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Vari-Lite VL2600 Wash used for 'Circus 1903'
20/04/2019
Anolis illuminates Rhyl
29/01/2019
Soundation Studio mit Vovox-Klangleitern ausgestattet
Seit dem Jahr 2012 betreibt Audio-Engineer Thomas Feilner das Soundation Studio nördlich von Bayreuth und zeichnet seitdem für das Recording, Mixing und Mastering zahlreicher Bands und Künstler verantwortlich.
Seit kurzem ist die Mastering-Kette im Soundation Studio komplett mit Klangleitern von Vovox verkabelt und hat daher das Purum-Qualitätslabel des Schweizer Kabelherstellers erhalten.
Gemeinsam mit den Installationsexperten von Thomann Audio Professionell plante Feilner die Verkabelung der neuen Mastering-Kette mit den symmetrischen Sonorus Direct S 100. „Die Neuverkabelung beginnt beim Wandler, geht über die Patchbay, durch alle Outboard-Geräte und landet schließlich wieder im Wandler“, so Feilner.
Barowski AG stattet Kirchen mit Meyer-Sound-Systemen aus
Die Barowski AG aus Nürnberg hat im vergangenen Jahr zwei Kirchen mit Meyer-Sound-Beschallungssystemen ausgestattet. Das Haus der 1734 eingeweihten Kirche „Kreuz+Quer“ in Erlangen, das mit einer Zwischendecke versehen ist, besitzt im Erdgeschoss verschiedene kleinere Räume und im Obergeschoss den im Barockstil gehaltenen Katharinensaal. Bei der letzten Generalinstandsetzung wurde dieser Raum mit neuer Ton- und Videotechnik sowie einer Bühnenbeleuchtung ausgestattet.
Ein Ziel dieser Generalinstandsetzung war der Wunsch nach einer Erweiterung der Nutzungsmöglichkeiten der Räumlichkeiten. Vor dem Umbau hauptsächlich für kleinere kirchliche Veranstaltungen genutzt, finden heute auch private Feierlichkeiten wie Hochzeiten, Geburtstage, Firmenveranstaltungen und Empfänge sowie kulturelle Events wie Konzerte, Theater und Musicals statt.
Herzstück der neu installierten Audiotechnik im Katharinensaal sind zwei Meyer-Sound-CAL-32-Column-Array-Lautsprecher. Unterstützt werden die CALs, die bei Reden, Gesang und Musik zum Einsatz kommen, von zwei MM-4XPD-Miniature-Self-Powered-Lautsprechern und zwei UMS-UltraCompact-Subwoofern. Realisiert wurde die von der Barowski AG geplante Installation von der SLD Mediatec GmbH, ebenfalls aus Nürnberg.
Moderner gehalten ist ein weiteres Projekt der Barowski AG: Die Christkönigskirche in Burgthann ist ein puristischer Ziegelsteinsteinbau, der 1964 als katholische Kirche eingeweiht wurde. Der Altar ist mittig in dem 250 Sitzplätze fassende Raum platziert.
Die ursprüngliche Beschallung der Kirche führte zu Beschwerden von Gläubigen, da Wörter bei Predigten „verschluckt“ wurden, rhetorische Abstufungen nicht möglich waren und der Klang als eher stumpf und nasal empfunden worden sei.
Die Barowski AG wurde beauftragt, eine Beschallungslösung ohne langwierige Aufbau- bzw. Umbauarbeiten zu erarbeiten, die die Nachhallzeit reduziert. Michael Barowski, Geschäftsführer der AG, entschied sich für ein Lautsprechersystem mit Meyer-Sound-MM-4XPD-Miniature-Self-Powered-Lautsprechern. Die Rückwärtsdämpfung der MM-4XPD vermindert Reflexionen an den Wänden und ermöglicht die gewünschte Sprachbeschallung.
Zum Einsatz in der Christkönigskirche kommen jeweils zwei von der Decke abgehängte Lautsprecher für die Beschallung der drei Sitzbankblöcke und je ein Lautsprecher für die Orgel und den Chor auf der Empore. Zwei weitere Lautsprecher am Altar dienen als Monitore für Redner. Für die abgehängten Lautsprecher wurden spezielle Halterungen eigens für den Kunden entwickelt.
Avolites console installed at Fillmore New Orleans
Fillmore New Orleans, Live Nation’s Crescent City take on the iconic San Francisco music hall, is a 2,200-capacity entertainment venue that opened its doors in mid-February 2019 with back-to-back shows by Coheed and Cambria and Duran Duran.
Decked out with signature Fillmore nostalgia - including the classic chandeliers - the new second-story, 22,000-square-foot venue also features aesthetic nods to NOLA, including recycled wood and wrought iron. The club is also now home to a new Avolites Tiger Touch II lighting control console, installed by Knoxville-based Bandit Lites.
“Live Nation is using the Tiger Touch II in several of its Fillmores, House of Blues clubs and select theaters, including in New York City, San Antonio and Detroit,” says Dan Schartoff, SVP Production, Live Nation Clubs & Theaters.
Pictured (left to right): John Jenkinson, Bandit Lites; Brad White, Avolites/Group One; Austin Dominique, Fillmore New Orleans; and Dan Schartoff, Live Nation.
