Installationen News
Installationen News Schlagzeilen
CSK performance space chooses Robe
03/09/2018
Tube UK equips Albert Hall in Manchester
31/08/2018
Kinesys for “American Idiot” Copenhagen
15/08/2018
Slovenian TV show lit by Robe
14/08/2018
Elation equips indoor beach club in Manila
22/06/2018
CSK performance space chooses Robe
Centrum Spotkania Kultur (Centre for the Meeting of Cultures), ‘CSK’ for short, in the heart of Lublin, Poland’s ninth largest city, is an arts, performance and culture venue opened in 2016. Its main auditorium is now the second largest stage in Poland. There is also a chamber space and a cinema hall.
CSK has 70 x Robe luminaires in the main stage space - a combination of LEDWash 800s, BMFL Spots, Pointes and ParFect 100s - which were specified by CSK’s head of technical, Bart Pyczek. The main auditorium seats near to 1000 people and is the second biggest stage in Poland, with a 54 metre depth, 15 metres of width and a lofty 26 metres headroom and some complex moving stage machinery.
The vast majority of shows at CSK utilise the in-house lighting systems, and sometimes they have to sub-hire extras. Around 50 % of the shows - the main stage has between 12 and 16 per month on average - will be lit by the house lighting designers, with the rest bringing their own lighting designers.
CSK works with the Grand Theatre and The National Opera of Poland, and a raft of international LDs which have recently included Marc Heinz who lit the opera “Die Tote Stadt” using the Robe rig. CSK’s stage machinery system was supplied by Czech company EST Stage Technologies, lighting control is a GrandMA and they have a 52 bar/bridge house winch system to take care of all the main stage flying.
(Photos: Dorota Bielak)
Arkaos controls media installation at Zaventem Airport
Arkaos continues to expand its work and partnerships in the ‘architainment’, architectural and commercial creative media installation sectors on a recent project in the International Terminal at Brussels’ Zaventem Airport.
This is a collaboration with lighting and visual designer Koert Vermeulen of creative agency ACTLD. Arkaos’s Kling-Net control protocol and Kling-Force LED interfaces have been harnessed to bring dynamic control to a 30,000 pixel video and kinetic sculpture which runs above the main travellator leading from the jetway to the baggage reclaim hall.
ACTLD was commissioned by Toerisme Vlaanderen (Flanders Tourism) to design, specify and supervise the production. For the installation, integrators Create won a public tender to deliver the project based on ACTLD’s specifications.
The animated installation is 100 metres long and a combination of low and medium resolution LED strips and panoramic video panels in the ceiling, fitted above a special kinetic fabric. A loop of content runs on the display 24-7, giving all passengers arriving into the main International Terminal ideas and a glimpse of what they can expect and do in the region as they walk through to get their bags.
Literal content appearing on the main video panel displays is processed into more abstract animations running through the length of the installation, retaining the same colour, tonality and continuity as people pass along the travellator. The Arkaos solution utilises Kling-Net running via the Kling-Force LED interfaces. This is the first time that ACTLD has utilised Kling-Net in a permanent installation.
The project was managed for Arkaos by the Brussels based company’s operations manager, Benjamin Bauwens. The LED strips and panels were manufactured to order for by Lucenti, another Belgian company, with the Kling-Net chips supplied by Arkaos and embedded in the strips.
The video server was supplied by Create and is running Arkaos’ MediaMaster 5 software. Eight Kling-Force LED devices drive this particular installation which communicate with MediaMaster 5 via Kling-Net, so the whole surface is one large mapped canvas running the content on a loop.
There is a specific pattern to the way the strips and panels are arranged, and the whole installation can be viewed from up to 200 meters away. The timing of the video loop is optimised for the average ‘business pace’ walk down the travellator.
Tube UK equips Albert Hall in Manchester
Manchester based audio specialist Tube UK designed and installed a D&B sound system for Manchester’s Albert Hall venue. The former Wesleyan Chapel built in 1910 was restored by independent owners TROF, complete with original organ, and given a new lease of life as a live entertainment space.
The big challenge for Tube’s Melvyn Coote and his team was the multi-purpose nature of the entertainment programme - from club nights and Bongo’s Bingo to a line up of multi-genre bands to comedy and cabarets. It’s also available for private functions, parties, presentations and conferences.
Coote chose 10 D&B V8s which are ground stacked left and right of the stage, rigged on 4 x V-Subs and 4 x B2 Subs. The balcony circles the venue 270 degrees, meeting up with the stage at one end, so there are two further hangs, each comprising four D&B Y8s and one Y-Sub, all flown, together with four Q7s serving as nearfield outfill for the wrap around area. Downstairs on the ‘ground’ floor of the venue are four E8 delays hung under the balcony ceiling. The brief also included kitting out the dressing rooms and the VIP bar area, which are served by E8s.
A series of new points were installed during the renovations, but these are only rated at 300 Kgs, so with rigging infrastructure of around 110 Kgs already used, the Y8s at 20 Kgs each and the subs at 52 Kgs made it realistic. All the D&B elements are powered by 17 x D12 amplifiers routed via a Yamaha DME 24 matrix controller. A Yamaha CL5 was selected for both FOH and monitor consoles.
