Chauvet Professional Rogue R1 BeamWash

Use the table for the selected personality. The following proposed check is only for 21CH; a 14CH profile puts the shutter and colors at different channel positions. Channel numbers are relative to the fixture’s start address.

1. In 21CH, compare dimmer 6 and fine dimmer 7 with the console output. Set Strobe 8 within 020–024 for steady light, then test RGBW on 9, 11, 13 and 15 one at a time at moderate intensity. Strobe 000–019 is Off.
2. For direct mixing, leave Color 17 = 000, Movement Macros 19 = 000 and Control 21 = 000. Those values select documented no-function ranges. If the result differs, check profile, patch overlap and a known-good direct DMX cable before changing calibration.

Setup > Red Shift deliberately warms the output as dimmer decreases. Enabling it also sets White Mode and Color Calibration to On. White Mode On targets 7500 K at full output; Off uses maximum color output and Custom stores a balance. These are different operating conditions.

1. Record Red Shift, White Mode, Color Calibration and the LED R/G/B/W POWER settings on both units. Compare the same DMX look with the same camera white balance; do not copy calibration values from another model.
2. To compare a constant color, test Red Shift Off during an agreed rehearsal after saving the original settings. Compare at matching dimmer levels, restore the intended look and record the result. The manufacturer’s notes identify Red Shift as added in V1.211005; if a menu is absent, document the actual firmware before deciding whether an update is needed.

The Rev. 6 menu lists 600, 1200, 4000, 6000 and 15000 Hz. The product page also lists 2000 Hz; confirm what the actual fixture offers instead of assuming that option exists. No listed frequency guarantees every camera mode.

1. Record firmware, PWM Option, dimmer and color, plus camera fps, shutter, exposure and white balance. Exclude active strobe and other lights in the test frame.
2. Change one available Setup > PWM Option at a time while camera and intensity stay fixed. Record labeled clips, then repeat a useful setting at the planned dimmer levels and fades. If flicker is visible without a camera, check signal, shutter and patch first.

We can assess both tasks against the show’s scenes. Define when musicians need light and when movement or color takes priority; if both are needed at once, we can compare moving effects with independent front light.

1. Compare a stationary look on the musicians with the planned effects from actual positions, including camera shots if recorded. Check the coverage of each scene and where shadows fall on the musicians.
2. We can quote BeamWash for the agreed scenes or moving effects with independent front light. Share the date, venue, musician positions, approximate dimensions and existing lights; tell us what your production supplies and what you need help with. The proposal will detail equipment and quantities, supports, accessories, power and data distribution, fixture profile and patch, programming, rehearsal and operation for the selected option.

Body size is only part of the decision: head travel, ventilation, access and safe mounting also matter.

1. Send photos and approximate heights of permitted positions. Qualified personnel must assess structure and mounting; rehearse planned travel without obstructing routes or directing the beam into eyes.
2. We can compare floor or overhead positions found suitable after the mounting review, as well as fixed fixtures. Dimensions and head travel help assess available space and coverage when selecting equipment, supports and quantities.

The ROGUER1BW data input is DMX on 5-pin XLR. To integrate it with an Art-Net or sACN network, or a radio system, we need to assess the compatible external node or receiver that will provide DMX to that input.

1. Send console model and version, nodes or radio system, available universes and outputs, plus a sketch of positions and permitted routes. If details are missing, label and connection photos can start the discussion. Confirm the protocol and full path, interface power, and matching personality, universe and address before adapting the show.
2. We can assess an existing DMX output, network-to-DMX conversion or a compatible radio link. The proposal should identify interfaces, local distribution, cabling, configuration, testing and operation. Rehearse a representative scene and signal loss and return with the actual setup to check the complete path. Review programming against this model’s personality before reusing scenes from another Rogue.