Petersdom erhält digitales Beleuchtungskonzept von Osram
Die Planungs- und Installationsarbeiten für die neue LED-Beleuchtung dauerten rund eineinhalb Jahre - nun erstrahlt der Petersdom in neuem Lichterglanz. Das gesamte Beleuchtungskonzept für das Projekt hat Osram maßgeschneidert, um zukünftig alle Schätze der bedeutsamsten Basilika der Welt hervorzuheben.
Mehr als 780 Spezialleuchten, bestückt mit ca. 100.000 Leuchtdioden, kommen dafür zum Einsatz. Die Beleuchtung der rund 22.000 Quadratmeter Grundfläche umfassenden Kirche kann mittels intelligenter Steuerung auf vordefinierte Lichtszenarien angepasst werden.
Im Rahmen dieses Projektes arbeiteten die Technischen Dienste des Governatorats des Staates Vatikanstadt und Osram in einem Team zusammen. Die LED-Beleuchtung hat die Blendung erheblich reduziert. Die Anzahl der Leuchten wurde ebenfalls erheblich reduziert. Zusammen mit der digitalen Steuerung wird so im Vergleich zur alten Beleuchtung eine Energieeinsparung von bis zu 90 Prozent möglich.
Bisher waren unter anderem die Kuppeln in den kleinen Seitenschiffen des Sakralbaus fast unbeleuchtet, jetzt werden sie durch das neue Beleuchtungskonzept in Szene gesetzt. Details, die in der 500-jährigen Geschichte des Petersdoms noch nie sichtbar und selbst Kunstexperten unbekannt waren, sind nun ohne störende Reflexionen zu sehen.
Die digitale Steuerung ermöglicht es, spezifische Beleuchtungsszenarien sowohl auszuwählen als auch zu erstellen oder zu verändern. Durch die neue Beleuchtung ist nun zudem die Übertragung von Fernsehbildern in hoch- und höchstauflösenden Einstellungen mit 4K bzw. 8K möglich.
Die gesamten Installationsarbeiten wurden von der Direktion der Technischen Leitung der Vatikanstadt übernommen, die unter anderem wichtige Empfehlungen zum ursprünglichen Projekt in enger Zusammenarbeit mit der Dombauhütte von St. Peter erteilte.
(Fotos: Archivio Fotografico Fabbrica di San Pietro)
Chauvet fixtures used at Canary Wharf Winter Lights
'Time and Tide', a four-meter tall structure at Canary Wharf Winter Lights - created by the design partnership of Paul & Pute and built by A13 Steel - featured the UV light from three Chauvet Professional Colordash PAR H12IP wash fixtures.
Paul from Manchester, England and Pute from Bangkok became friends while earning their masters degrees at the KTH Royal Institute of Technology in Stockholm. Together, they brought a mixture of architectural and lighting skills to the design of the hyperboloid-shaped work of art they created for the outdoor exhibit, which ended January 31.
The geometric web of strings that made up the structure’s surface was adorned with patterns created with paper drinking straws to remind people that there is an earth-friendly alternative to plastic models.
Paul & Pute coated their paper straws with UV reactive blue and green paint. Illuminating these straws with UV light endowed them with a vibrant glow. “We needed three IP-rated fixtures with high-output UV light and wireless scene setting,” says Paul. “The UV paint couldn’t just be illuminated; it really needed to glow for the exhibit to move people the way we envisioned.”
Supplied by 10 out of 10 Event Productions & Equipment Hire, the three Colordash PAR H12IP fixtures were recessed into the circular base of the structure, pointed upward to illuminate the straws from different angles. Although the RGBWA-UV wash creates a rainbow of colors, Paul & Pute used only UV light to achieve the glow they were after.
The looks created with the Colordash units followed at 3-second fade in/3-second hold/3-second fade out pattern to create a pulsating effect. “Chris Lea from 10 out 10 programmed this movement on an app,” says Paul.
(Photos: Tadas Svetikas)
Vari-Lite VL2600 Wash used for 'Circus 1903'
When 'Circus 1903 - the Golden Age of Circus' visited London’s Royal Festival Hall over the Christmas period, its performers and life-size puppet elephants were lit by lighting designer Paul Smith, using 26 new VL2600 Wash fixtures from Vari-Lite, supplied by Siyan.
The LED fixtures delivered a number of immediate advantages. “By switching to the much more compact fixture we’ve gained extra floorspace,” says Smith. “We’ve also replaced the heavier wash fixtures overhead, as it’s quite a weight-restricted show.”
The VL2600 Wash’s internal framing system allowed Smith to visually segment the performance area, keeping the audience focused on the action. The consistency of the Vari-Lite palette across the rig was also a key factor in the end result, says Smith - as was the CTO adjustment. “Having that uniformity of look across the whole rig is definitely helpful. It’s a very sepia, pastel color palette in the first part of the show, so everything is CTO’d. The VL2600s coped very well with that,” he says.
(Photos: The Fifth Estate)
Moskauer Sarjadje-Park mit Audiotechnik von Stage Tec
Im Sarjadje-Park in Moskau, in Sichtweite vom Roten Platz und dem Kreml, wurde eine Installation mit Audiotechnik des Berliner Herstellers Stage Tec in Betrieb genommen. Dieser Park ist ein Zusammenspiel von Natur und Architektur. Pflanzen und Bäume aus den verschiedenen Vegetationszonen Russlands wurden in dem 13 ha großen Areal eingepflanzt.
