English News Schlagzeilen
Robe fixtures light “Tropicana the Musical” in Singapore
Lighting designer Yo Shao Ann used Robe’s Viva CMY LED spots, Spiider wash beams and CycBar 15 battens on the recent production of “Tropicana the Musical” in Singapore. The show was produced by Tan Kheng Hua for Spare Room Productions and directed by Beatrice Chia-Richmond.
The ten Viva CMYs utilized in the show were part of the first shipment into the region of these new fixtures from Robe. They were supplied to the production via rental company Expo AV-InSync, along with the Spiiders and CycBar 15s from their rental stock. The company headed by Gerard Rodrigues were the first in the region to invest in Robe Spiiders when that luminaire was launched last year.
Jens Poehlker from Robe’s Asia Pacific office was involved in ensuring that all the new kit was available in time. “Tropicana” ran for two weeks at the Capitol Theatre, once the island’s first topless nightclub. The production team was led by technical manager Denise Low.
The ten Viva CMYs were rigged on the upstage house bars and used for back lighting, for effects and texturing the stage and set designed by Tan Ju Meng with gobos and colours. The Spiiders were also positioned in the overhead rig and used for all the general stage washing and specials. The CycBar 15s were used as footlights.
(Photos: Jacqueline Chang)
Resolution X invests in ProLyft Aetos
Resolution X is one of the first companies in Australia that started working with ProLyft Aetos hoists range. Resolution X, covering Australia with hire bases in Melbourne and Sydney, provides rental equipment and service. They have become one of the largest providers of rental lighting and rigging equipment in Australia.
Tim Hall, Managing Director of Resolution X, explains: “Adding chain hoists with a good double brake system to our hiring stock was a must. We chose the ProLyft Aetos series hoists because of their build quality, double brake system and local support network.”
“We hire to a lot of Corporate AV companies working in ballrooms,” adds Sam Holloway, Rigging Manager of Resolution X, “most of the time they’re dealing with a restricted load limit in the roof and don’t need to lift heaps of gear. Therefore we also have 250 kg hoists on stock, these are ideal for this type of client.”
Resolution X stocks a large quantity of the 1000 kg Aetos hoists, meeting the German BVG-D8+ hoist classification. They also stock the 250 kg hoists for rental purposes.
Photo shows Sam Holloway.
Colour Sound supplies lighting and video to Bonobo
Colour Sound Experiment supplied a lighting and video floor package for the latest run of live shows by music producer Bonobo (Simon Green), with a new lighting look for the stage designed by Will Thomas. The visual material for the show was commissioned by Bonobo and produced by Strangeloop from LA, who also created the screen design.
It was largely left to the ingenuity of Will Thomas and technician/rigger James Hind - with support from others at Colour Sound - to produce a safe ground-supported solution to position the asymmetric screens - the tallest being 5.5 metres high - in the right places.
Thomas and Hind started building structures in the warehouse and experimenting with different ideas for five individually supported LED screens. The route they chose utilised six Guil Engineering UKL 800 XL tower lifts which were rigged with assorted trussing pieces to which the screens were then attached. These lifts were supplied by Neg Earth.
The screen was Colour Sound’s proprietary BT-6 LED, and the centre of the five screens was supported by two lifts. Lighting had to fit in between the screens and not impose on the shape, so Thomas’ design was based on six vertical Litec QX30 towers, hinged for quick erection, standing on X-Bases. The centre pair were 4.5 metres high, the next were 4 metres and the outside pair were 3.5 metres, with the lights sitting a little bit higher when attached.
The luminaires all travelled in meat racks on lamp bars so four or six fixtures could be rigged at a time. The workhorse fixtures of the design were Chauvet Rogue R2 LED washes. Of 21 x R2s in total, two were rigged to each tower, complimented by five on the floor and two a side on Manfrotto stands downstage, used for all the keying.
Also on the towers was a 2-cell blinder, with another 6 on the floor, then six Robe Pointes positioned upstage on the deck for effects and aerial work. Spread around the towers and on the side Manfrotto stands were 19 Chauvet Rogue 1 FX-Bs, newly purchased by Colour Sound.
There was no front truss, so the architecture and space at each venue was more prominent and particularly apparent at Brixton Academy and Manchester Apollo. Will Thomas ran lighting from a ChamSys MQ500 console, one of two also newly purchased by Colour Sound.
The video was run via a Resolume system side-stage, which fed it straight to the screens, but Thomas had control over the intensity via ArtNet. The general ‘top’ lighting rig for the two largest gigs on this section of the tour - Brixton and Manchester Apollo - was provided by GLS.
