2018

  • BBS Lighting Force 7 at NAB 2018

    BBS Lighting Force 7 at NAB 2018

  • DOP Choice Lighting Bracket and Snapbox at IBC 2017

    DOP Choice Lighting Bracket and Snapbox at IBC 2017

  • Hive Lighting at IBC 2015

    Hive Lighting at IBC 2015

  • LSC Lighting at IBC 2015

    LSC Lighting at IBC 2015

  • LCA - Snapgrid lighting control - BVE 2015

    LCA - Snapgrid lighting control - BVE 2015

  • Hive Lighting Wasp Plasma Par at IBC 2014

    Hive Lighting Wasp Plasma Par at IBC 2014

  • Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

    Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

  • Photon Beard at IBC 2016

    Photon Beard at IBC 2016

  • Projects Department on BroadcastShow LIVE at IBC

    Projects Department on BroadcastShow LIVE at IBC

  • Ianiro on BroadcastShow Tour May 2013

    Ianiro on BroadcastShow Tour May 2013

  • Photon Beard: Cyc Hood at NAB 2013

    Photon Beard: Cyc Hood at NAB 2013

  • Photon Beard: Space Light at NAB 2013

    Photon Beard: Space Light at NAB 2013

  • Photon Beard: Square One Light at NAB 2013

    Photon Beard: Square One Light at NAB 2013

  • Jonathan Harrison at BVE North 2012

    Jonathan Harrison at BVE North 2012

  • Litepanels at NAB 2012

    Litepanels at NAB 2012

  • Datavision at BVE 2012

    Datavision at BVE 2012

  • Flaghead Photographic at ProVideo2011

    Flaghead Photographic at ProVideo2011

  • Cirrolite at BVE North 2011

    Cirrolite at BVE North 2011

  • PAG at IBC2011

    PAG at IBC2011

  • Photon Beard at IBC2011

    Photon Beard at IBC2011

  • IDX at IBC2011

    IDX at IBC2011


Related Shows
  • LED Lighting with Den Lennie at BVE

    LED Lighting with Den Lennie at BVE


Articles
Original KVM or KVM over IP
Jochen Bauer Will the technology used in broadcasting solely consist of IP devices? For years, IP has been entering all areas of life. Especially control room applications as they are typically deployed in broadcasting benefit from the IP revolution in many ways. But an “IP-only broadcast world” is not yet here. Nevertheless, the trend clearly moves towards IP transmission, even though a large part of content production still uses traditional transmission paths. And therefore we continue to live in a hybrid world, using both original and IP-based technology. KVM experts Guntermann und Drunck still rely on both original KVM and KVM-over-IP™ to be able to offer their customers the best of both worlds.
Tags: iss139 | kvm | gdsys | guntermann and drunck | kvm-over-ip | Jochen Bauer
Contributing Author Jochen Bauer Click to read or download PDF
Keeping the Show on the Road
Andy McKenzie There is long-established saying in the media business that, if something goes wrong, at least nobody dies. It is almost true unless you happen to be a TV producer suffering a cardiac arrest because your primary video feed has gone blank during a high-budget programme.
Tags: iss139 | service | support | finepoint | maintenance | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
Why MADI is Still Relevant
Stephen Brownsill While the original idea for MADI was to cater to a very narrow recording studio application, the standard remains a viable go-to multichannel audio technology. Beginning as a standard in 1991, MADI was first introduced to the world as digital production was beginning to come of age. MADI was put together in 1988 by Solid State Logic, AMS-Neve, Sony (DASH) and Mitsubishi (ProDigi) as a way to transport up to 56 channels of digital audio between large-format audio consoles of the day and digital multi-channel tape machines via 75-Ohm coaxial cables. Both tape-based machines have long since disappeared from the equipment landscape.
Tags: iss139 | madi | tsl products | aes10 | aes | dolby atmos | st-2110 | sam-q | Stephen Brownsill
Contributing Author Stephen Brownsill Click to read or download PDF
The Future of Broadcast Connectivity
Jamie Adkin The use of KVM equipment has been essential to meet the evolving needs of the broadcast industry for many years. Over that time, many in the industry have recognised the importance of using IP-enabled KVM to break down technological barriers and enable real-time access to visuals wherever and whenever they’re needed. These components are vital parts in live production environments in particular.
Tags: iss139 | adder | kvm | ip kvm | Jamie Adkin
Contributing Author Jamie Adkin Click to read or download PDF
Keeping Pace with the Content Revolution
Kevin Fitzgerald These are uniquely challenging times for broadcasters and their technical teams. Not only are they having to negotiate the move to IP-based infrastructures and the introduction of new formats and techniques such as 4K and HDR, they are also having to generate more content than ever before to support OTT and web services as well as traditional linear broadcast.
Tags: iss139 | streamstar | streaming | case 800 | ipx | ipx-3g | Kevin Fitzgerald
Contributing Author Kevin Fitzgerald Click to read or download PDF