In diese Landschaft hinein wurden diverse Gebäude eingegraben, die teilweise nur durch ihre begrünten und begehbaren Dächer zu erkennen sind. Eines dieser Gebäude ist die Konzerthalle, die in einen künstlichen Hügel eingebettet ist. In zwei Konzertsälen sowie einem Recording-Studio wurden zwei Aurus Platinum und ein Auratus Platinum quasi unter der Erde installiert.
Die Aurus-Konsolen sind mit jeweils 48 Fadern versehen. Ihnen stehen im Nexus-Router sieben bzw. sechs Audio-DSP-Einheiten RMDQ zur Verfügung. Das kleinere Auratus verfügt über 24 Fader. Die drei Mischpulte sind in ein Nexus-Netzwerk mit zwei Routern und zwölf Basisgeräten eingebunden.
Für den Mitschnitt von Konzerten verbindet Nexus die beiden Säle mit dem Recordingstudio. Ergänzt wird die Installation auch durch den optischen Multiplexer Omux, der den Anschluss von portablen oder festinstallierten externen Geräten an das Nexus-Netzwerk ermöglicht.
Die zwei Säle der multifunktionalen Konzerthalle sind für 1.600 und 400 Besucher ausgelegt. Das Dach der Halle ist eine 8.700 qm große Glaskonstruktion, die vorn den Eingang zu den Konzertsälen und hinten die Zuschauerränge eines Amphitheaters für Open-Air-Veranstaltungen überdacht.
Robert Juliat fixtures installed at London’s National Theatre
The National Theatre, situated on London’s South Bank, includes three theatres - the 1110-seat Olivier, the 890-seat Lyttelton and the 400-seat Dorfman. The NT technical department has invested in Robert Juliat lighting equipment over the last 12 months to add to its already large inventory of RJ fixtures.
“We have over 300 Robert Juliat 600 Series 1 kW and 700 Series 2.5 kW profile fixtures, mostly used as generic lighting in the Olivier and Lyttelton theatres where they are rigged on the front of house bridges,” says Lighting Resources Manager Paul Hornsby.
2018 saw Hornsby’s department make an investment in 54 Dalis 860 300 W LED cyclorama battens. “Our aim was to be able to light a full wrap-around cyclorama in the Olivier, which we are able to do using 48 Dalis units (24 each on top and bottom). The cyclorama for 'Common', for example, measures 8 m high by 21.5 m wide. We chose Dalis because we were looking for an LED solution to replace our old tungsten cyclorama lights.”
Joining Dalis in the Olivier are three new RJ Cyrano 2.5 kW HMI followspots which are now permanent fixtures in the followspot box at the back of the auditorium. The National Theatre also purchased sixteen new RJ Cin’k 350LF 5 kW tungsten Fresnels for the Lyttelton Theatre’s basic rig where they will operate in overhead positions.
The Cin’k 350LF Fresnels supplement 16 RJ Cin’k 325LF already owned by the National Theatre in the resources hire stock, alongside 30 RJ Lutin 306 1 kW units. “The little Lutins are used a lot in our new Dorfman Theatre, hired from the resources stock to supplement the basic rig,” concludes Hornsby.
Pictured (left to right): The National Theatre lighting team - Paul Hornsby (Lighting Resources Manager), Matt Drury (Head of Lighting) and Laurie Clayton (Lyttelton Lighting Supervisor). (Photo: Julie Harper)
Adlib helps to deliver Europe’s first installed L-Acoustics L-ISA system
Adlib’s installation division are part of a team which has helped to deliver Europe’s first installed L-Acoustics L-ISA Immersive Hyperreal Sound system at EartH (Evolutionary Arts Hackney), a new arts centre for live music, mixed arts, and performance located in the former Savoy cinema in Dalston, east London.
Adlib worked closely with client Auro Foxcroft and his team, with support from L-Acoustics’ Sales Manager Paul McMullan and Applications Engineers Jeff Woodford (installation) and Sergey Becker (touring) to specify and install the 360° L-ISA system.
EartH is the brainchild of Auro, founder of Shoreditch venue Village Underground, a community driven initiative that also provides workspaces for artists and creatives. Ininitially, when we first made contact with Auro, we were looking at a standard left-right configuration for both upstairs and downstairs spaces," explains Adlib Director John Hughes. However, when Auro met Paul McMullan and Jeff Woodford on site, they highlighted how perfect the venue was for an L-ISA configuration.
The old cinema’s balcony - which had been closed off, forgotten and left derelict for 30 years after a final screening of 'Scarface' in 1984 - is now a new 750-capacity theatre and concert hall space. The downstairs area has been reinvented as a multi-purpose club and social area, and a new restaurant will be opened.
The theatre’s L-ISA loudspeaker configuration comprises a frontal system, supplemented by surrounds and overheads providing a 360-degree mixing environment. The L-ISA Scene configuration features five hangs of seven Kara loudspeakers, spaced evenly across the stage in line with the proscenium arch.
Low-end response is augmented by four KS28 subwoofers flown in an end-fire configuration. The surround system features 12 Syva colinear loudspeakers, four each mounted on the side and rear walls, plus eight X8 overheads which are flown from the ceiling to provide elevation to the mixing environment. Lastly, there are ten X8s installed as lip fills which are fed from the aux send of each object within the L-ISA Controller.
Audio from the FOH consoles runs via MADI to the L-ISA Processor which outputs on MADI. The signals are then converted to AVB and distributed to the 18 LA4X and one LA12X amplified controllers driving the system.