The ‘house’ monitor set up includes D&B M4 wedges and a Q-Sub drum fill, again powered by D12s, and Tube supplying a full mics-and-stands package, complete with a selection of Shure, Sennheiser, Audio-Technica and Beyer.
The DJ kit was also part of the Tube deal, with a standard club spec of 3 x Pioneer CDJ2000 NXS decks, 1 x Pioneer DJM900 NXS and 2 x Pioneer PLX1000 Turntables. Two D&B Q7/Q-Sub stacks complete the setup, with other items available as add-ons - like Pioneer NXS-2 units, A&H Xone:92 analogue mixers and a section of Rane rotary products.
(Photos: Louise Stickland)
Lichtburg Essen installiert Pro-Ribbon-Cinemarray-System von Alcons
Die Lichtburg, ein historisches Kino im Zentrum von Essen, beherbergt mit 1.250 Sitzplätzen Deutschlands größten Kinosaal. Im Januar 2018 wurde die Beschallungsanlage erneuert. Installiert wurde ein Pro-Ribbon Cinemarray CRA30 des niederländischen Lautsprecherherstellers Alcons Audio, das den Saal und dessen geschwungenen Balkon abdeckt.
Hinter der 150 Quadratmeter großen, aufrollbaren Leinwand kommen drei Arrays, bestehend aus je 2 x Alcons CRA30N (narrow) und 1 x CRA30W (wide), zum Einsatz. Zwei auf dem Boden platzierte Alcons CB362 (2 x 18''-Bass) sind für den Sub-Kanal zuständig. Alle Systeme werden durch insgesamt fünf Alcons Sentinel10 angesteuert, wobei jedes CRA30-Modul mit zwei Verstärkerkanälen betrieben wird.
Dodge showroom in Helsingborg illuminated by Robe
Mårtensson Bil (auto) wanted a visual and sonic solution to set apart their new Dodge Pickup showroom at their HQ in Helsingborg, Sweden. The Peugeot dealer, which is independently owned by Johannes Mårtensson, contacted locally based AV specialist Fremlab and asked Björn Nilsson to propose some ideas.
The sound specialist contacted lighting designer Björn Arnason, also a technical sales specialist from Swedish distribution company Bellalite. Together they proposed a solution that embraced the industrial aesthetic that Mårtensson had in mind.
Arnason’s lighting design incorporates 42 x Robe Parfect S1s. They are installed on a series of trusses in the roof. The shed style showroom - at the back of the main car display area - has a corrugated metal finish and is painted black. The Parfect S1’s colour temperature of 6000 K is close to daylight and works as a contrast to the shadowy room.
The showroom installation was completed with a JBL sound system designed by Björn Nilsson. Arnason and Nilsson also specified the trussing and rigging and power distribution and worked together on the actual physical installation.
For the showroom Grand Opening event, lighting was programmed by Björn Arnason on an Avolites Quartz console, with the day-to-day looks and scenes recorded onto a PC-programmed Sunlight stick control which can be accessed remotely by iPhone.
(Photos: Louise Stickland)
Deutsche Oper am Rhein verwendet Arkaos MediaMaster Pro
Die Deutsche Oper am Rhein ist eine Theatergemeinschaft der Städte Düsseldorf und Duisburg. Sie bedient die Sparten Oper, Operette/Musical und Ballett. Bereits seit einigen Jahren verwendet die lichttechnische Abteilung Projektionstechnik als Gestaltungsmittel des Bühnendesigns.
Zwar liefen die ersten Produktionen mit Video noch mit einem Beamer, Videorekorder und einem Mann am Funkgerät, der auf Kommando Play, Pause und Stop drückte, doch bald schon entstand der Wunsch nach einer komfortableren Lösung.
Volker Weinhart, Leiter Beleuchtungstechnik der Theatergemeinschaft Düsseldorf-Duisburg, entwickelte einen auf Arkaos VJ basierenden Lösungsansatz. „Wir verfügen aktuell über elf Medienserver, auf denen Arkaos MediaMaster Pro läuft“, erläutert Weinhart.
„Das sind inklusive Spare sechs Lizenzen mit je sechs Backup-Lizenzen - alle auf Dongle. Die elf Systeme werden in unseren beiden Spielstätten Düsseldorf und Duisburg eingesetzt. Wir haben schon vor längerer Zeit vollständig von Arkaos VJ auf MediaMaster umgestellt.“
Die elf in Düsseldorf und Duisburg im Einsatz befindlichen Server sind alle bei einer Spezialfirma beauftragte Custom-Lösungen. Diese Maschinen sind mit i7-Prozessoren, zwei Grafikkarten, Samsung SSD und Datapath-Capture-Karten ausgestattet. Jeder Server verfügt über ein Havarie-System als Backup.
Die Verkabelung zwischen den Servern und den Beamern erfolgt über ein eigenes Glasfaser-Netzwerk mit entsprechenden Wandlern. Videobeamer stehen in größerer Stückzahl bis hin zur Leistungsklasse von 20.000 ANSI-Lumen zur Verfügung. Darüber hinaus investierte die Deutsche Oper am Rhein in entsprechende Kameratechnik.