Rasmus Walter on tour with Robe fixtures
Lighting designer Martin Holst used a floor-based lighting/set package that was fully tour-able for Danish singer songwriter Rasmus Walter’s 2017 tour. Holst chose 24 x Robe PicklePatts and 6 x BMFL Blades to be at the heart of the design.
The floor package also included LED strips which outlined an upstage scaffolding structure on which the PicklePatts were rigged together with some side lights. It was augmented at each venue by a specified ‘top’ rig.
The equipment was a new investment for rental company Vigsø Dry Hire via Robe’s Danish distributor, Light Partner, and these were the first PicklePatts in Denmark.
Robe’s reporting team caught up with Martin Holst and Rasmus Walter during a gig at Vejle Musikteater which also happens to have a Robe house lighting rig, so Holst was able to integrate 12 x MMX Spots and 10 x LEDWash 600s into his scheme for the evening.
The PicklePatts were arranged in three rows of eight, on eight vertical trussing towers at the back of the stage, serving as a backdrop, a stage set and part of the lighting rig. Once the towers were set up at the venue, the LED battens were clipped into place and the majority of the rig was complete. The BMFL Blades were placed in an arc upstage on the floor.
Holst used a GrandMA2 for control and this same design is being used for a summer tour by Rasmus Walter together with additional BMFLs.
WI Creations specifies and fabricates set pieces for Islamic Solidarity Games in Baku
WI Creations specified and fabricated two large set pieces - a water fountain and a Tree of Life - for the Opening and Closing Ceremonies of the 4th Islamic Solidarity Games, a multi-national, multi-sport event staged in Baku, Azerbaijan from 12 to 22 May 2017.
WI’s team, project managed by Yves Vervloet, was working for Betty Productions Ltd. who co-ordinated the creative and technical production elements for the ceremonies on behalf of the Islamic Games Operations Committee. The ceremonies both took place in the 70,000 seater Baku National Stadium, a venue already familiar to the WI team after their work there for the 2015 European Games.
The water vessel and the tree - integral parts of production designer Thanassis Demiris’s visual treatment for the two ceremonies - were realised and constructed at WI’s HQ in Heist-op-den-Berg, Belgium over a two month period. Approximately 60 tonnes of kit was road-freighted to Baku on five trucks. The 8 metre diameter water bowl was an essential part of the Opening Ceremony (OC) set and narrative.
Elation gear used for Haitian Compas Festival
In May 2017, Elation Professional lighting gear was used by Lighting Designer Daniel Cortes of Everlast Productions on the Haitian Compas Festival in Miami, one of the largest Caribbean festivals in the United States. The Haitian Compas Festival is a yearly celebration of the Haitian community that features musical acts along with traditional Haitian food and other facets of Haitian culture. After 18 years as a one-day event, this year’s festival was held over two days from May 20-21 at Bayfront Park in downtown Miami.
An all Elation rig provided the visual dynamics with some of Elation’s newest lighting products in action: IP-rated Proteus Beam moving heads, Paladin blinder/strobe/wash lights, Platinum 1200 Wash lights and DTW Blinder 700 IP variable white LED blinders, as well as Platinum FLX hybrid moving head and Platinum Beam 5R Extreme. Everlast Productions of Dania Beach, Florida, has provided lighting services for the festival for several years with Everlast’s Daniel Cortes serving as lighting designer and programmer for this year’s event.
Robe Spikie wins Live Design Award
Robe’s Spikie has been named as one of the 2016-17 Live Design ‘Products of the Year’, which were selected by a panel of industry experts and aficionados, including designers, programmers and engineers active in the essential production disciplines of lighting, sound and video. Robe’s Craig Burross (National Business Development Manager) went to New York to accept the Award, presented during a special ceremony at the Upper Story by Charlie Palmer in midtown Manhattan.
Spikies are appearing on several current tours: LD Leroy Bennett specified 795 for Bruno Mars’ ‘24K Magic’ world tour; Sooner Routhier and Robert Long of SRae Productions specified 90 x Spikies on The Weeknd’s ‘Starboy: Legend of the Fall’ tour; LD Gabe Fraboni has 90 x Spikies rigged on a scaffolding structure right at the core of his design for Martin Garrix’s new 2017 live show.
At the same Awards event, Routhier and Long also received an ‘Excellence in Live Design Award’ for “masterful teamwork” in their concert design and production collaborations, which this year - in addition to The Weeknd - include Depeche Mode, Lady Antebellum and Kelsea Ballerini.
(Photos: Bruno Mars by Louise Stickland/Martin Garrix by www.alivecoverage.com)
HSL supplies lighting equipment for Sigma show at Royal Albert Hall
UK d‘n’b duo Sigma became the first drum and bass act - complete with full band - to play London’s Royal Albert Hall. Creating a special visuallity for this gig was show designer Andy Hurst. He used a combination of lighting equipment supplied by Blackburn rental company HSL and the in-house rig, and worked alongside a crew of three from HSL (Andy Skirrow, Callum Humphries, and Jon Young). Lasers were delivered by ER; LED screens, cameras and projection were from Video Illusions and BPM supplied the pyro.