Adlib’s KSE Sam Proctor attended the tuning and calibration session with the L-Acoustics applications engineers to learn more about the finer details of working with L-ISA technology. Adlib also supplied two DiGiCo SD12 consoles to be shared between venues . In addition, an Adlib line system and an L-Acoustics stage monitor package comprising twelve X15 HiQ monitor wedges and two SB18 subs powered by LA4X amplified controllers were supplied.
A stereo Kara system, one SB18 and four Kara per side, is installed in the club on the ground floor, supplemented by four SB28 subwoofers and four Arcs WiFo delays. A microphone stands and cables package from Adlib completed the specification.
(Photos: Maria Zhytnikova)
Robe illuminates 'The House of Dancing Water'
The world’s largest water-based show - 'The House of Dancing Water', directed by Franco Dragone and staged in the purpose-built House of Dancing Water Theatre in Macau - has added 63 new Robe moving lights to the theatre’s rig.
The 41 x BMFL Wash XFs and 21 x Tarrantula LED wash beam lighting fixtures have now been installed in the theatre as part of a drive to upgrade the technical equipment to include more sustainable and advanced options than were available when the show launched in 2010.
Head of lighting, projections and special effects for the theatre and show is Karl Jenkins. He’s been in the post for two and a half years where he runs a team of 26 technicians and has previously worked on several Cirque du Soleil projects.
The final decision to use the Robe fixtures was taken by Jenkins and his head console operator/programmer Justin F Sinclair, who has been with the show since the beginning. The lights were delivered by Robe’s Hong Kong distributor ArcSource Ltd.
The BMFLs are all positioned in the overhead grid on levels 5 and 6, at between 18 and 25 metres above the stage. The Tarrantulas are enclosed in a series of Plexiglas "lighting bubbles" below the water’s surface, and are used to highlight the underwater environment, working in unison with the special FX including "boiling" and other effects created by microbubbles in the water.
With over 1000 fixtures in total in the show - including several submersible IP 67 and 68 ones - Robe is now also an integral part of this production. The whole lighting system is run via a GrandMA2 network with a Luminex backbone which is another recent upgrade.
(Photos: DickWai Lai)
San Antonio Sound and Light creates worship space with Chauvet panels
Three large video walls were installed at 4th Street Crossing, next to the First Baptist Church of San Antonio's campus, in January 2019 by San Antonio Sound and Light (SASL), using Chauvet Professional F4 LED panels. The vertically oriented middle wall is 20’ wide and covers almost the entire width of the stage. Flanking it are stage left and stage right walls that are each 10’ wide.
“All of us, along with the church’s media team, wanted LED walls over projection video, because we felt it would be more impactful and more contemporary looking,” says Mark Stevens, System Designer for San Antonio Sound and Light. “Jeremy Harper, the Director of Media Ministry, was instrumental in pushing this along; while Kevin O’Brien, the SASL Engineering, performed all the architectural MEP drawings; and Mitch Livermore, the SASL Project Manager, made sure the physical changes to equipment, rigging and cable paths were done properly.”
Changes to the lighting and sound system were necessary when installing the video walls because of the room’s relatively low (13’ maximum) ceiling. “There were some sightline issues,” says Stevens. “We had to move some speaker clusters, and the front of stage house lights had to be shifted to make the video walls easier for everyone to see."
Robe DL7S installed at Thalia Theatre Budapest
Budapest’s Thalia Theatre is in the ‘Pest’ side of the Hungarian capital and is a producing and receiving house, presenting around 600 different productions per year. The venue stages musical comedy shows on its three stages, the largest of which has a 520-seat auditorium.
The theatre has recently invested in Robe's DL7S LED Profiles and Spiider LED wash lights - which are the first to be installed in a Hungarian theatre venue. The luminaires were chosen by head of lighting Karoly Bodon and his team, and delivered by Robe's Hungarian distributor AVL Trade.
The new fixtures are currently all in use on the main stage, and there are another six DL4S profiles on order which will be utilised for the second stage when its current refurbishment is complete. The theatre is operated by the city of Budapest, but the new investment was financed by a combination of the district and national government.
The decision to upgrade the main stage lighting came whilst work was being done on the Winter Garden second stage, which is having a complete makeover including a new sound system being supplied by AVL Trade and a complete technical refit. It was decided that the time was also right to replace the old main stage lighting with some newer LED options. Previously, they had only conventional lighting in the main house.
The Robe Spiiders are used for a lot of back lighting and for washing and colouring large surface areas like the stage and various sets. These are the first Robe fixtures as well as the first moving lights for the Thalia Theatre - the previous investment in lighting was back in 1997. Thalia is also the first Hungarian theatre with a GrandMA 3 console.
Pictured: Karoly Bodon (on the left) with AVL Trade's Csaba Csanádi.
Martin-Audio-Installation in der Stadthalle Schmallenberg
Eine umfangreiche Sanierung der bis zu 1.500 Zuschauer fassenden Stadthalle Schmallenberg wurde Anfang März 2019 fertiggestellt. Dazu gehörte auch die Erneuerung der Ton- und Lichttechnik. Die komplette Planung und Umsetzung wurde durch Event Active realisiert, ein Unternehmen aus Schmallenberg.
Noel Büchte und Sascha Deussen, Inhaber von Event Active, erstellten das Konzept und realisierten das PA-System mit Lautsprechern von Martin Audio. “Wir haben bereits seit einigen Jahren ein MLA-Mini-System, das häufig in der Stadthalle eingesetzt wurde”, so Noel Büchte. Die Wahl fiel nun auf das neue Wavefront Precision Mini.
