Rental News

Varilite delivers looks and effects for Miley Cyrus 

American singer Miley Cyrus returned to US screens recently for a massive live-broadcast party with a host of star guests. Taking place at Miami's Telemundo Studios, it featured classic rock'n'roll lighting effects mixed with a Miami club style setting, achieved using Varilite VL5LED Wash luminaires from Signify. The DX7 Design team delivered the lighting design, specifying a series of the VL5LED Wash fixtures which were mostly rigged to the arches of the main scenic structure over the main stage.

"This was our third TV show with Miley and on each one, she has opted for a more lighting-based design with almost no video", explains Tom Sutherland, CEO and Lead Designer at DX7 Design. "She is a big fan of the more traditional lighting looks, which is why we had a large PAR wall as our background, as opposed to a video wall. Positioning the VL5LEDs on the arches really helped to compliment the production design as well as provide a nice background for any side or low camera shots."

Her decision to include the PAR wall as opposed to a video screen, with a lot of beams and moving lights, meant that the DX7 Design team needed to ensure they had the tools needed to provide the different and dynamic looks for the many musical numbers, but also keep a very traditional aesthetic when needed that complemented the large PAR wall.

The design for the New Year's Eve show was heavily connected to the Production Design of Keith Raywood and Cyrus's vision and personal aesthetic. The DX7 Design team took full advantage of the VL5LED fixtures' vintage styling with the Dichro fusion blades, which are based on the classic Varilite VL5 and offer a strong visual impact. The looks achieved went into overdrive as a host of stars joined Cyrus on stage, including Australian singer Sia, celebrity Paris Hilton, and Cyrus's godmother Dolly Parton, who duetted with Cyrus on her power ballad "I Will Always Love You".

The VL5LED luminaires were supplied to the show by Solotech, with programming by Mark Humphrey and Nate Files, and lighting direction by James Coldicott and Jasmine Lesane. Miley's New Year's Eve Party was broadcast live on on NBC and Peacock.

Robe lights the way for MacBeth

The New Zealand Opera's recent acclaimed production of Giuseppe Verdi's MacBeth unleashed a classic and grisly narrative of power, politics, corruption, murder and authoritarianism. Lighting designer Matt Marshall specified and used Robe T1 PC moving lights to provide special soft back lighting to delineate the cast and evoke a sense of separation between them and the large scape video projections across the set.

The performance opened at the Aotea Centre in Auckland, then travelled to the St James Theatre in Wellington and the Isaac Royal Theatre in Christchurch. It was the first opera that Matt has lit using T1 PC fixtures and his first creative collaboration with British director/designer and video artist Netia Jones, who designed set, costumes and video as well as directing the work. Projected images played a prominent role in the dramaturgy, beamed onto three imposing scenic walls making up the set.

With video projections so fundamental to the action and aesthetics, this also informed the way Matt lit the stage and cast. It was needing a specific and refined back light to give depth and three-dimensionality which led him to T1 PC to make the characters pop out but not affect the impact of the images. The production's visual style was very noir with multiple greyscales, monochromacy and sharp contrasts, so he needed a crisp, cold white to complement and contrast with this for which the seven T1 PCs were the solution.

Having previously used T1 and T2 Profiles on shows for the Western Australian Ballet in 2021, he knew that the products were ideal for this environment, but it was the quietness that really impressed him. It's also something that is essential for opera, as everyone involved in this genre of performance is acutely conscious of ambient noise levels. Other features like the accurate shuttering system and super-smooth dimming were also useful, especially when confining light to specific areas and preventing spill onto the set.

The general challenge in lighting this production was accentuating all the nuance and intrigue involved as Francesco Maria Piave's libretto was unfolded, capturing the intricacy and narcissism of the characters and the cynicism of their actions. There had to be a constant and complete balance between the two visual media - light and moving image - to enhance the compelling storytelling, and Matt enjoyed working with Netia to create this fluidity and sense of visual spectacle.