Hurst chose to highlight the venue’s organ and map it with lasers. He also decided to wrap the front of the choir stalls and the whole of the upstage area with 6 mm LED in a 24 metre wide by 2.7 metre high surface. Because of the letterbox dimension, they had some custom content made by Comix. Four production trusses were utilised and HSL supplied an additional 18 x Robe BMFL Spot moving lights, which combined with the 12 in-house ones gave a total of 30 at Hurst’s disposal.
48 x Robe Pointes were dotted on the overhead trusses and arranged in two arcs, one at deck level and one on the floor of the lower set of choir stalls. Eleven Robe CycFX 8s were positioned along the riser fronts and 38 x GLP X4 LED washes were rigged on the trusses - for general stage wash coverage - with one row alternating in between the choir stalls level arc of Pointes.
Nine Nitro strobes at floor level were also used. The flown rig was taken out to its highest trim height to enable fans to see as much of the organ as possible and when the overhead LED washes were fully throwing forwards, they emitted some secondary lumens incidentally catching the venue’s famous roof mushrooms.
To extend the stage space widthways, Andy Hurst chose 26 x PATT 2013s from HSL, which were mounted on a combination of stands located on three levels - the stage and two sets of choir stalls. Hurst seized the opportunity to use 98 of ER’s new Kinekt 3.5 Watt DMX controllable laser units which were all mounted on drop-arms rigged off the four trusses.
Meanwhile the organ was mapped with six 15 watt standard coloured lasers positioned stage right and left. Hurst decided against follow spots, instead using four Robe DL7F fresnels from the house rig to make up a front wash for Sigma’s various guest singers and artists.
Painting with Light illuminates Schlagerfestival
Creative design practise Painting with Light decided on a contemporary, slightly urban stage presentation for the 2017 Schlagerfestival produced by PSE Belgium and Medialaan which comprised five sold-out shows at the 21,000 capacity Ethias Arena in Hasselt, Belgium.
Luc Peumans was production designer, Paco Mispelters was lighting director with Michael Al Far co-ordinating the playback video elements along with content designer Sina Sohn. All combined their ideas to present show director Luc Koenen with various settings to deliver a three hour performance spectacle featuring 42 different schlager artists.
The team decided early on to go with a digital set that could be 3D mapped and energised with a variety of different video and media content. “This was easily the most flexible and dynamic solution,” Peumans explains, “it built on last year’s aesthetic of a trussing structure with embedded LED panels which we also mapped, so this was an extension of the same philosophy”.
In total the set comprised 575 square metres of LED, with a 7 x 7 metre central 10 mm screen upstage, surrounded by a 30 metre wide series of columns set at right angles to one another for the full 3D experience. This gave the show its basic cityscape backdrop, and with the content applied, it was transformed into a host of different environments.
All the video material was created especially for the 2017 Schlagefest and stored on one of Painting with Light’s D3 4x4 pro media servers, programmed and operated by Jo Pauly. For the opening sequence, the Painting with Light team worked closely with video producer Walter Hillhorst.
As the evening unfolded, different cityscapes were revealed, many with features like billboards, neon signs, etc., which could be changed and related specifically to an artist or their song. Painting with Light’s ‘virtual’ studio in Genk was optimised for the previsualisation of the show.
A runway at 45 degrees to the stage led to a B stage in the middle of the audience. To maintain a separation between lighting and video elements, and also to utilize the full width of the venue and extend the production right out to the edges of the stage, lighting was rigged on several individual truss sections flown in the roof. The primary moving lights were 82 x Robe Pointes.
The Pointes were augmented with 89 x GLP Impression X4 LED washes for all the stage, house and band washing, with eight Martin MAC Viper Performances for specials. Twenty-three MAC Viper Wash DXs were also on the rig.
The audience participation inherent to schlager performance was encouraged by 24 x Chauvet Strike 4 LED blinders, together with SGM Q7 RGBW strobes. A hundred and twenty LED PARs were dotted around for general house lighting and three Robert Juliat Victor follow spots completed the lighting picture.
The GrandMA2 full size console was programmed and operated by Paco Mispelters, with many video cues also triggered via the GM2. Video, lighting and sound equipment was provided by PRG Belgium, led by production manager Walter D’haese.