“Der Vorteil des Wavefront Precision Minis im Vergleich zum MLA Mini liegt für Installationen in der Struktur des Systems. Beim MLA Mini ist die Endstufe im Bass verbaut, hier haben wir nun die passende Systemendstufe als 19”-Gerät zur Verfügung”, erklärt Sascha Deussen. “Außerdem ist der native Bass des MLA Minis ein 15”-Subwoofer. Wir haben für die Größe der Halle aber mehr Low-End benötigt und konnten so zwei Doppel-18”-Subwoofer nutzen. Über die Softwareoberfläche konnten die Systemparameter in die Endstufe geladen werden, sodass sich die Subs integrieren lassen.”
“Wir haben uns beim System-Setup für die One-Box-Solution entschieden. Bei der Wavefront-Serie kann das System in der maximalen Auflösung gefahren werden, dann erhält jede einzelne Box einen eigenen Ampkanal”, erläutert Noel Büchte. “Bei budgetorientierten Anwendungen kann man in der Four-Box-Solution arbeiten, sodass vier Lautsprecher über einen Ampkanal versorgt werden.”
Die komplette Verkabelung erfolgte über Dante, welches die Systemendstufen von Martin Audio ohne zusätzliche Einschubkarten direkt verarbeiten können. In der vierzig Meter langen Halle kommen pro Seite acht Wavefront Precision Minis zum Einsatz, unterstützt von zwei SX218-Subwoofern. Als Frontfill können DD6 genutzt werden. Falls Monitore nötig sind, stehen zwei XE-300-Wedges zur Verfügung. Im Foyer sorgen darüber hinaus sechs CDD5-Lautsprecher für den Klang, diese laufen über eine 100-V-Linie. Über die Softwareoberfläche können ein oder mehrere Kanäle als 100-V-Abgang ausgelegt werden und benötigen keine separate 100-V-Endstufe.
Elation’s Artiste Picasso auditions at London’s Park Theatre
London-based lighting designer Dan Saggars had the opportunity to put Elation’s new Artiste Picasso LED profile to the test on the new drama ‘Distance’ at the Park Theatre in London in September 2018. Saggars required a light that could both wash wide to cover the stage and isolate for dramatic specials and placed the units in overhead and side positions to achieve the desired result.
Projecting texture onto the stage and set for greater contrast and depth of look was important and the designer found an array of useful graphics at his disposal. “The variance in different breakups was great and allowed me to really differ looks,” he says. “The glass gobos installed allow projection-like clarity and the image engine as a whole had really useful applications, especially when overlaying the first and second gobo wheels.”
When laying down color, Saggars says he was able to shift from the naturalistic tones of a train carriage to the murky, abstract colors that reflect the inside of the protagonist’s mind. The Picasso’s 4-blade framing shutter system allowed the designer to refine both beam shape and angle while creating some realistic effects.
(Photos: The Other Richard)
Claypaky’s architectural lights illuminate nativity scene in St. Peter's Square
For the 2018 Christmas holidays, the Vatican City has set up a nativity scene in St. Peter's Square which was made of sand. The nativity scene was donated by the Municipality of Jesolo, Italy, which has celebrated Christmas for the past seventeen years with Jesolo Sand Nativity, an exhibition of nativity scenes made from sand by artists from all over the world.
A large box of compressed sand was placed in the middle of the square at the end of November. The work was created by a team of artists, who gradually shaped the block of sand to create a three-dimensional sculpture. The nativity scene is housed in an aluminium casing with power-driven curtains that protect the sculpture from the elements.
Architect Carlo Tagliapietra looked into many possible ways of illuminating the work with different types of light. In the end, he chose Odeon Flood units made by Claypaky. Eight Mini RGBW Odeon Flood units with a 25° beam angle were used to illuminate the nativity scene in St. Peter's Square from above, and a 15° beam angle model was pointed at the crib.
The project was developed by Osram through its Claypaky brand, and supervised by architect Carlo Tagliapietra with the support of the Technical Services Department of the Governorate of the Vatican City State.
During the programming stage, Carlo Tagliapietra and Massimiliano Biava, Claypaky's project manager for the architectural line, regarded the sculpture as consisting of three conceptual sections. They kept the colour temperature constant in the middle for the crib and used a warmer white on the other sections.
Ten second dynamic white lighting cycles from 3200 K to 4000 K were set up using a special control system. Riccardo Garbuio from Arcadia Digital provided support during the rigging and programming stage.
Lightswitch adds Elation Proteus Hybrid to wintertime son et lumiere
Design group Lightswitch has worked with The Morton Arboretum in Lisle, Illinois, the past six years to direct and design ‘Illumination: Tree Lights’, the public garden’s wintertime walk in the woods with its lighting and color-changing illumination. This year, Lightswitch designers explored new layouts and designs.
Elation Professional luminaires continued to form the foundation of the lighting scheme with nearly 600 fixtures used on this year’s project including IP65 Proteus Beam and Proteus Hybrid moving head effects, Arena Q7 Zoom PAR wash lights and large numbers of weatherproof Level Q7 IP RGBW PAR lights.
Serving as both creative directors and visual designers, the Lightswitch team created an all-new route through new experiences for this year’s Illumination, which ran November 3 to January 9. The multi-environmental Proteus series featured on several designs including the new Crown of Light by artist collective Hybycozo, as well as Fantasy Forest, Symphony Woods and others. Having used the Proteus Beam on ‘Illumination’ the last two years, this year the Proteus Hybrid with its gobo package and zoom capability joined the stable.
