“This is easily the most curiosity and enjoyment I’ve had with a fixture in a long time,” commented Mike MacDonald, Senior Lighting Designer, Twenty20 Creative. “Optically, technically, and visually, the Martin MAC Encore Two is a premium fixture that delivers exactly what it says on the box.”
Mike recently used 22 Martin MAC Encore Two fixtures at a corporate theatre event for a Toyota Awards Dinner (pictured), delivering stage gobos, washes, and aerial beam effects.
These days, when we do fixture shootouts, the conversation almost always lands on output. But output alone isn’t the full picture. “That fixture looks brighter than that fixture” becomes the default comparison.
Mike says that, if anything, he often finds himself reducing light levels as output isn’t the issue anymore.
“I’m looking at light quality, dimming performance at low levels, colour rendering, colour shift, and what the optics are actually doing?” he explains. “Is there homogenisation in the LED array? Has the manufacturer chosen an LED engine that shifts toward the blue end of the colour spectrum to make it appear brighter? How much control do we really have over each attribute? And just as importantly, how refined is that control when you’re working in large-scale or sensitive environments?”
So, when Mike discovered the Martin MAC Encore Two, he admitted that he was excited, stating that there is no disconnect between expectation and real-world output; it behaves exactly as you expect.
“I found my client and I having more ‘ooh and ah-ha’ moments while programming!” he said. “If you’re programming and struggling to choose between looks, you’ve probably chosen the wrong fixture. The MAC Encore Two, everything became an “oh… that looks great” moment.”
Mike notes that the product is definitely aimed at theatre, broadcast, and stage environments, and it feels purposely built for theatrical disciplines.
“The optics and zoom range have set a real benchmark,” he added. “The beam field remains consistent and usable throughout, whether you’re using it as a key light, a tight focused special, or even for mid-air aerial beam looks.”
A significant step forward from the Encore Performance CLD and WRM variants is the move to a native 5600K daylight engine, offering a native CRI of 90, and up to CRI 95 with the Spectral Enhancement Filter.
More importantly, it’s accurate. When the console reads 2700K, the fixture outputs 2700K, and the light meter confirms it. The inclusion of both light and heavy frost is another practical win, removing the need to specify multiple fixture types.
“That level of consistency makes a real difference in programming and integration, especially in theatre and broadcast, where colour accuracy is critical,” remarked Mike. “Even at low lux levels, there’s no visible colour shift, which is a major advantage in light-sensitive environments.”
Mike says that the MAC Encore Two’s final highlight is the gobo set, which he describes as exceptional, by far one of his favourites he has ever used.
“It’s practical, creative, and highly adaptable, and you’re not fighting the zoom range to get a usable result,” he said. “Gobo morphing feels like a genuine design tool rather than a gimmick, and when combined with the LED array, it introduces dynamic beam-field movement that adds another layer of visual interest.”
He adds that he is genuinely looking forward to using them again in a theatrical setting, doing cyclorama or scenic flat focusing to really explore and push what the gobo system can do in a more sculpted scenic environment.
“While I haven’t yet had the chance to deploy the MAC Encore Two in a theatre or broadcast environment, I can see this being a strong workhorse fixture in theatre, corporate, and broadcast environments,” he noted. “In environments where cues need to land identically night after night, this fixture feels built for that task. Pan/tilt indexing feels precise, calibration is reliable, and positions and framing hold exactly as programmed.
“If you need something to hit the same mark every show without drift or guesswork, this is absolutely a fixture worth specifying.”
Mike concludes that overall, the MAC Encore Two is a premium product built for designers who care about light quality, precision, consistency, and creative flexibility. It sets a new standard for what a modern theatrical fixture should be, and he can’t wait to use them again!
“Many thanks to Ben Fry and Dan Hocking from Perth-based supplier What Noiz for taking the leap in bringing this product into service for our project. It’s always appreciated working with suppliers who back the gear and support the creative outcome.”