(Photos: Elke Briers)
Maestra supplies sound, lighting and video to Cannes Film Festival
Event technical production specialist Maestra Group, working for Premier PR, supplied full sound, lighting and video/AV infrastructure to the UK Film Centre at the 2017 Cannes Film Festival. Located right on the beach, Pavilion 119 featured meetings, seminars, talent talks, special screenings and film related activities. It was a meeting place and networking environment for film producers, directors and actors as well as potential investors and a hub for all the UK film contingents involved with works being presented at the festival.
It’s the second year for which Maestra has facilitated the technical elements. The Pavilion was part of the International Village and featured a main conference/presentation space, breakout areas and an outdoor terrace with a bar. The sound system was a white D&B E3, its speakers were dotted around the main conference space and divided into five different zones, all of which could be individually controlled via a Yamaha QL1 console.
A selection of different sized LED and plasma screens were supplied for the main area, where they were inbuilt into the set, plus four of the break-outs including the partners room and for behind the reception desk. These enabled camera and audio relay into all these areas so they could be utilized for overspill audience attending the most popular talks and presentations.
The screens were in use constantly, showing a host of different content in addition to the camera feeds for which Maestra supplied a raft of laptops. Maestra co-ordinated all the video content on site. Two robo-cams were part of the package for the main space, operated from the technical booth; set up so selected footage could be quickly edited and uploaded to the weareukfilm.com website for on-demand viewing. The video switcher was one of Maestra’s new Analog Way NeXtage devices.
All the events were either recorded/edited or streamed live. White Robe LEDBeam 100s were fitted with diffusing lenses and fixed securely to the walls. An LED solution for lighting was proposed because of the low heat emission in an already warm marquee. The LEDBeam 100s were used as static white light during the day and then in the evening as the atmosphere became more loungey, or if there was a party, they could provide colour, movement, and effects.
Twenty-four Core ColourPoint LED up-lighters were also at the ready for rapid deployment as the space transformed into its evening ambience, complete with bar and tray service. The Maestra team was led on site by Carlos Marcus.
K3 on tour with new lighting and video design by Painting with Light’s Luc Peumans
Belgian/Dutch girlband K3 are on the road for an extensive live schedule through 2017, with a new lighting and video design originated by Luc Peumans of Painting with Light. Painting with Light has worked with K3 for the last fifteen years. The band is managed by Studio 100 and the staging concept for this tour was developed by Stefaan Haudenhuyse, with Painting with Light being asked to create the touring production design.
This involved translating Haudenhuyse’s initial mood boards into a tourable technical production scenario, achieved in conjunction with equipment vendors PRG Belgium who also co-ordinated the show’s automation elements. As with all K3 live shows, there is a story which plays out on screen in the video content as well as with the action onstage.
Painting with Light worked with Jos Claesen to create the video content. Claesen created all the 3D worlds for this show, taking Haudenhuyse’s visuals as a starting point. The LED video screens are vital to create the different planets and experiences, starting with a 16 metre wide by 7 metre high 6 mm surface upstage that opens in the middle for the entrance/exit of K3’s space ship. This is supported by a 20 metre wide, 9 metre high show portal, positioned four metres downstage and made up from the same LED surfaces.
A set of wide show-stairs is also being used, fronted with 10 mm Barco O-lite LED, custom built by PRG Belgium, which connect the upper and lower sections of the stage. Some parts of the opening scene resemble a 3D model of the show, complete with virtual (digital) trusses and lighting effects which are scaled and fitted to match the real stage dimensions. The video footage can be tweaked via three Christie Pandora’s Box media servers.
It was the first opportunity for Painting with Light to utilise the new PRG Icon Edge hybrid moving light fixture, a spot, beam and wash unit in one housing. These are augmented with 36 x Claypaky A.leda K20s fitted with B-Eye lenses running in wide mode for full pixel control. Sixteen Martin MAC Viper Profiles on the front truss take care of all the key lighting for K3 and their dancers, and 24 x Chauvet Strike 1 LED blinders on the front truss blast boldly out into the audience in combination with strobes. Completing the lighting picture are 16 x GLP Impression X4 LED washes for side lighting and three follow spots - Robert Juliat Victors - for the three girls.
All lighting is controlled from a GrandMA2 console programmed and operated for the show by Jeroen Opsteyn, with the media servers programmed and operated by Katleen Selleslagh, both from Painting with Light.
(Photos: Frank Lambrechts/Luk Monsaert)
StudioLinked releases new multi-effects plug-in
StudioLinked announces availability of Studio Rack, a multi-effects plug-in packed with presets for music producers, DJs, or engineers mixing hip-hop, R&B, pop, rock, EDM, and country productions. As an adaptable multi-effects plug-in, Studio Rack changes any sound with three types of selfexplanatory speaker emulation – High, Mid, and Bass (that, of course, can also be switched to Off). Variable amounts of Delay (with Sync), Reverb, Stereo, and Chorus can be dialled in besides GUI-dominating Drive control.