Lightswitch works closely with Intelligent Lighting Creations (ILC) on the ‘Illumination’ project and again this year the Illinois-based design and rental house supplied the lighting fixtures.
(Photos: Benjamin Roy)
DAS sound system installed at Hangzhou Tennis Center
The historic city of Hangzhou, capital of Zhejiang province, is preparing to host the 2022 Asian Games in the largest Olympic Sports Center of its kind in China. The Tennis Center, which belongs to this complex, has recently been inaugurated with the support of DAS Audio systems.
The sound system was put to the test at the official inauguration of the stadium for the 14th Fina World Swimming Championships held from 11th to 16th December 2018. The DAS system delivered sound at the opening and closing ceremonies.
The team at DAS Audio China worked closely with the local engineering contractor and both sides collaborated in the design and completion of the installation, which has been specially tailored for this multi-sport stadium.
The stadium boasts a tennis court for the finals, which can accommodate 10,000 spectators, two venues for semifinal matches with 2,000 seats respectively, and a 6,000-seats temporary swimming pool constructed on top of the main arena. The rotary retractable roof formed by 8 steel “petals”, which can be opened or closed depending on weather conditions, required a weather-resistant audio system.
For this reason, the HQ series speakers with IP54 certification were chosen for the installation. In addition, DAS’ latest DX (100I/80I) series digital amplifiers with built-in DSP processors and Dante transmission protocols were installed to improve reliability and stability.
The system at the Tennis Center was distributed throughout the facility on 4 clusters of 2 x HQ212.95 flown over the east and west spectator stands, 12 clusters of 2 x HQ212.95 flown over the north and south spectator stands, 6 clusters of 2 x HQ212.95 flown over the main arena, 4 clusters of 4 x HQ212.64 flown over the VIP spectator area, and 2 x Vantec12 as floor monitors in front of the podium.
Ayrton fixtures installed at Tokyo’s Studio Tanta
Studio Tanta, a recording studio in Tokyo which opened in the Shibuya district in May 2018, chose Ayrton lighting products for its rehearsal studios. The installation includes 10 Ayrton NandoBeam S3 units, 6 WildBeam R fixtures and 4 Arcaline 2 100 battens which were permanently installed in Rehearsal Studio-C.
Studio Tanta is a 7-storey building which took five years to build from planning to completion. It has two recording studios, a rehearsal studio, two artists’ rooms, and a restaurant. Hibino Lighting Inc., Ayrton’s exclusive distributor for Japan, was responsible for the supply and installation of the Ayrton fixtures and a lighting console.
Studio Tanta is used for a wide variety of purposes, including live concerts, rehearsals, parties, events and as a recording studio. Hibino Lighting suggested installing Ayrton’s Wildbeam-R for special effects, and the Nandobeam-S3 for spotlighting of the masters of ceremonies, and for musicians who like to move around a lot. Also within the rehearsal studio, Hibino Lighting installed four Arcaline 2 100 fixtures to enhance and highlight the patterns of the textured wood of the back wall with colour washes.
(Photos: Hibino Lighting)
Matrox-powered control room video wall installed at bioproduct mill in Finland
Metsä Fibre, a division of the Metsä Group, is set to be the world’s largest producer and seller of softwood pulp through the recent inauguration of its new € 1.2 billion bioproduct mill in Äänekoski, Finland, which makes use of automation and digitized monitoring systems for its high-speed production lines for woodcutting, washing, and more.
To complement this, Metsä Fibre wanted a video wall solution for monitoring its production operations. Taking the recommendation of one of its main suppliers, Andritz Oy, Metsä Fibre reached out to local systems integrator Elkome Systems to manage the video wall installation. Elkome Systems collaborated with Matrox Graphics to implement the new video wall solution in the Äänekoski plant.
In each shift, two operators in the control room continuously monitor three high-speed line operations where wood is cut into smaller pieces. Part of the process control surveillance system has 36 Bosch IP video cameras permanently focused on the log cutting operations. These feed into a Bosch video server onsite. The operators have the ability to switch to any of the inputs from the 36 cameras, which need to be displayed on a video wall.
Data from automated quality inspection systems that check the pulp for the presence of metal, stones, and other foreign materials are also additional sources of information that Metsä Fibre wanted to include on the video wall. With all of Metsa Fibre’s capture and display requirements, Elkome Systems decided on a 6.5-meter long, 12x1 video wall driven with multi-channel capture capabilities.
Housed in a single 4U Advantech video wall controller are three Matrox Mura IPX cards which can each capture up to four 4K inputs and encode/decode multiple 4K streams. The Mura IPX cards capture the outputs of the Bosch video server as well as the automation systems via four and six inputs respectively - all in Full HD (1920 x 1080p60) resolution - so operators can pull up monitoring data points on the wall. In the same system are two Matrox C680 graphics cards that power the 12 pivoted displays at 1080p60 where multiple video sources are viewed simultaneously.
Initial set up and other administrative tasks are done entirely with the Matrox MuraControl software. For day-to-day operations, a software customized by Elkome for Metsä Fibre (that contains readymade setups) is used.
A portion of the video wall is also dedicated to displaying the alarm lists from the 24/7 surveillance of the production control systems. Alarms are typically triggered when the received control system values do not fall within the expected value thresholds (for example, the temperature is too low or high). Should the alarm go off, the operators are able to see a complete picture of the issue at hand and promptly take appropriate action, including stopping the process if needed. The surveillance operators are able to share the display in question with other decision makers as well.