The set was essentially a giant angled box wrapping an almost bare stage, so the trick was penetrating this space and using it properly and intelligently to relate the story. Fixture placement was absolutely critical in each venue, and lights had to be rigged on drop bars and other rigging infrastructure to get them spot-on, as no luminaire could be below the 10-metre projector pathway.

The moving lights were supplied to the production by Wellington-based Grouse Lighting.

photos: Grant Triplow

www.robe.cz

Cameo beleuchtet 110. Six Day Radrennen

Vom 27. bis 29. Januar 2023 fand im Velodrom Berlin das 110. Six Day statt. Das auch als Sechstagerennen weltbekannte Radrennen gehört zu den absoluten Sport-Highlights der Hauptstadt und schickt die Profis auf ein beeindruckendes 250-Meter-Oval. Für die Beleuchtung im Velodrom zeichnete in diesem Jahr die AVM Event Veranstaltungstechnik & Service GmbH verantwortlich, die bereits jahrelange Erfahrung mit dem Six Days-Ableger in Bremen hat. Mit mehr als 300 Cameo-Scheinwerfern setzte der Full-Service-Dienstleister in Berlin dabei auf ein umfangreiches Lichtsetup.

Wenn die Radsportler mit Spitzengeschwindigkeiten von bis zu 80 km/h ihre Runden drehen, braucht man vor allem eine helle und homogene Ausleuchtung der Rennbahn. Diese Aufgabe übernahmen die von AVM Event eingesetzten 116 Cameo Zenit W600-D LED-Washlights, die mit ihrem hochauflösenden Dimmverhalten und den Torblenden eine präzise, ausschließlich auf die Rennstrecke beschränkte Ausleuchtung ermöglichten. Jens Wiegandt, Inhaber von AVM Event: "Die LED-Washlights sorgten für eine geringere Hängelast und ermöglichten es dem Team, die Scheinwerfer auch als Blinder im Showlicht-Design zu verwenden."

Neben den Zenit setzte AVM auf 70 Cameo Opus H5 Beam-Spot-Wash Hybrid-Moving-Heads, um Gobos auf die Bahn zu projizieren und Effektbeams in der gesamten Halle zu erzeugen. Ergänzt wurde das Showlicht-Design durch 24 Opus S5 Spot-Moving-Heads, um unter anderem Kunstradfahrer im Hallen-Innenraum in Szene zu setzen. Für weitere Aufgaben in und außerhalb der Halle, darunter die Beleuchtung der Taxi- und Shuttle-Haltestelle, kamen wiederum Zenit W600 LED-Washlights mit RGBW-Bestückung zum Einsatz. In der VIP-Lounge des Velodroms sorgten zudem die akkubetriebenen Modelle B200 und B60 C LSD für eine flexible wie dezente Ambient-Beleuchtung.

Für die Cameo Otos H5 Hybrid Moving Heads hatte AVM eine besondere Aufgabe vorgesehen. Direkt an der Showbühne platziert, mussten die IP65-fähigen Hybrid-Moving-Heads nicht nur die Showacts in Szene setzen, sondern auch den Champagner-Duschen der Siegerehrungen standhalten. Dank des Strahlwasserschutzes konnte das Team die Scheinwerfer nach jeder "Dusche" problemlos mit einem Wasserstrahl reinigen.

www.avm-event.de
ww.cameolight.com
www.sixday.com

LD Bobby Grey creates retro look for Stephen Sanchez

Lighting designer Bobby Grey of Notan Creative was brought in by 24/7 Productions to design a series of late night talk show appearances for singer-songwriter Stephen Sanchez and chose to incorporate Elation Professional's KL Fresnel 8 FC soft light as a retro look fixture in his design for a February performance on "The Late Late Show With James Corden."

For the performance Sanchez teamed with Em Beihold to deliver a remarkable duet of his hit "Until I Found You". The collaboration - their first television performance of the song together - brought together two of music's most exciting breakout stars for one memorable performance.