The fixed compressor offers Gain and Mix sliders; Cutoff (frequency) and Res (resonance) control-equipped Hipass and Lowpass filters further refine results, and a self-explanatory Saturation knob rounds out production proceedings. Studio Rack can be placed on any vocal, 808 sub, piano, guitar, drums, or final mix. It is available as a 32- and 64-bit AAX, AU, and VST plug-in for Mac and PC.
Outdoor theatre at Beaches Resorts in Turks and Caicos outfitted with Elation lighting
Lighting designer Lisa Weinshrott Kimmel, of Sharp Edge Lighting Design, recently designed lighting for a theatre project at the Beaches Resorts in the Turks and Caicos Islands. Entertainment production company Creativiva of Toronto produced four 50-minute musical shows for the resort’s outdoor theatre - ‘Dolce Vita’, ‘Jungle Book Live’, ‘Alice in Wonderland’ and ‘Treasure Island’. The shows, also creatively managed by Creativiva, debuted on April 16, 2017, and are scheduled to run for the next three years.
Lisa Weinshrott Kimmel designed lighting for each of the four shows using a rig that includes 22 SixPar 300 IP LED Par color changers and nine SixPar Z19 IP LED Par wash lights with zoom. Also in the rig are nine Platinum Spot III color- and graphics-changing LED moving heads, along with three Fuze Wash Z350, Elation’s new Par moving head. The only other lighting used is 10 Par Cans left over from the previous lighting system. Most of the lighting works from a 25’ trim height with a few units at 10-15’.
Despite the mild tropical climate, the fixtures are still exposed to wind and rain and are especially vulnerable to downpours that hit the islands from time to time. The SixPar fixtures are IP65 rated; the Platinum Spot III fixtures are covered in base skirts; one Fuze Wash Z350 is protected under the architecture with two placed on the floor each show.
Softube announces availability of Console 1 Mk II with UAD Powered Plug-Ins support
Softube announces that its Console 1 Mk II is now globally available from any authorized Softube dealer. Console 1 Mk II has made most frequent user requests reality, due to the software update with support for selected UAD Powered Plug-Ins from Universal Audio.
Sixty such plug-ins are already available for the system, all pre-mapped, so no MIDI mapping is necessary. The hardware itself has the same characteristics as the original units, with some minor layout changes such as more visible LED markers.
Touring musical version of „Ronja Rövardotter” equipped with Robe fixtures
„Ronja Rövardotter” (Ronia the Robber’s Daughter) is a classic Swedish children’s tale by Astrid Lindgren. A recent touring musical version in Denmark by Heltemus Productions featured a new lighting design by Sune Verdier of b-ql.dk who specified 14 of Robe’s DL7S Profiles, 24 x LEDWash 600+ fixtures and 12 x CycFX 8. The touring segment had to fit into two trucks, so Verdier needed a flexible, practical and sensibly sized solution to cover the lighting needs.
Ten of the LEDWash 600+ fixtures were positioned on five side booms each side of stage - one fixture per tower, with the other 14 rigged on the overhead bars. To retain the more sinister mood of the work Verdier minimised the front light, so there was more reliance on what was coming in from the sides. The variety of colours and looks he could produce from the LEDWashes was vital for setting the mood of each scene, washing the set and key lighting the actors.
The DL7Ss were all on the overhead bars and were used for top and back key’ing and highlighting, and extensively for texturing the set. The stage was raked towards the audience, revealing a floor based projection surface that was perfect for intricate gobo work, and the DL7Ss worked constantly throughout the performance.
These were the first DL7S fixtures in Denmark, an investment made for the tour by Copenhagen based rental company European Tour Productions (ETP) which has also included Robe’s new Spiider LED wash beams, all delivered via Danish distributor, Light Partner. Upstage, the CycFX 8 LED battens washed up the back-cloth. Verdier programmed and ran the show himself and worked closely with his chief LX Emil Finsen.
Jamiroquai on tour with a Yamaha Rivage PM10 console
On Jamiroquai’s world tour of arenas and festivals, a Yamaha Rivage PM10 console is mixing the front of house sound at every show, operated by engineer Rick Pope. Pope has worked with the band and its frontman Jay Kay for 23 years, both live and in the studio, and with Yamaha digital consoles for almost as long.
Penn Elcom launches new streaming device bracket range
Penn Elcom has launched a new range of wall mounting brackets. The initial three products that have been manufactured by Penn Elcom in the UK are for Sonos Connect devices, Sonos Connect Amps and Sky Q Mini boxes. These are the first of a range of products designed to provide a solution for the distribution of streamed live entertainment around any building or space.