A second server is planned to be set up soon for redundancy sake. By using the Matrox-powered video wall, Metsä Fibre has ensured that it is future ready for network-based solutions.
Chauvet fixtures installed at Tabernacle of Praise International church
On Sunday January 27, live streamed services from Georgia’s Tabernacle of Praise International were broadcast using a new lighting system for the first time. The refurbishment of the church’s broadcast lighting actually had begun two years earlier, when LD Brad Lyons had the 24 aging incandescent fixtures over the church’s stage replaced with 14 Chauvet Professional Ovation E-190WW LED ellipsoidal units, supplied by dB Integrations.
“The new lighting system was really Phase Two of a step-by-step plan,” says Lyons. “Like many churches, we had to do a lot of AV upgrading in recent years, first to get to LED stage lighting, and then to create a true broadcast worthy system. This often requires churches to do a balancing act, weighing the cost of these upgrades with the other needs of their ministry. In our case, as in many other cases, the best way to achieve this balance is often with a phase-in approach.”
Like Phase One of the Tabernacle of Praise lighting upgrade, Phase Two was anchored by Chauvet Professional Ovation fixtures. The new lighting is positioned on three truss structures: a 50’ long line of box truss located 30’ from the stage, flanked on either side by a 30’ section that is 20’ from the stage. Using a mix of new fixtures and LED units from the previous Phase 1 rig, Lyons is able to deliver an even field of warm white and richly colored light.
Tabernacle of Praise used Trusst CT290-430S 9.84’ box truss to have the 50’ line of truss installed across the stage. Lyons installed 20 Ovation E-190WW ellipsoidal fixtures for front key lighting on this truss. Joining the ellipsoidal units on the center truss structure were three Ovation F-165WW Fresnel fixtures. Additional Ovation F-165WW Fresnels were hung one apiece on the side truss structures to provide key lighting to the front corners of the stage for broadcasts.
In addition to the Ovation luminaires, the Tabernacle of Praise rig includes four Rogue R2 Spot fixtures and six Q-Wash 560Z movers (from the earlier rig) that are flown on the center and side truss structures and are used to focus on different band members, as well as to create special concert looks on the walls and ceiling. The Q-Wash fixtures serve added duty, being turned around toward the congregation to provide additional fill lighting for broadcasts.
Rounding out the rig are six Colorado 1-Tri Tour units, as well as Chauvet DJ SlimPAR Quad 12 IRC and SlimPAR Tri 12 IRC units for colorizing the stage - plus six Intimidator Spot 355Z IRC moving fixtures positioned three apiece on the side truss structures for side lighting and specials.
ZweiB realisiert Dolby-Atmos-Installation mit Alcons-Systemen
Die Münchener Firmen ZweiB und Videocation haben ein gemeinschaftliches Projekt in den Kinosälen 8 und 9 des Dietrich Theaters in Neu-Ulm durchgeführt. Im Zuge weitreichender Umbauarbeiten verantwortete Videocation die Installation einer Sony-SRX-R515DS-4K-Doppelprojektion, während ZweiB die Installation der Beschallungsanlage übernahm.
ZweiB installierte jeweils 5x Alcons-CR4-3-Wege-Pro-Ribbon-Leinwand-Systeme, 4x CB362-Subwoofer, 2x CB181sl-Subwoofer-Surrounds, 18x Pro-Ribbon-CCS12-Surround-Sound-Systeme sowie 4x CCS12S und 8x CCS8S als Top-Surounds. Das gesamte System wird durch Alcons-Sentinel3-System-Endstufen angetrieben. Für ZweiB war es die erste Kinoinstallation mit der Kombination Alcons Audio/Dolby Atmos.
Church of the Holy Trinity in Liberec illuminated by Anolis
To illuminate the Church of the Holy Trinity in Vratislavice nad Nisou, a district in Liberec (Czech Republic), locally based architectural lighting specialist ArchLights, was asked to propose an appropriate lighting scheme that highlighted its architecture, and their team led by lighting designer Pavel Holzknecht and owner Michal Rehak chose Anolis ArcLine Mini Outdoor 18 and ArcLine Mini Outdoor 36 LED luminaires together with ArcSource Outdoor 4 MC Pixels.
The concept of lighting the church was initiated by Liberec’s mayor Lukas Pohanka and his colleague Pavel Podlipny. For Anolis CZ, the project was co-ordinated by Josef Valchar Jr on sales and Radim Zlebek who assisted with some of the technical elements of the installation.
The ArcLine Mini Outdoor strips are installed directly inside the three window cavities which are high up along the road side façade of the Church, each window features segmented inner arcs. The ArcSource Outdoor 4 MC Pixels are mounted directly on the façade of the road-facing wall, the annex and the tower on special brackets, positioned to outline the clean architectural lines and form of the building from the ground to the different height roofs.
The fixtures are powered by Anolis ArcPower 600s DRS located inside the church near two Hager control switchboards, one in the control room and one in the roof, which are connected via DMX. The municipality can currently change between six different pre-programmed schemes - cool white, warm white or a combination of both, a nationality color scheme with red, blue, white and two different celebratory schemes which use the full colour range.