(Foto: Deutsche Oper am Rhein)
AV-Stumpfl-Technologie unterstützt Ausstellung in Island-Museum
Der isländische AV-Spezialist Luxor hat eine audiovisuelle Besuchererfahrung in UHD für das neue Tales from Iceland Museum in Reykjavik realisiert. Sowohl die Videoausspielung als auch die Lichtsteuerung erfolgen über AV Stumpfls dezentrales Showcontrol-System Avio.
Die Ausstellung, die sich mit Islands Geschichte, Natur und Gesellschaft auseinandersetzt, verwendet 21 AV-Stumpfl-UHD-Player-Systeme. Diese Solid-State-Mediaplayer lassen sich nahtlos in das Avio-Netzwerk integrieren. Der hochauflösende Content gibt den Besuchern Einblicke in die Landschaft Islands.
Die im Museum eingesetzten AV-Stumpfl-UHD-Player spielen kurze, synchronisierte Videos auf insgesamt 14 UHD-Monitoren mit Bilddiagonalen von bis zu 100 Zoll. Die Framesynchronisation erfolgt über ein eigens entwickeltes IP-Netzwerk-Protokoll.
In der Decke verbaute Lautsprecher sind mit den 4K-UHD-Bildschirmen verbunden. Potenzielle Audio-Synchronisationsprobleme werden durch den in der UHD-Player-Firmware integrierten Freerun-Sync-Modus vermieden. Dieser Modus erlaubt das simultane Starten der Videos, die dann im Freerun-Modus weiterspielen.
Alle UHD-Player-Systeme und der entsprechende Content werden innerhalb des Museums durch Avio gesteuert. Ein IObox-Relais schaltet im Rahmen des Nachtmodus den Strom an und aus, zudem kann eine Fernbedienung zur Aktivierung einzelner Teile der Installation verwendet werden.
IObox-DMX-Steuerungseinheiten steuern in der Decke verbaute LED-Streifen, welche an Nordlichter erinnern sollen. Avio ermöglicht Gebäudesteuerung, zeitliche Steuerung via Avio-Kalender, Audiomanagement und die Integration von Third-Party-Komponenten.
High-End-Systems-Konsolen bei „Grace and Frankie“ im Einsatz
2015 startete die von Netflix produzierte Serie „Grace and Frankie“ mit Jane Fonda und Lily Tomlin in den Hauptrollen. Bei der derzeit produzierten fünften Staffel der Comedyserie sorgt erneut Scott Webb am Set als Lichtprogrammierer für die Beleuchtung. Webb setzt dabei Road-Hog-4- und Hoglet-4-Konsolen von High End Systems (HES) ein.
HES-Systeme kommen bei verschiedenen Drehorten zum Einsatz: Auf den beiden Hauptbühnen nutzt Webb die Road Hog 4, die er zu Beginn der vierten Staffel gekauft hatte (für vorherige Staffeln hatte er eine Full Boar 4 angemietet). Auf einer dritten Bühne kommt die kompaktere Hoglet 4 mit DMX-Prozessor 8000 zum Einsatz. Eine weitere dieser Hybrid-Konsolen nimmt Webb zu einzelnen Drehorten mit.
500 konventionell gedimmte Kreise und verschiedene LED-Filmlichter befinden sich auf Webbs Rigg. „Die Show heischt nicht nach Effekten, es gibt weder Moving Lights noch coole Effekte“, erklärt der Lichtdesigner. „Es geht eher darum, sehr viele Kanäle gleichzeitig in den Griff zu bekommen, um stets den Look der Serie beizubehalten - Szene um Szene, Episode um Episode.“
Campbell Apartment in New York City installiert K-array-Soundsystem
Das im Juni 2017 neueröffnete Campbell Apartment, eine Bar und Cocktail-Lounge im New Yorker Grand-Central-Terminal-Bahnhof, ist mit einem Soundsystem von K-array ausgestattet worden. Mit Unterstützung des US-amerikanischen K-array-Vertriebs K-array America installierte der verantwortliche Integrator Global Audio Systems sechs Kayman-KY102-4“-Linienstrahler sowie ein Kobra-KK52-2“-Linienstrahlersystem, um den rund 330 m² großen Barbereich zu beschallen. Die Kayman- und Kobra-Systeme wurden in eigens für das Campbell Apartment angefertigte Wandleuchter integriert.
Anolis Ambiane fixtures installed at TivoliVredenburg Utrecht
The TivoliVredenburg in central Utrecht, The Netherlands, features seven different music performance spaces and had its house and public area lighting upgraded with more than 600 Anolis Ambiane RGBW LED luminaries this year.
TivoliVredenburg’s Technical & Facilities Manager Charles Konings approached Anolis’ Benelux distributor Controllux looking for a more dynamic lighting solution for the public areas in particular. Controllux’s Kuno van Velzen recommended the Ambiane RGBW down-lights.
The fixtures for TivoliVredenburg all have the 63 degree reflector option. The units were retro-fitted into the same slots that housed the TivoliVredenburg’s old compact fluorescents by the venue’s own installation team. They are controlled via DALI, and integrated into the existing KNX building automation system, and can be recalled by Hagar SmartPhone App, amongst other methods.