The Sonos products - the standard Connect box and the Connect Amp - turn existing audio systems into wireless set ups. The Sky Q Mini Box allows Sky TV and video users to stream sources to additional devices. The bracket design follows the profile of the devices. The brackets are made from 1.2 mm steel for durability, and are currently available in solar black and gloss white to suit the surroundings and the colour of the device. Custom colours are available on request.
The brackets can either be fixed to the wall with screws for permanence or secured in place with industrial strength Velcro technology for a hole-free solution. For venues where wired TV screens are already attached to a wall, utilising the Penn brackets, the Sonos or Sky boxes can be concealed behind these screens to keep everything free of unsightly clusters of wires.
CPL provides technical design and production for Tax Assist conference
Accounting specialists Tax Assist asked CPL to provide full technical design and production - sound, lighting, video, staging and rigging - plus crew for their 2017 annual conference staged in the Caernarfon Suite at Celtic Manor Resort in Newport, South Wales. CPL has serviced the event for the last few years.
Production manager Mike Radford led the 12 crew, who got in at 4 a.m. on the day of the event to be ready for mid-morning rehearsals followed by the conference session which started at 2 p.m. This ran until 5 p.m., leaving CPL two hours to transform the stage and room into an entertainment space to host a gala dinner with live entertainment.
The first task for CPL was installing the stage and setting up the room - in cabaret style complete with tables - for the conference. The room was lined with black drapes, with a starcloth added. A 10 metre wide x 3 metre high LED screen made up from CPL’s ROE Black OnyX 3.4 mm was hung from the house trusses upstage centre. This was augmented with multiple LED columns constructed with variable height drops of the same LED. These were all mapped.
A D3 media server was used to store and replay all the video content which was compiled by CPL and approved by the client prior to the event. A Barco E2 system was used for creating PiPs and screen management including the camera feed to screen from a Sony HXC-100 stationed at FOH covering the speakers during the conference, and the various live acts and presenter for the evening.
A layer of white light was provided by an LED package of Arri L5-C fresnels and ETC ColorSource profiles. Sixteen LED battens - 8 flown and 8 on the ground - were used to tone the backdrop in between the LED columns.
For the evening session, Claypaky Mythos, Sharpys and A.Leda K10s with B-Eye lenses plus 24 x MAC Aura LED washes were added, all positioned over-stage and on the deck and controlled from an Avolites Quartz console, together with two hazers.
For audio, a D&B rig was chosen, with Y8 left and right hangs, complimented with a mix of Y7P speakers on the outer wings for floor fill, some E6s along the front of the stage and V-Subs on the floor. On the back truss a further four Y7Ps were flown. The console was a Yamaha CL5 and two E6s were supplied for monitors, augmenting the band I Pop’s own complete monitor system. They were joined by ventriloquist Nina Conti and impressionist/comedian John Culshaw.
CPL’s brief also included providing a DJ/VJ coverage in between the band and the comic acts, for which they compiled a custom music-scape matched with special visuals on the screens. In the morning, the 450 delegates attended an exhibition set in another part of the Celtic Manor for which CPL installed some LED and plasma screens and power distribution.
Elation lights pop-up venue Club Nomadic for Super Bowl LI festivities
A club with no permanent home, Club Nomadic is a traveling venue constructed each year to support the build-up to the Super Bowl. This year, Nomadic Entertainment Group, a subsidiary of the NFL’s hospitality partner On Location Experiences, assembled the club in Houston, home to Super Bowl LI. Elation Professional stage and decorative lighting was used to dress the club in color and effect for a series of pre-Super Bowl events with Elation’s new IP65-rated Proteus moving heads used outside to beckon visitors to the venue.
Construction of the 62,500 square foot pop-up venue began on November 28th, 2016 with the live event space opening its doors on February 2nd, 2017 for a series of events that included VIP performances by Bruno Mars, The Chainsmokers, Snoop Dog, Sam Hunt and Taylor Swift.
The overall creative and architectural design for the event was led by Nomadic Entertainment’s Joanna Helinurm with executive production by Jack Murphy, who also serves as president of Nomadic Entertainment Group. Patrick Dierson of production and design firm The Activity served as Production Designer and he and his team worked in conjunction with Nomadic Entertainment to help produce everything from the site plan layout all the way through to final production execution within the venue.
The first event of the week was for co-sponsorship partner EA Sports for their inaugural “EA Sports Bowl” which was followed each night of Super Bowl weekend by other co-sponsorship events, namely Pepsi’s “Life Water Art After Dark” and DirecTV’s “Super Saturday Night” events. The Chainsmokers, Sam Hunt, Snoop Dog and Bruno Mars played shows the first two nights with Taylor Swift closing the venue down on February 4th.