(Photos: Michal Rehak)
Morris Integration upgrades Shiloh Church’s lighting with Chauvet Professional
Shiloh Church, a house of worship in the heart of Oakland, was looking to improve the technical production of its services for worshippers at the church, as well as for those streaming services online. Morris Integration provided the church with more dynamic stage lighting by installing Chauvet Professional fixtures. Morris also addressed the quality of its house lighting.
“When we first visited the church, it became apparent very quickly that we needed to address the house lighting of the room,” says Paul Holst, Morris Integration’s Lighting Designer. “We took an FC reading of the room with the houselights at full, and they were only getting 4 FC.”
Morris Integration had a Chauvet Professional solution for that issue too: the Ovation H-605FC house light. A total of 16 of the RGBA-Lime LED fixtures was installed throughout the sanctuary, providing an even field of light in the room. The new fixtures give the church the flexibility to use white light, or any color for times when it wants to create a more immersive environment.
Once it addressed the “basic” need of upgrading the church’s house lighting, Morris Integration turned its attention to designing the stage lighting system. The rig the company put together features 10 Rogue R2 Wash, 6 Rogue R1 Wash and 6 Rogue R1 FX-B fixtures, as well as 6 Maverick MK1 Spot units and 8 Ovation F-265WW Fresnels, 4 Ovation FD-105WW Fresnels and 14 Ovation E-260WW ellipsoidals.
“We used the R2 washes over the stage to create a color wash for the worship team,” says Holst. “The Mavericks were also used over the stage to create breakup and beam patterns. We placed the R1 Washes and FX-Bs on uprights that we spread out between the worship team for more beam effects and added dimension. The Ovation E-260WW ellipsoidals were used for front lighting the worship team, while the Ovation F-265 Fresnels were used to create an even front wash of the lower stage for speaking, with the FD-105 providing backlighting.”
Elation fixtures for premiere of ‘Jagged Little Pill’ musical
Lighting designer Justin Townsend was one of the first designers to use the Elation Artiste Picasso LED moving head, employing them along with the company’s ZW37 LED moving head on the premiere of the musical ‘Jagged Little Pill’, featuring the music of Alanis Morissette.
The world premiere of ‘Jagged Little Pill’ ran for 79 sold-out performances - May 5th to July 15th, 2018 - at American Repertory Theater’s Loeb Drama Center in Cambridge, Massachusetts. Playing a prominent role in the lighting rig were 42 LED source Elation ZW37 beam/wash moving head effects that the LD had lined in angled overhead trusses in the shape of a roof. Riccardo Hernandez was the set designer.
“The iconic shape of a roof of a house became the unifying design idea and we hung three trusses full of wash lights to create an overhead structure,” Justin Townsend explains. “The units acted as both powerful lights to compose each scene, but also created a unique theatrical architecture - activating the scenic design idea. This ceiling of light flew in and out during the action, creating compressed spaces as well as completely flying out to the grid, creating a giant black void.”
The designer complemented the look with Artiste Picassos, the first use of the new LED moving head in a theatrical environment. “They were real workhorses on the show,” he says. Townsend had nine Artiste Picasso units at his disposal and used them as top light for color shading and on occasion for texture onto the deck. He also used them as cross light. The Elation fixtures for ‘Jagged Little Pill’ were supplied by lighting rental company Christie Lites.
(Photos: Evgenia Eliseeva)
Anolis illuminates Rhyl
Anolis LED luminaires have been specified for the Welsh seaside resort of Rhyl. They are used to light key landmarks in the town including the 76 metre high Sky Tower which is prominent on the seafront skyline.
Additional lighting installations include the front façade and the fly tower of the Pavilion Theatre, the clock tower, seafront waterfall and new sea wall viewing shelters. Andy Hughes, technical manager of the Rhyl Pavilion Theatre, specified the Anolis fixtures in conjunction with Anolis UK technical sales specialist Simon Gooding.
The first phase of lighting involved highlighting the sea wall and three new viewing shelters, part of constructions to fortify the flood prone town which is regularly lashed by storms during the winter and vulnerable to tidal flooding.
The shelters are built from concrete and although Andy Hughes wasn’t involved during the first phase of the design process, once the idea of lighting them was mooted, the physical design was changed to fit the Anolis ArcSource 1MCs RGBW which were specified for illumination. Twelve ArcSource 1MCs are installed in each shelter, driven by Anolis Outdoor ArcPower units and DMX controlled via a Pharos system.
When it came to completing the Sky Tower and Pavilion Theatre façade lighting, Hughes selected Anolis products again. It was important that the Sky Tower was evenly lit, as it presides, beacon-like, over SC2, a family entertainment zone below. Twenty-four Anolis ArcSource Outdoor 48MC RGBW integrals were chosen for the task. The fixtures are rigged on a special ring bracket secured around the tower - donut style - at 106 ft. from the ground, around two thirds of the way up. Integration was provided by Anolis Partner LTP Integration.
The current Pavilion Theatre is located on the East Parade seafront. An opaque Perspex strip covers 13 x Anolis ArcLine Optic 36 RGBW linear luminaires running up the exterior of the tower, and another 12 linear luminaires - six per side - highlight a large panelled area on the venue’s front façade, positioned 15 ft. apart.
Essential bi-lingual signage (English and Welsh) on the theatre is picked out with a couple of Anolis ArcSource 96 Integral RGBW wireless units (with 13 degree optics) complete with a custom made top hat to stop road glare into traffic, which are linked into the same Pharos control system running the Theatre façade lighting.
(Photos: Louise Stickland/Leon Lloyd)
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