The Ambianes were programmed into the house system by Roy Hars taking into account different requirements from Charles Konings and the individual venue managers.
(Photos: Louise Stickland)
APG’s Uniline Compact system installed at Le Grand T
Le Grand T theatre in Nantes (France) decided to upgrade the entire front-fill sound system. French integrator Sonowest chose APG, a French manufacturer of professional loudspeakers, and its new Uniline Compact to answer the technical requirements and specifications.
Patrick Morilleau, technical deputy director of Le Grand T, explains: “Our previous sound system was aging and we could hear the difference of tone between the speakers. More importantly, the sound coverage we had wasn’t homogenous, which in turn created a sensation of hotspots when subjected to strong acoustic pressure. This manifested as a lack of coverage on the tip of the stage, thus creating a major void in the centre of the pit, as well as a pressure drop towards the last rows and therefore the control room.”
A total of 14x UC206N medium/long range loudspeakers and four UC115B bass speakers now create the sound at Le Grand T. These are complimented with five UC206Ws for the middle configuration. Finally, four Uniline SB118 bass speakers situated on the floor ensure the sub frequencies.
Robe also supports “American Idiot” in Copenhagen
Lighting designer Sune Verdier of b-ql.dk and scenographer Benjamin La Cour collaborated to produce the lighting aesthetic for a production of Green Day's “American Idiot” rock musical staged at Den Grå Hal (The Grey Hall) in the Christiania area of Copenhagen, Denmark.
They chose Robe moving lights - DL7S Profiles, DL4S Profiles and Spiider LED wash beams - to be at the core of the lighting, which was developed as a co-design for the show. Verdier had the idea to rig 8 x DL7s and 8 Spiiders a side in two rows of four, offset about a metre back from the front of the set frame. These side lights were the workhorses of the rig and were used in almost every scene.
The lower row of DL7Ss each side provided all the essential shin-buster lighting effects. It was originally planned to have specific fixtures for this task, but they were dropped to maintain the integrity and hard lines of the stage space. The DL7S Profile zoom helped to successfully achieve similar results with the luminaires in these low offstage positions.
The 11 x DL4S were in a line across an upstage truss, used for moody, sinister back lighting. The DL4S’s high upstage were used to provide a concealed lightsource and shafts poking through the slits when the flats were hanging fully vertical. Sune Verdier used one of his own GrandMA2 light consoles. In addition to controlling all the stage lighting and set LEDs, he was running the two travellators, which were DMX’d.
(Photos: Louise Stickland)
Kinesys for “American Idiot” Copenhagen
A Kinesys automation system with Vector control was used for the production of Green Day’s “American Idiot” rock musical, staged in Copenhagen at Den Grå Hal (The Grey Hall). Benjamin La Cour’s scenography featured three large scenic ‘slabs’ of concrete which lifted, tilted and elevated to change the shape and architecture of the stage throughout the performance. They formed a floor, a ceiling and several other shapes and spaces.
The three slabs each measured 8 x 4 metres and were suspended by four half-tonne Liftket vari-speed hoists fitted with Kinesys Elevation 1+ drives - capable of running up to 24 metres-a-minute. Each piece weighed around 900 Kgs and was picked up from the four points located about a metre from either end.
The undersides of the slabs were graduated, mirroring the shape of the stage below, with which the undersides ‘mated’ when in the down position. The Kinesys system was supplied to the production by Riggingworks Sweden (RWS) from Stockholm, run by John ‘Jonnymac’ McDonough, and was operated on site by Roger Smissen.
The 12 dynamic points were monitored via a Kinesys LibraCell/LibraPro system, together with the 6 static points that were partly suspending the production mother grid on Lodestar D8 Motors. The mother grid comprised two upstage/downstage trusses each suspended by two 1-tonne D8 motors plus a dead-hung point in the middle. All six were fitted with LibraCells.
The upstage edges of the grid were also landed on a ground-supported scaffolding structure serving as the band platform, gaining the last additional elements of weight loading needed to support the upstage lighting trusses.
The grid was fitted tight to the roof-space with the motor chains run in almost to their full length. Two cross-stage trusses rested on top of the mother grid, each supporting six of the 12 Kinesys Liftket (moving) motor points. The last one on each side was cantilevered on the offstage edge of the mother-grid to gain maximum height as the roof starts to slope downwards.
The LibraCell information all fed into the PDU and then into the Vector computer, so Roger Smissen could check and keep an eye on the state of the system there, as well as observing it on the dedicated LibraWatch app. The LibraWatch app also showed the dynamic loading and gave minimum/maximum readings for the weight on each point across the whole show.
The stage and the height of the set pieces brought the bottom surface up to 2 metres off the venue floor, so between that and the low ceiling the team managed to get 5.4 metres of travel on the front end of the slabs and 4.9 metres on the back. Before moving into Den Grå Hal, the complete rig was set up in a test venue so everyone involved could see how the automation could work as an aesthetic vehicle for the production.