LD Grey placed 10 KL Fresnel 8 FC fixtures on C stands for a vintage Fresnel backdrop look. "I just love a Fresnel and feel it really personifies light as art. A big Fresnel has this great vintage Hollywood feel", Grey stated, explaining that he originally tried to retrofit a classic 10" Fresnel with LEDs inside to get a color-changing glow but gave up on the idea. Ideal for broadcast applications that require high-quality, high-output soft light, the KL Fresnel 8 FC employs a 500 W RGBMA LED engine (CRI 92) to emit a diffused wash of full-spectrum light that includes dynamic whites.

Sanchez's Late Late Show performance was the designer's first time using Elation's KL Fresnel series. The appearance was one of two Late Late Show performances that Grey lit for Sanchez, along with a performance on "The Tonight Show Starring Jimmy Fallon". The appearances continue a busy season for Sanchez who recently unveiled a new single "Evangeline" and is playing sold-out shows across the U.S.

www.elationlighting.eu

Audio Werft setzt Darts European Tour ins richtige Licht

Die Sportart Darts erfreut sich seit Jahren zunehmender Beliebtheit und hat längst ihre eigenen Superstars hervorgebracht. Dafür sorgt nicht nur die Wurfpräzision der Spieler, sondern auch die Atmosphäre in den Arenen. Wer in Deutschland Spitzen-Dartsport sehen möchte, schaut DAZN. Der Streamingdienst überträgt auch die Professional Darts Corporation Europe (PDCE) European Tour.

Die Firma Audio Werft Veranstaltungstechnik GmbH aus Hildesheim ist bereits seit mehreren Jahren technischer Dienstleister der PDC Europe für die European Tour und die Darts Galas. Um das Geschehen auf der Bühne sowohl für das Publikum als auch für die Fernsehkameras auszuleuchten, setzt das Team der Audio Werft bei der aktuellen Tour sechs KL Panel und zwölf der größeren, leistungsstärkeren KL Panel XL von Elation ein.

Sechs KL Panel XL kommen in der Fronttruss ca. zweieinhalb Meter vor der Bühne zum Einsatz, weitere vier Stück in der Traverse direkt über der Bühnenvorderkante. An den seitlichen Bühnenkanten befindet sich links und rechts jeweils ein weiteres KL Panel XL, während vier der Standard-Panels in der Backtruss verbaut sind. Zwei weitere KL Panel reisen als Spare mit.

Arne Lorenz, Meister für Veranstaltungstechnik bei Audio Werft Veranstaltungstechnik erläutert: "Neben gutem Licht für die Kameras und die Fernsehübertragung ist auch das Wohlbefinden der Spieler wichtig. Schließlich sind wir auch verantwortlich dafür, eine Beleuchtungssituation zu schaffen, die dem offiziellen Spielbetrieb für Weltspitzensport gerecht wird. Dabei achten wir auf Blendungsbegrenzung, gleichmäßige Ausleuchtung, schattenarme bis schattenfreie Beleuchtung des Dartboards, variable Farbtemperatur und Energieeffizienz. Alle Bereiche decken wir mit dem KL Panels ab - bei einem guten Preis-Leistungsverhältnis."

Das KL Panel von Elation deckt dank der RGBWLC-Bestückung das volle Farbspektrum ab und erlaubt darüber hinaus die stufenlose Auswahl der Farbtemperatur im Bereich von 2000 bis 10.000 Kelvin. Es verfügt über einen hohen CRI (95), bietet 295 Watt LED-Leistung mit 24.000 Lumen bei 100 Grad (half-peak). Das KL Panel XL bietet die gleichen Features, kommt jedoch mit seinen 544 Watt LED-Leistung auf 44.000 Lumen bei 100 Grad (half-peak). Im Vergleich zum KL Panel sind die LEDs zudem auf 4x 2 separat steuerbare Zonen aufteilbar, was noch mehr Flexibilität bei komplexen Beleuchtungen bietet.

