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EXHIBITION REVIEW

Neo-Neon CEO Jeremy Mair targets strong growth ETA: There are a lot of strobes in the market. What makes this strobe different from all the other strobes? JM: Well, this one’s quite basic. It’s an entry model. What is different about it is that it is very efficiently designed. And is completely original. We are trying to give people what everyone thinks of but haven’t yet seen in the market. That’s the key to our success.

ETA: With so many lighting manufacturers in China, what makes Neo-Neon different from the rest?

During PALM Expo China 2012, Entertainment Technology Asia Magazine conducted an exclusive interview with Jeremy Mair, CEO of Neo-Neon’s entertainment division.

ETA: Can you tell us about your background? JM: I was born in the UK and raised in Australia. At the age of 16, I started working in the entertainment lighting industry as a lighting operator and designer. From there I progressed into the professional side of lighting. I’ve worked for HBO, Venegance productions and Cornerbox in both studio and on location. Some notable movies I’ve been involved with were Ghost Rider, the HBO mini series, The Pacific, and a Stephen King mini series, The Dead Zone. About four years ago, I moved to Hong Kong. I quickly learned that there was no real demand for entertainment lighting and started looking into China for companies involved with lighting. I could see that one company would have one good product and another company would have another good product and I would combine those together and make a package for my customers in the West.

ETA: How did you get involved with Neo-Neon? JM: There were a lot of moving lights in the market, but not many of them fitted what both myself and my clients were looking for. In time I found a product at Neo-Neon that I liked a lot. A moving head spot using a

Luminus chip. I know Luminus as the leaders for high powered LED chips. And it really stood out from the rest of the competition. I went over to Neo-Neon and I discussed the product with them and they in turn offered me a position in the company. I took the position, but the time was not right for me. I decided to go back to Hong Kong and continue with my own endeavours. After one year, I received a phone call from Cashmore Chien, who was the CEO at the time for Neo-Neon’s Entertainment Division. I decided that Neo-Neon was the only company where I could realise my goals in lighting design. Over the past four years, we’ve sort of fallen behind our competition. I’ve come in to fix that and get us back on the right track.

ETA: Your first lighting fixture for Neo-Neon is the SMD Strobe. Can you tell us a bit about this fixture? JM: It is using an SMD 5050 chip and runs at 60W. This is the first one of three in our NeoFlash range. I believe that we have to make a series of products because we want all our products to link together like a family. It’s a three channel strobe system that incorporates intensity, duration and rate. It is designed for smaller venues, clubs and discotheques. With the Neo-Flash range, we are aiming at the DJ/ Club market. However, we are planning to go into rock ‘n roll and concert productions as well with a professional range in development. We want to cover all ends of the market with our products and ensure quality and innovation is kept on the top of our priorities.

JM: We build our products from the ground up. We want to make new innovative products and avoid copying. Of course, you can’t patent a wheel, so in some respects we have similar products in our development but our difference is we only do this if we can improve on the existing design. I’m sure most will agree the trade shows over here are like a Xerox machine which is not only offensive to the original designers and developers, it is creating a negative impact on potential growth within China’s entertainment lighting market.

ETA: What are your goals for NeoNeon? JM: Firstly, I plan bring innovative designs to the market and maintain a high level of quality and service for our customers and develop close working relationships with them as our customers are the most important thing to keep our company running. Without them, we are nothing. Secondly, to take care of my workers and ensure fair treatment. Many companies in the East have some crazy notion that working 14 hour days can be good for business. But I believe that working long hours can be counter-productive. I have new systems in place so that they work 8-9 hours a day. This has led to an increase in both productivity and efficiency - and they are much happier. There has to be a balance between work and play. We are human after all, not machines. We want to grow and strengthen our company. Taking care of both our customers and staff is the only way we can achieve our vision which is becoming brighter everyday. www.neo-entertainment.com

Entertainment Technology Asia July-August 2012  

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