Author one color. See it everywhere.
Author one color and Spectralite solves it onto each fixture's real emitters. The same amber reads as itself on an RGB par, an RGBW wash, and a CMY mover at once.
Color engine demonstration. One authored color moves between deep red, cyan, magenta, and warm amber on a CIE 1931 chromaticity diagram. Below it, the engine re-solves the same color onto four fixture types: RGB on an ADJ Dotz Par, RGBW on a Martin MAC Aura, RGBWA plus UV on an ADJ 12P Hex, and CMY on a Martin MAC Viper Profile. Each card shows the fixture's channel recipe as bar levels.
Describe the look, not the channels.
Author color three ways. The first two are solved onto each fixture's emitters; the third goes straight to the wire.
- xyY a perceived color point the engine solves onto every fixture's emitters
- Temp white by color temperature in kelvin, plus tint, solved the same way
- Channels direct emitter levels, no solve, exactly what you set
It knows the emitters your fixtures actually carry.
Real fixtures mix more than three colors. Spectralite solves onto red, green, and blue, plus white, warm and cool white, amber, lime, UV, and the cyan, magenta, and yellow of CMY movers. A fixture with a dedicated white gets a cleaner white, and the engine chooses the recipe for you.
One color, many honest recipes.
The Color panel's xyY tab. A brightness bar sits above the CIE chromaticity field, where the horseshoe-shaped spectral locus encloses the sRGB gamut triangle and the selection thumb sits on the triangle's red corner. Below the field, the x and y inputs read 0.64 and 0.33, and the Quality slider runs from Bright on the left to Pure on the right, with the thumb at 60 percent.
No fixture jumps off-color.
When an authored color falls outside what a fixture can physically produce, Spectralite renders the nearest color it can reach. A deep blue lands as each fixture's closest blue, so a wash stays even across mismatched lights.
Honors the manufacturer's measurements.
When a GDTF profile carries measured emitter data, Spectralite solves against the manufacturer's real numbers. When it does not, the engine falls back to defaults drawn from a large survey of real fixtures.
Gradients that mix like real light.
Every preset color is a gradient, and the in-between colors are the ones real light mixing produces. Author three project-wide presets and every effect that references them updates at once. Ships with five libraries: Classic Gradients, Nature, Scientific, Solid Colors, and Effects.
Professional lighting control that speaks every standard, runs on your Mac, and costs what it says on the page.
No dongle. No quote. No lock-in.