Die 13 European-Tour-Events werden komplett auf DAZN und einem britischen TV Sender live übertragen. Vier ausgewählte Events sind zusätzlich bei Sport1 zu sehen.

www.lmp.de

Derek Hons choses Varilite for Greater Cleveland Sports Awards

NFL legend Joe Thomas stepped out to lead the Greater Cleveland Sport Awards recently, staged to honor athletic achievement in Ohio. The ceremony took place at the Rocket Mortgage Field House arena in front of a live audience and was filmed for streaming. Lighting director Derek Hons (NPiAV) specified Varilite VL5LED and VL2600 series luminaires from Signify to fill the cavernous space with washes, key light and effects.

NPiAV, based in Northeast Ohio with a national reach, has a longstanding relationship with The Greater Cleveland Sports Commission, producing events for GCSC across Northeast Ohio. The Sports Commission approached Hons to design a lighting solution that would add bright washes and audience overhead effects for both those in attendance and for the live stream.

"I have been a part of this event for 15 years, so I knew the flow of the show very well," says Hons. "In terms of design, timing, familiarity and execution were important factors in laying out the plot and how the fixtures would be used. I chose the VL2600 Washes for keys and fills for the stage, the VL2600 Profiles would be used for scenic, décor, effects and the VL5LED would be used for audience lighting and effects. The VL2600 Wash fixtures provided plenty of brightness for the stage. With their barndoors we were able to manipulate where we wanted light and where we didn't."

A host of big names showed up to celebrate or present awards, including New York Jets defender Justin Hardee, former Ohio State Buckeyes head coach Jim Tressel and former NFL player Ted Ginn Jr., who was presented with a Lifetime Achievement Award.

The VL5LED luminaires were rigged on trusses that were dedicated to lighting the audience and providing moving and dimmer effects for presenters and award winners. The VL2600 Wash fixtures were rigged from trusses surrounding the stage at roughly a 32' throw, and the VL2600 Profile luminaires were used to lay texture over the main audience. Being staged in the round presented some challenges. "The main success of the design was being able to successfully direct attention to where it was needed - simple effects to celebrate a winner, even and color corrected lighting for the camera, letting the online viewers see those that were celebrated as well as the in-person audience reaction."

The 23rd Greater Cleveland Sport Awards is available to stream via their website.

www.signify.com

Vetusta Morla setzt Panther Line Arrays von Meyer Sound ein

Die spanische Indie-Rock-Band Vetusta Morla hat seit ihrer Gründung im Jahr 2008 eine große Fangemeinde aufgebaut. Ihr aktuelles Album "Cable a Tierra" wurde im letzten Jahr für den Latin Grammy nominiert. Beim Abschlusskonzert ihrer erfolgreichen 2022er Tournee begeisterte die Band im Estadio Metropolitano in Madrid 35.000 Fans. Zum Einsatz kam ein Soundsystem mit 240 Meyer Sound Lautsprechern, einschließlich der neuen Panther Line Arrays. Geliefert wurden die Systeme von Fluge Audiovisuales aus Madrid.

Iñigo Giménez war für das Systemdesign und -tuning des Konzerts verantwortlich und zudem Leiter der Audiocrew auf der Tournee. FOH-Ingenieur Alberto Ruiz wollte Meyer Sound für die Tour, eine Entscheidung, die Giménez voll unterstützte. "Ein Meyer Sound System gibt einen Mix wieder, dessen Klangfarbe nicht durch den Schallpegel verändert wird", erläutert Giménez, "weil es keine zusätzlichen akustischen Verzerrungen bei steigender Lautstärke erzeugt."

Das PA-System für das Konzert in Madrid bestand aus insgesamt 72 Leo, 42 Lyon und 12 Mica Line-Array-Lautsprechern, wobei 18 Leopards als Frontfill eingesetzt wurden und 48 1100-LFC Low-Frequency Control Elements für ausreichend Bass sorgten. Die 24 Panther, die als seitliche Delays geflogen wurden, beschallten einen großen Teil der Tribünenplätze. Weitere 24 Lyon Line-Array-Lautsprecher dienten ebenfalls als Delays, während neun über AVB verbundene Galileo Galaxy 816 Netzwerkprozessoren das System steuerten und optimierten.