Benjamin La Cour - who also created the lighting design with Sune Verdier – director/choreographer Tim Zimmerman and Roger Smissen experimented with numerous different moves, positons and transitions during this technical period. There were over 40 cues in the Vector with multiple changes in many scenes.
(Photos: Louise Stickland)
Slovenian TV show lit by Robe
The fourth season of the ‘Your Face Sounds Familiar’ franchise in Slovenia was produced by Pop TV and featured eight celebrities engaging in a series of singing impersonations over 12 episodes. It was lit by Ziga Krajnc who worked closely with Matjia Kacin who designed a scheme of LED strips and panel products related to the set, and scenic designer Milan Vukadin.
Krajnc this year chose Robe moving lights as the main fixtures on a dynamic rig, including BMFL Blades, Spiiders, LEDWash 1200s, Pointes and LEDBeam 100s, around 80 in total, which were supplied to the production by Slovenian rental company Event Lighting.
The BMFL Blades were used mainly for lighting from the sides of the studio, with the shutters worked extensively to highlight and accent parts of the set. Sometimes they had a set of tabs (curtains) across the set which were also lit with the BMFL Blades.
Four Spiiders were located on the floor of the set, with the other four upstage above the singers. Twelve LEDWash 800s were at the back and front above the stage and on side ladders. They were used for lighting additional performance factors like choirs or dancers. Twenty-four Pointes were rigged at the back on ladders and on the floor and sides.
Ziga Krajnc also used 8 x Robe MMX Spots high up at the back, essentially in the final lighting layer position of several making up the wide shot looks. Other lighting included stripes and 20 x Robe LEDBeam 100s fixed to the sides of the set and a ShowLED RGB starcloth which wrapped the entire studio in Pop TV’s HQ in downtown Ljubljana.
In addition to the general lighting studio rig, they also had an array of specials for each song which would involve extra lights, props or set which could be lit using the BMFL Blade’s shuttering plus effects like the animation wheels. A GrandMA2 light operated by Krajnc controlled the lights and Matjia Kacin used a Command Wing for the LED lightsources, with both consoles networked to provide the backup.
(Photos: Pop TV)
MSC Meraviglia cruise ship outfitted with Elation LED lighting package
The MSC Meraviglia, a 5,700-passenger capacity cruiser, is outfitted with a large Elation Professional LED lighting package used in the ship’s entertainment and relaxation areas. For several years, Audio Effetti S.r.l. of Genova, Italy, has collaborated closely with both the technical department of MSC Cruises and the engineering design studio CM by Claudio Mazzucchelli. The latter was commissioned by MSC to define and optimise the technical equipment on board.
The list of fixtures includes ZCL 360i and ACL 360i beam effect lights, ACL 360 Bar moving bar effects, Arena Q7 Zoom Par lights, Colour 5 Profile ellipsoidal spots, DW Fresnel white lights, Elar 108 PAR RGBW Par lights, Rayzor Q12Z wash lights, Rayzor Q7 moving head wash/beam fixtures, SixPar 200IP and SixPar Z19 IP outdoor rated Par lights, TVL1000-II white light LED array panels and TVL Cyc RGBW cyclorama wall wash lights.
The Elation lighting is used in several public areas of the ship - mainly in the Promenade (40 ZCL360i), Broadway Theatre (Colour 5 Profile), Atrium (ACL 360 Bar), Children's Area (ZCL 360i, ACL 360 Bar), Karaoke/TV Studio (DW Fresnel, Rayzor Q7, TVL 1000 II, TVL Cyc RGBW, ZCL 360i, ACL 360 Bar), Lounge (ZCL 360i, Rayzor Q7, ACL 360 Bar), discos, pool deck, as well as various halls dedicated to entertainment activities. For the ship’s main reception hall designers from Studio CM installed both Elation static and automated products to create atmospheres that vary depending on the time of day.
A sister ship, the MSC Seaside, also set sail with a large scenic and architainment lighting package specified by MSC Cruises, Audio Effetti and Studio CM, the majority of which is Elation Professional products.
Anolis fixtures illuminate art installation in Gothenburg
Niklas Pohlman, a freelance lighting designer based in Sweden’s two largest cities, Stockholm and Gothenburg, specified Anolis ArcSource 4 MCs LED fixtures to illuminate “Går du ofta hit, eller?” (Do You Go Here Often?), three pillars ‘swooshed’ with a bronze fabric effect created by sculptor Yvonne Thornqvist, outside the Göteborgs Stadsbibliotek (Gothenburg City Library).
Each pillar is highlighted with five ArcSource 4MC units which are concealed in the false roof void immediately above, which has been added to stop birds congregating. The Anolis fixtures were specified by Niklas Pohlman, after chatting to Fredrik Wideman from Bellalite, Anolis’ Swedish distributor.
(Photos: Louise Stickland)
Leonardo da Vinci exhibition lit by Robe ParFect luminaries
The Leonardo da Vinci “Energy of the Mind” exhibition was lit with 120 x Robe ParFect 100 LED luminaires in the newly opened EC1 Łódź City of Culture in Poland. The exhibition - which previously appeared in Paris, Munich, Brasilia and London - was a collaboration between EC1 Łódź, the Cité des Sciences et de l’industrie in Paris and producers, the Muzei Nazionale della Scienza et della Tecnologica Leonardo da Vinci.