Baz Halpin of Silent House designed a versatile lighting rig that was utilized across all three nights with various floor lighting and video packages augmenting each of the artists. Halpin and his team at Silent House were the designers of the stage production with freelance LD Bryan Klunder. Production support was handled by Joe Sanchez and his team at 1826.
Eric Marchwinski, part of the 1826 production team, was Visual Technical Supervisor for the event. They primarily worked with DirecTV’s broadcast team who were tasked with the taping of Taylor Swift’s performance on DirecTV’s Super Saturday Night as well as EA Sport’s talent, Snoop Dogg, Sam Hunt, and The Chainsmokers. Lighting gear for Club Nomadic was supplied by Light Action and VER.
Elation Colour Chorus 12 LED battens, Level Q7 LED Par lights, Volt Q5 rechargeable LED uplights and Platinum FLX hybrid moving heads were dispersed around the club to give color to the entire venue. Elation ZCL 360 Bar LED moving batten effects with 360° continuous rotation were used on stage to light all of the shows except for Taylor Swift.
The stage featured a large video wall and Klunder used the ZCL 360 Bars as the main stage light on The Chainsmokers, the first act to play, to break up the video. “We used two lines of ZCL 360 Bars on stage for The Chainsmokers to give depth to the look,” he explains. “The other artists liked the look so well that they decided to use it on their shows as well.”
Successful SSL-erate project supports European SSL strategy
The European SSL-erate project has supported successfully the uptake of Solid State Lighting (LED lighting). Over a period of three years, the project promoted opportunities for broader SSL uptake based on green, sustainable SSL business development and the positive effects of lighting on health and well-being. The SSL-erate project has actively contributed to fostering the emergence of new related businesses across Europe, especially at a regional level.
Through workshops and business development experiments, which involved companies, customers, end-users and regional lighting clusters, the SSL-erate project achieved cooperation along the SSL value chain and between professional users and the lighting industry. This included the lighting sector, architects, installers, the buildings and construction industry, business entrepreneurs, specific end user groups (cities/municipalities, property owners, consumers) and indirect stakeholders (e.g. from healthcare, education, or the insurance sector).
The project also created the online platform www.lightingforpeople.eu which provides customer guidance for optimum utilization of LED, carried out a series of outreach actions for the wider European public, and actively supported European Commission initiatives and events launched as part of the Commission's overall SSL policy. The project partners have agreed to maintain their network and LightingEurope will actively manage the lightingforpeople.eu online platform for the coming three years.
Circa Waves on tour with Robe fixtures
Lighting designer Ed Warren started working with UK indie rockers Circa Waves at the start of their latest album campaign in October 2016. For the recent UK and European legs of the tour, he specified an almost entirely Robe rig including 12 x Spiiders, 12 x CycFX 8s, 36 x Halos and four DL4Ss, all supplied by CEG Hire & Productions, and operated on the road by Toby Hoggarth.
Warren selected a classic white backdrop look, the nature and texture of which could be changed with up-lighting from the CycFX 8s. Some custom gobos featuring the new album artwork were made for the DL7s, which could be flashed up on the backdrop at strategic moments.
Eight Spiiders were on top of four trussing towers each side of stage which were gradiated in height with the shortest at the rear and the tallest at the front, with the other four Spiiders upstage behind the band. Ten of the CycFX 8 were up-lighting the backdrop, and four were hung vertically off the two more upstage towers and used as side key light for band.
The Halos were rigged to the front of the towers. Five were on the front one, four on the next, three on the third and two on the most upstage tower each side, which took care of 28 fixtures. Another eight were on low towers along the back of stage in a horizontal line connecting the two upstage towers.
The DL4Ss, fitted with the custom gobos, were hung on house front trusses at each venue and used as cross stage backdrop lighting. The lighting set up was completed with four strobes on the floor behind the band. The Spiiders produced a thin-beam as well as big bright wide washes and a selection of 'gobos'.
(Photos: Lindsay Cave)
Various Elation products installed at Fox Sports LA Studio
Fox Sports refitted Stage B at its Pico Studio in Los Angeles with nearly 100% Elation Professional products, an LED-based lighting system designed by Victor Fable with lighting supply by Kinetic Lighting. The new lighting system includes a host of Elation broadcast-optimized lights including one of Elation’s latest LED wash solutions, the Fuze Wash Z120, a PAR moving head with 120 W RGBW COB LED engine.
Other Elation lights employed at the broadcast center include white light DW Fresnel and DW Profile luminaires, Colour 5 Profile LED ellipsoidal spots, TVL Cyc RGBW cyclorama wall wash lights, TVL4000 LED array panels, Arena Par Zoom RGBW PAR wash lights, Colour Chorus series LED battens, and Satura Profile LED-based CMY moving heads with framing.