"Stadionsysteme mit reinen Panther Arrays, wie jetzt bei Ed Sheeran, sind nur ein Teil dessen, was diesen Lautsprecher ausmacht", sagt Andy Davies, Senior Product Manager bei Meyer Sound. "Ich freue mich sehr über diese Beispiele. Das stimmige Verhältnis von Größe, Gewicht und Leistung macht Panther zu einem vielseitig einsetzbaren Beschallungssystem, das sich problemlos mit anderen Meyer Sound Lautsprechern kombinieren lässt."

Die "Cable a Tierra" Tour von startete in Valencia und endete nach insgesamt sieben Shows in Madrid. Produziert wurde die Tour von Esmerarte Industrias Creativas. Fluge Audiovisuales, ein führender spanischer Anbieter von Veranstaltungstechnik, lieferte das gesamte Licht-, Ton- und Videoequipment für die Tour. Zum Fluge Team gehörten außerdem Marcos Mejias, Jose Murillo, Aurora Santamaria und Dario Hernandez. Der Bandname "Vetusta Morla" ist übrigens der Name der uralten Schildkröte aus dem Fantasyroman-Klassiker "Die unendliche Geschichte".

photos: Gloria Gadés

www.meyersound.de

Ed Warren powers Seminal Madison Square Garden Show with Chamsys

It occurred at 8:30 pm on Saturday, February 18, at the famed Madison Square Garden. The big arena was filling up with fans for the back-to-back DJing show by Four Tet, Fred Again and Skrillex, an event that had sold out in only two minutes. DJs were playing as the large crowd filed in. Then, at a prearranged signal after a huge drop, lighting designer Ed Warren used his Chamsys Magic Q MQ500 to kick up his lights and lasers as the crowd, encouraged by the lighting crew, simultaneously turned up their cell phone lights.

And "just like that" one of the world's biggest and most famous arenas suddenly erupted and took on the air of a street rave club. "Instantly the arena was magically transformed, and you felt a huge lift in the energy", said Warren. For him that was just the beginning. Throughout the show he created all-embracive looks that seemed to involve every inch of the 820.000 sq ft (76.000 m2) venue in every moment of the show.

"I wanted to make sure I lit the entire arena as equally as I could throughout. Everyone needed to be seen and everyone needed to know they were seen. I tried not to create a 'light show' as such, it was more a matter of translating  the feel of the music into light. Then it was more about adding a few party tricks and relying on my busking skills for the rest of it. I had an excellent rig from Christie Lites. I also had access to the MSG house rig, which helped expand the show when needed. They have an extensive array of fixtures up in that roof."

Warren used the MSG rig to create a walk-in look that was a full wash of the arena in CTO shades. He also relied on some intense overhead lighting to create an architectural space of the "dance floor" that was carved out of the arena's main court. "We were especially conscious of the main floor looking slightly sparse due to the limit in tickets that were allowed on the floor due to fire regulations", said Warren. "So I made an effort to light it in a way to make it look like a canvas if viewed from a higher level. However, I tried not to pick the floor out too much, but obviously that's difficult when lighting from above. I like to think everyone in the arena got a piece of the action."

A big part of the action centered around the intense strobing Warren did during the show, following the beat and the drops, but always remembering to turn off his strobes for periods "to give everyone a break." Rather than concerning himself too much with giving each of the three co-headliners a distinct identity for their shows, he focused on creating an overall immersive identity for the entire evening. Helping him accomplish this in impressive fashion were the Magic Q MQ500M he used at the venue and the MQ70 console he worked on at home.

"I carried over the programming from the London shows I did for these three artists a few weeks earlier and spent a fair bit of time at home programming on my MQ70 in preparation for this show", he said.  "There was also a bit of time on the plane on my laptop, and then I spent as much time as I could at MSG putting stuff in on the day the show. I busked the entire thing start to finish, so I made sure I had everything laid out in front of me that I thought I might need. I even spent parts of the show programming new stuff in - in blind mode. None of the show, except for the first drop of the house lights, was pre-planned or timecoded."