There were seven sections to the expo, six presented by the da Vinci Institute and the seventh by the National Festival for Film and Culture in Poland. Scheduled to run for six months, EC1 purchased the ParFect 100s, and the fixtures will then be used for other expositions and events taking place in the complex. ParFects were chosen by the exhibition’s lighting designer Sebastian Binder, in consultation with Robe’s Warsaw based Polish distributor Prolight, where the supply was co-ordinated by Mateusz Oryl.
Ahead of the exhibition, a layout plan was received from the Muzei Nazionale della Scienza et della Tecnologica Leonardo da Vinci in Italy, and this was studied by Sebastian Binder and the Prolight team. Prolight also specified and supplied all the trusses for lighting, dressing and soft goods that were flown in the roof of the hall.
When they did the first positioning of the lightsources, the artefacts were not yet in position, so they had to do a rough focus using mats strategically placed on the ground. Once the lighting and trussing were in place in the air, a crew from France actually installed the exhibition after which the ParFect focuses were fine-tuned. They were programmed onto and were being controlled via a Visual Productions CueCore 2 controller.
(Photos: Louise Stickland)
Anolis fixtures illuminate Kungälv waste recycling centre
Lighting designer Karin Jansson from Goteborg, Sweden based architectural practice Landskapsgruppen was asked by architects Glantz Arkitektstudio to create a lighting scheme for a waste recycling centre in Kongahälla which will be serving this new residential and commercial district being constructed in the city of Kungälv.
Jansson chose 50 x tuneable white Anolis ArcSource Outdoor 4MC lighting fixtures to illuminate the wooden fencing structure that coils and undulates around the recycling facility. The lighting scheme accentuates the contours of the continuous wall made out of wooden slats mounted on steel poles. Jansson decided on a lighting sequence featuring different colour temperatures that would run on a slow fade, introducing a fluid movement that energises after dark.
On one side of the building is a large parking garage lit with stark fluorescent strips, so when viewed from the opposite end (to the parking), the lighting scheme effects needed to stand out against the bleed-through from this. Across the road is a gas station, adding yet more general light spillage to be factored into the equation. Added to that, there is only 10 centimetres between each of the wooden fence panels, so the fixtures had to be small.
The ArcSource Outdoor 4MCs are fixed to the bottom of the wood panels pointing upwards, spaced at random intervals. Controlled by a Pharos system and astro-triggered as dusk falls, the lighting sequence fades the ArcSource Outdoor 4MCs between 2700 K and 6500 K as they snake around the curves of the fence. The luminaires were supplied by Swedish distributor Bellalite.
(Photos: Louise Stickland)
Robert Juliat Dalis installed at Queensland’s Empire Theatres
Empire Theatres in Toowoomba, Queensland purchased twenty Robert Juliat Dalis 860 cyc lights along with clamps cases and cables. The units are configured in ten top cyc and ten ground row as default but can be reduced to eight and eight to allow for other units to be used elsewhere on the precinct.
“The unit’s network DMX options help in managing its parameter footprint in a way that allows us to quickly change from their full out 4 cell 16 bit mode (72 channels a unit) to a touring DMX merge that we can give an operator their simple Red/Green/Blue/Amber if required,” says Ben Hunt, Head of Lighting at the Empire Theatres. “Going from sixteen channels of conventional Cyclorama control to over 1400 needed to be simple and not a ‘scary’ concept.” Robert Juliat is distributed in Australia by Show Technology.
(Photos: Kris Stewart/Ben Hunt)
Ocean Park Hong Kong installiert Medienserver von AV Stumpfl
Als die Hongkonger Firma Cosmo Pro AV mit der AV-Beratung, dem Design und der Systemintegration der neuen Hauptveranstaltungsbühne im Ocean Park Hong Kong beauftragt wurde, wandte sich das Cosmo-Team an seinen Partner AV Stumpfl, um eine Medienserverlösung einzusetzen.
Ocean Park, einer der populärsten Themenparks Honkongs, verbindet Unterhaltungs- mit Bildungsinhalten. Die 44 Fahrgeschäfte ziehen jährlich im Durchschnitt mehr als 7,7 Millionen internationale Besucher an. Der Park begann 2016 damit, AV-Stumpfl-Technologie im Rahmen seiner „Cyber Illusion Show“ einzusetzen und mietete seinerzeit Wings-Engine-Stage- und Wings-Engine-RAW-Medienserver von Cosmo Pro AV.
Nun beauftragte Ocean Park Cosmo Pro AV damit, ein permanent installiertes Videosystem mit AV-Stumpfl-Technologie für den Applause Pavilion zu designen. Benötigt wurde ein Medienserver mit bis zu vier DVI-Outputs, zusätzlich zu 3G-SDI- und SDI-Live-Inputmöglichkeiten. Die Wahl fiel auf den Wings Engine Stage Server.
Neben dem AV Stumpfl Wings Engine Stage Server spezifizierte Cosmo Pro AV eine OptiZ-Diamond-P8-LED-Videowall mit einer maßgefertigten mechanischen Tür und einer weiteren, ebenfalls speziell angefertigten und herunterrollbaren OptiZ-Hologrammwand (16 x 7 m) mit einer Holotive-Oberfläche.