Prolyte Group introduces new Box Corner
Prolyte introduces a new Box Corner for its 30-series truss. This Box Corner can be used in combination with regular truss as well as the Verto truss. Prolyte replaced welds by bolts and the open structure by plated sides. The integral structure of the Box Corner gains strength in all directions, not suffering from the loss of material strength caused by the heat affected zone.
The new Box Corner, the Box-30-HD, is a fully plated and bolted element and is therefore stronger than the regular Box Corner. This allows to build any 2D or 3D structures without losing involuntary strength due to the corner types used.
Due to its design, where the plated sides interlock with each other, a 90-degree shape is guaranteed. The plates can be changed in case of damages. All standard available accessories for the regular Box Corner can be used for the HD Box Corner as well, like the male and female half couplers and bolts. Prolyte Group will continue both products in its product range, the regular Box Corner as well as the new HD Box Corner.
Paco Mispelters chooses Robe, Martin, Claypaky and SGM fixtures for “Unidamu”
Belgian visual design practice Painting with Light's Paco Mispelters designed the lighting for the Studio 100 tour of new youth musical “Unidamu”. The tour visited four Belgian theatres and is a co-production with TV channel Ketnet. The “Unidamu” (Universe of Dance & Music) journey started with "Ketnet Musical", a talent scouting competition TV show with a mission to source new singing, dancing and acting talent, resulting in 24 fresh and enthusiastic faces picked from 12,000 hopefuls to make up the cast.
Painting with Light and Studio 100 have enjoyed a long working relationship and this was the third edition of the musical show. It has a strong anti-bullying narrative and tells the tale of two worlds - a reality which is grey and devoid of music, fun or entertainment and the sci-fi fantasy world of Unidamu, filled with colour life, joy, music, dancing and inspiration. The set design by Stefan Haudenhuse was already in place and Paco Mispelters' main challenge in lighting the piece was creating a stark contrast between the two worlds between which the young people teleport.
The main location in the real world is a school which Mispelters decided to light with standard commercial fluorescent tubes, which were rigged onto a number of house LX bars. The light emitted is white which is the default look for the real world.
Unidamu needed to be colourful and vibrant, so a number of moving lights were specified - 18 x Robe LEDWash 1200s for the washes, 12 x Martin MAC Viper Profiles for the rear spots with some Claypaky Alpha Spots for the front lighting. Twenty-two SGM LT200 LED battens were utilised, with some integrated into the set pieces. "We wanted to create a roof with these LED strips," Mispelters explains.
The set required lots of dynamics, so there was a front, mid and back section, all featuring two of these 2 metre tubes, with each fixture’s 52 x LEDs individually mapped. Five side booms ran down the sides of the stage and these were each loaded with 2 x LED PARs. The LEDWashes were run in 'wide' mode so pixel looks and ring effects could be optimised.
Mispelters programmed the show onto a GrandMA2 console, networked with an MPU as the 22 LT200s already consumed 3500 channels. The teleporter set piece featured some integrated practicals - inbuilt LEDs and lots of smoke - as well as motorised doors. The show was recorded for later broadcast and DVD.
(Photos: Luk Monsaert)
Prljavo Kazalište on tour with Robe fixtures
Croatian rock band Prljavo Kazalište’s world tour kicked off with a show at the Spaladium Arena in Split, with lighting designed by Sven Kučinić of LumiLas LLC, who has worked for the band for the last six years. Kučinić specified Robe fixtures to light this show, where the challenge was on to create a scalable design to work for the whole of the upcoming tour which plays various sized venues and is scheduled to run for the rest of the year.
Kučinić chose Robe as the main moving light fixtures: 20 MMX Spots, 12 x MMX WashBeams and 16 Pointes. The main trussing was configured as a ‘W’ shape above a 100 square metre LED wall at the back with the MMXs all rigged on this and the Pointes positioned on the floor along a walkway behind the band.
The MMX Spots were the primary profile lights on the rig. The Pointes were the only pure effects lights of the show and this role defined the look and physical structure of the performance space. They became an integrated scenic element.
Kučinić programmed and operated the show on a GrandMA2 full size. The show’s video has original content created by Croatian multimedia artist Ivan Marušić Klif and his colleague Ana Hušman. Also integral to the production for the gig in Split were FOH sound engineer Daniel Biffel and Juraj Stipetić of LumiLas who co-ordinated all the laser effects in close consultation with Sven Kučinić. Equipment was supplied by Croatian rental company Eldra, project managed for them by Dario Katačić and Domagoj Pribanić.
(Photos: Juraj Stipetić/LumiLas LLC)