Warren credits the design team - Julian Edwards of Christie Lights, Brian Gallagher and JT of the lighting crew as well as Darren Mullis and Josh Rhalski, the production managers with helping the show come off so well. He also extended thanks to "Parker on audio, Kieran, Fred, and Sonny for trusting me with this madness!"

photos: Chris Lavado

www.chamsysusa.com

Legends of Jiuge-Shangui come alive with Christie laser projections

Christie's 3DLP and 1DLP laser projectors are illuminating a new nighttime tourist attraction at the picturesque Jiuge-Shangui scenic area in Zhangjiajie, a prefecture-level city in Hunan Province.

Inspired by stories in the "Chu Ci" poetry anthology by renowned ancient poet Qu Yuan, "Jiuge-Shangui" integrates the legends of Xiangxi with cultural heritage of the indigenous Tujia and Miao ethnic groups, as well as the natural beauty of Zhangjiajie to deliver a spellbinding large-scale extravaganza. Live performances staged across the scenic area spanning over 5 square kilometres (1.9 square miles) are lit by close to a dozen Crimson WU31, DWU2022-HS and DWU1612-HS laser projectors supplied and installed by Christie's trusted partner, Jianye Display.

"'Jiuge-Shangui' nighttime spectacular is the first of its kind in the world and features majestic scenes set in natural landscapes such as mountains, forests, sinkholes, and karst caves", said Zhongliang Li, technical director for southern China, Jianye Display. "As the first large-scale show in the post-pandemic era, we have pulled out all the stops to ensure that this massive outdoor spectacle is a great success."

Housed in weatherproof enclosures overlooking the stage areas, the projectors deliver vibrant images at several performance venues that are interconnected via plank roads, including the massive Hibiscus tree and enchanted forest. "These sites represent the harmonious coexistence of nature and life depicted in ancient poetry, and they are vividly brought to life using a variety of advanced technologies including 3D projections, lighting, holography and water effects to create a multisensorial experience that accentuates the Jiuge-Shangui scenic area", Li added.

As visitors enter the scenic area, they are immediately transported to a magical dreamland, encountering creative and enigmatic set pieces that alter their appearances as the story progresses. Besides a troupe of live performers, a slew of stunning visuals on various surfaces featuring ancient trilobites, fireflies, mystical creatures and flowers heighten the storytelling process, leaving a lasting impression on anyone who experiences them.

Featuring an IP5X-sealed, solid-state laser light source in a robust chassis, the 31.500-lumen Crimson WU31 provides years of reliable and virtually maintenance-free operation with its long-life laser light source that offers up to 20.000 hours to 50 % brightness. With key features such as Christie Bold Color Technology for enhanced colour performance and fast Christie Tru Life electronics, the Crimson WU31 is the go-to solution for demanding, large venue events and applications.

www.christiedigital.com

HBX unterstreicht dynamische Performance mit GLP Hybrid-Strobes

Bereits seit 2018 mischt die Berliner Hip-Hop-Crew BHZ (kurz für Bananahaze) mit ihrer Mischung aus Boombap und Trap die Szene auf. In hoher Frequenz stellen BHZ sowohl auf gemeinsamen Releases als auch bei Solo-Projekten ihren Facettenreichtum eindrücklich unter Beweis. Von Ende Juli bis Mitte September 2022 war das achtköpfige Team (fünf Rapper, drei Produzenten) auf Deutschlandtournee. Das Licht- und Showdesign der Tournee entwickelte Designer Fabrice Wilmes in Kooperation mit seinen Kollegen von Normel sowie BHZ selbst im Auftrag des Tourveranstalters Landstreicher Booking.