Desweiteren gehörten auch das Blackmagic Atem 2 M/E Production Studio 4K und Broadcast Panel sowie ein Novastar-MCTRL660-LED-Controller zum Setup, um die AV-Komponenten zu komplettieren. In diesem Setup schafft der AV-Stumpfl-Medienserver eine nahtlose Verbindung aller Komponenten.
Das neue AV-Setup mit der Wings Engine Stage kam während der chinesischen Neujahrsfeierlichkeiten im Ocean Park zum Einsatz, die vom 16. bis 25. Februar 2018 die Live-Show „Divine Drums“ des taiwanesischen Chio-Tian Folk Drums and Arts Ensemble beinhalteten.
Die Trommler und Tänzer mit ihren farbenfrohen Kostüme und Makeups wurden durch einen großen LED-Hintergrund untermalt. AV Stumpfls Wings-Vioso-RX-Software erlaubte in Verbindung mit Wings Engine Stage nahtlose Multitimeline-Wechsel. Cosmo Pro AV synchronisierte das System mit dem Rest der Showkomponenten (Licht, Ton, Spezialeffekte).
Jason Yeung, Cosmo Pro AV Sales Engineer, betreute das gesamte Projekt und trainierte auch Angestellte des Parks im Umgang mit der entsprechenden Technologie.
Schauspielhaus Kiel mit L-Acoustics-Beschallungssystem ausgestattet
Seit Herbst 2017 beherbergt das Schauspielhaus des Kieler Theaters ein neues Beschallungssystem auf Basis der Kiva-II-Systeme von L-Acoustics. Der Theatersaal, der über 400 Sitzplätze bietet und auch für Musical-Produktionen genutzt wird, war vor der Modernisierung mit einem mehr als fünfzehn Jahre alten Beschallungssystem ausgestattet.
Das neue System ist eine Kombination aus Kiva II und koaxialen Lautsprechern der X-Serie. Die Systemplanung erfolgte direkt durch L-Acoustics, für die Integration vor Ort zeichnete Salzbrenner Media verantwortlich.
Die L-Acoustics-Installation im Schauspielhaus deckt den gesamten Saal ab und basiert auf einer L/R-Beschallung aus jeweils sieben Kiva II und zwei geflogenen SB15m-Subwoofern sowie einem Center-Array aus sechs Kiva II. Neben den geflogenen SB15m ergänzen jeweils zwei in das Portal eingelassene SB18 die Basswiedergabe im Zuschauerraum. „Die SB18 sind akustisch gedämmt, um die Abstrahlung nach hinten auf die Bühne einzugrenzen“, so Manfred Bamberg, Tonmeister und Leiter der Ton- und Videoabteilung.
Die Punktschallquellen der X-Serie kommen sowohl für die gezielte, ergänzende Saalbeschallung als auch für Monitoring-Anwendungen zum Einsatz. Die kompakten 5XT wurden über sieben Positionen verteilt entlang der Bühnenkante installiert, um den Nahfeldbereich zu verstärken. Weitere 5XT finden sich als FX-Systeme an den Seitenwänden des Zuschauerraums.
Neben den fest verbauten X12 im Portalbereich sowie an der Bühnenrückwand können Manfred Bamberg und sein Team zudem auf vier mobile X8-Monitorsysteme zurückgreifen, um flexibel auf die variierenden Anforderungen einzelner Produktionen reagieren zu können. In der Tonregie hört das Team den Saal- und Monitormix über zwei weitere X8 ab.
Sennheiser ermöglicht barrierefreies Hören im Opernhaus Leipzig
Das Opernhaus Leipzig nutzt seit September 2016 Sennheiser MobileConnect. Das Live-Audiostreaming-System wurde von der Tonabteilung des Hauses installiert und mithilfe des Admin-Web-Interfaces eigenständig konfiguriert.
Die zu MobileConnect gehörige Sennheiser ConnectStation CS1-M ist im Maschinenraum in einem 19“-Rack montiert und audioseitig über symmetrisch belegte Klinkenkabel mit den analogen Ausgängen einer in unmittelbarer Nähe untergebrachten Audiomatrix verbunden.
Für die Inbetriebnahme des zu MobileConnect gehörenden Access Points konnte eine vorhandene Netzwerkleitung zwischen dem Patchfeld des Maschinenraums und einem seitlich am Rang installierten Anschlussfeld genutzt werden.
Die Brüstung des Ranges verfügt über einen Kabelkanal, in welchem die letzten Meter des Netzwerkkabels zum Access Point verlegt sind. Eine vollständige WLAN-Abdeckung des Saals ist an der mittigen Ablageposition gewährleistet. Mit Strom wird der Access Point über einen im Maschinenraum untergebrachten PoE-Injector versorgt.
Im Leipziger Opernhaus kommen seit Jahren vier Sennheiser-EM-3532-Doppelempfänger zum Einsatz, zu denen acht SK-5212-Taschensender gehören. Zwei Sennheiser-Handsender mit Neumann-KK-104-Mikrofonköpfen sind ebenfalls verfügbar.
Zudem besitzt das Opernhaus achtzehn Strecken aus der Sennheiser-Serie EW500 G3, zu denen vier Handsender, vier Aufstecksender und achtzehn Taschensender gehören. Bei der Umsetzung des Musicals „West Side Story“ befanden sich alle 26 Sennheiser-Funkstrecken im Einsatz, die Taschensender wurden durch doppelwandige Neoprentaschen geschützt.
Osram unterstützt neuartige Rasenbeleuchtung für Fußballplätze
Deutsche Fußballclubs wie der FC Schalke 04 und der 1. FC Köln greifen zur Unterstützung des Wachstums und der Pflege ihres Rasens auf LED-Technik von Osram zurück. Die Rhenac GreenTec AG und die Technische Universität München haben zusammen ein innovatives Rasenbeleuchtungssystem entwickelt und dabei mit Osram Opto Semiconductors kooperiert.
Der Regensburger Halbleiterspezialist stellt die passenden LEDs für das Beleuchtungssystem zur Verfügung, die nachts und in den dunklen Wintermonaten fehlendes Licht für das Wachstum des Rasens liefern. Die mobilen Systeme helfen durch die gezielte Beleuchtung des Fußballrasens dabei, das Gras gerade an den beanspruchten Stellen wieder wachsen zu lassen und jegliche Lücken in der Rasendecke zu schließen.
Für die Beleuchtung des Rasens kommen Oslon SSL von Osram Opto Semiconductors in verschiedenen Farbvarianten zum Einsatz. Die Auswahl der LED ist auf den Spektralbereich der Pflanzen abgestimmt, die für die Photosynthese vorwiegend blaues und rotes Licht benötigen. Durch eine Sonderfunktion für maximale Lichtintensität kann die Lichtmenge der Beleuchtungslösung bis zum Sechsfachen der normalen Lichtintensität gesteigert werden.
Elation equips indoor beach club in Manila
Cove Manila is Southeast Asia’s newest entertainment space, a 9,000-sqm, $200 million entertainment venue touted as the largest indoor beach club in the world. Located in Okada Manila resort in the Philippines capital, Cove Manila also includes a nightclub that’s putting the country on the map as an EDM stop for top DJs. The entertainment technology package used to dress the venue in lighting and visual effects features fixtures from Elation Professional and sister companies ADJ and Acclaim Lighting.
The audiovisual design for the indoor Beach Club and nightclub includes over 1,000 lighting fixtures, which work from a variety of locations - palm trees, swimming pool, jacuzzis, centerpiece chandelier, stage, roof tops, and elsewhere. “There are 16 different types of fixtures in the club,” states Ted Mizrahi of Mizrahi Show Designs, who serves as technical director for the space and is responsible for everything entertainment technical, including the lighting and visual design.
Much of the large lighting package can be found at the performance stage but there is also an abundance of fixtures in surrounding locations. Fourteen artificial palm trees in the Beach Club for example house moving lights, strobes, blinders, washes and lasers for a disco effect from every direction, while a custom 15-meter diameter kinetic centerpiece chandelier, capable of thousands of visual effects, houses video and lighting to entertain guests in a nightlife party.
Mizrahi uses Elation Cuepix Blinder WW2 fixtures to cover multiple lighting roles in the space. Mounted in each palm tree, in the centerpiece chandelier, on the main stage truss and in the DJ booth, the white light LED blinders are used for blinding, strobing, washes, chases and function as work lights. Also used from the palm trees to light the Beach Club stage area are one-meter long Elation SixBar 1000s color-changing battens, as well as Elation ELED Fresnel II warm white wash lights.
Elation ACL 360 Bars are used in both the Beach Club and the nightclub surrounding the stage, in moving trusses and also work from the centerpiece chandelier. The Elation, ADJ and Acclaim lighting, as well as the Antari M-7 LED fog machines used in the venue, were supplied by Pacific Technical Products Pte Ltd (PTP) through their local supplier Maxitech.
HSL steps up commitment to Hope Mill Theatre partnership
Hope Mill Theatre is an alternative arts project dedicated to the production of musical theatre in Hope Mill, a former Victorian cotton mill in the Ancoats area of central Manchester, for which HSL is a technical partner.
Hope Mill has just appointed its first technical manager, Alice Longson. HSL has also announced that it is upping its commitment to providing more and a wider range of lighting equipment for the forthcoming season and the future.
The 120 seat theatre space is flexible and can be set up in any format. One of the first things that HSL did when they started working with Hope Mill two years ago, was undertake a structural survey which was followed by the design and installation of a trussing mother grid in the roof.
While an assortment of lighting kit has been supplied over the last two years, this has now been reviewed and upped to include a standard rig of ETC Source Four profiles, 1K fresnels, and Acclaim fresnels together with a variety of floods.
Moving lights and other specials will be supplied as required by the individual productions. The original mothergrid has also just been extended with some new sections, giving more capacity for the addition of specials.
Upper photo shows Hope Mill Theatre’s Alice Longson (black T-shirt) and Joe Houston.
(Copyright: Louise Stickland/Pamela Raith)
etnow.com