Wilmes' gestalterischer Ansatz war es, einen "Raum im Raum" zu schaffen, in dem sich ausdrucksstarke Farbwelten entfalten können. 48 der Hybrid-Stobes JDC1 von GLP dienten hierbei als Grundbaustein und Arbeitspferd. Der Look des Sets sollte nicht zu technisch wirken, sondern in erster Linie die "good vibes", die sich aus der Dynamik der fünf Rapper auf der Bühne ergeben, visuell unterstützen. Zu diesem Zweck ergänzte der Designer die 24 JDC1 im Floorset um weitere 24 Stück der variablen Geräte im Rigg.

"Mit den JDC1 gestalte ich das Grundlicht und Farben sowie das Gassenlicht. Sie dienen mir aber auch als Publikumslicht/Blinder sowie natürlich für Effekte und als Strobe. Mit den JDC1 lassen sich genau jene klar definierten Farbräume erzeugen, die ich mir für BHZ vorstellte. Ihr hoher Output erlaubt auch sphärische Momente, indem er große, helle Farbräume entstehen lässt. Andererseits eignen sich die Scheinwerfer auch gut, um visuelle Linien zu kreieren."

"Ich achte während der Gestaltung darauf, so wenig verschiedene Lampentypen wie möglich einzusetzen. Das macht mir das Leben sowohl in der Vorproduktion als auch während der Live-Shows leichter", stellt Fabrice Wilmes fest.

Fotos: Leon Wiedemann (Akutphoto)

www.glp.de

Black Coffee performance at Zamna Festival lit with Robe

Lighting designer Eran Klein worked with artist Black Coffee on the Island Stage of the 2023 Zamna Festival in Tulum, Mexico. Klein was asked to light Black Coffee’s performance by techno visionary Oren Heknin, a long term client and underground club promoter/presenter.

The LD insisted on having Robe Spiiders, MegaPointes LEDBeam 150 and Tetra2 moving lights on his rig, which involved swapping out the originally proposed moving lights for his Robe luminaires. “I could not contemplate producing such a special show without the right tools”, he says. The Island Stage - one of several performance spaces across the site - is surrounded by water and an integral part of this large outdoor club environment which energises each year through January, attracting major DJs and music producers from around the world.

Behind the DJ booth and stage was a permanent ground support structure which could be utilised for lighting positions, but Eran Klein and the Black Coffee team built their own eight metre high “heart” centrepiece in front of this. This comprised custom goalposts creating four arches in a slightly abstract heart shape. Loaded with the Robe lights, this became the architectural hub of the Black Coffee performance. Black Coffee shows often have a visual feature to suit the specific performance space and place.

Klein put the ten Robe MegaPointes, five a side plus strobes, on the outer arches. The inner arches were used to rig the thirty-two Spiiders plus sixteen 1-lite blinders. Underneath the structure, four Tetra2 moving LED battens were deployed horizontally orientated, complemented by three vertically hung Tetra2s per side, so a total of ten Tetra2s. Another two Spiiders were on the downstage PA towers for artist key lighting.

The LD built a three dimensional “temple of light” with Spiiders, an idea “inspired by the Mayan indigenous warriors whose culture and historic legacy permeates the whole region”. He programmed and ran the show on a GrandMA2 console. All lighting equipment was supplied by rental company Logra Mexico, via their Cancun office.

The sound designer was Jeronimo Ignacio Sanches a/k/a ‘Nacho’, Island stage manager Borja de Torres kept everything running on time, and the heart piece was a collaboration between Pomelo and Dynamic Waves. The Zamna Festival was produced by EBM (Entertainment Business Management). Head of production Miguel Lovera worked closely with Donald Hernandez, Lisa Bevers, and Toni Rocio.

(Photos: Jesus Arce/Pablo Pereyra/Kristian Suárez)

www.robe.cz

Måneskin tours with DPA vocal microphone

For Italian rock band Måneskin’s current world tour, sound engineer Enrico La Falce (pictured) selected DPA Microphones’ D:facto 4018V vocal microphone. “When we were planning the rehearsals with Måneskin for their first ‘big’ concerts, I met with the band’s monitor engineer Remo Scafati to exchange ideas regarding gear”, he says. “He suggested that I test the DPA D:facto 4018V for vocals. So I decided to give it a try.”

La Falce connected the D:facto to his Sennheiser Digital SKM 6000 transmitter and decided to use it from then on for lead singer Damiano David’s voice. Måneskin chooses not to use AutoTune or any other pre-production effects, instead opting for a raw sound reminiscent of Blink-182 or Green Day, making the tone of the D:facto 4018V an ideal addition to the group’s gear lineup, according to La Falce.

“Damiano is moving and dancing a lot on the stage, and often ends up cupping his hand over the grille”, he adds. “The D:facto must be used correctly, meaning the grille must never be covered. To avoid this, Remo and I came up with a simple idea: we put a studded bracelet on the microphone body, and when Damiano feels the studs, he knows his limit.”

“Of all the bands that I have worked with, this one is the most powerful commercially and simultaneously the most ‘indie’ production I  have ever mixed”, he concludes. For that complete “indie” production setup, La Falce connects the D:facto to the mic pre of a Yamaha Rivage mixer, which goes through a first equalization stage from the desk, and then into an UREI 1176 compressor and a Pultec EQ to sculpt the sound, and ends at an Universal Audio Teletronix LA-2A amplifier.

(Photos: DPA Microphones)

www.dpamicrophones.com

Vari-Lite VL2600 Spots illuminate Yale’s “Next to Normal”

Yale’s David Geffen School of Drama staged a performance of the American rock musical “Next to Normal” recently, with a lighting design by David DeCarolis using VL2600 Spot luminaires as part of the Vari-Lite University Outreach Program from Signify.

The Vari-Lite University Outreach Program initiative is an ongoing project allowing talented students to use Vari-Lite luminaires in a real-world environment. The program allows educational design programs to connect with Vari-Lite technology and staff to explore design solutions that are often only available to professionals.

DeCarolis says that one of his favorite lighting moments was the “Dr. Rock” scene where the character Diana is seeing a new psychiatrist for the first time. “He does this rockstar stance and pose and we went for it with the lighting”, he says. “Using the VL2600s the lighting state went from very realistic doctor office interior to gobo effects spinning with deep colors, to emphasize the drama, and then quickly snap back into the previous state.”

“In another scene I was trying to simulate a mirror ball and using the gobo effects I managed it using the VL2600s, beaming small dots of bright white light that punched through the blue-black backlight I was using”, he continues. DeCarolis also says he washed the entire stage when required, using the VL2600 Spot luminaires, choosing a deep, “almost vibrating” blue to transform the space.

(Photos: Vari-Lite/Signify)

www.signify.com

Tony Caporale lights up Larkin Poe Blood Harmony Tour

There is a powerfully moving beauty that arises when the human creative spirit transcends barriers of time and culture. Such was the case not long ago, when Rebecca and Megan Lovell, the Georgia-born sisters, better known as the widely acclaimed roots rock duo Larkin Poe, and their mother were reading "A Tale For The Time Being", Ruth Ozeki's novel about a Tsunami and its effect on the life of a Japanese family.

As Rebecca would later tell, "there was just something about the sweetness of all three of us reading the same book and talking about it" that inspired Larkin Poe to record their sixth studio album, "Blood Harmony", a heartfelt collection of songs rich with imagery of family bonds. Now, with the sisters touring to support the popular album, the creative baton has been picked up visually by Tony Caporale of Infinitus Vox, who has been reflecting its richly textured music in light.

Caporale, joined by lighting director Alex Molinaro, has captured the deep emotional currents of Larkin Poe's performance with a multi-faceted design that draws on the color-mixing prowess the Chauvet Professional Color Strike M and Colorado PXL Bar 16, which, like the rest of the lighting rig, were supplied by 4Wall Entertainment.

Positioning six of the motorized strobes in a horseshoe configuration on the floor around the performers and arranging an equal number of the battens along the upstage deck, Caporale and his team created transformative color-scapes to that reflect a wide range of emotions. "We are definitely painting a more scenic look on this tour that can translate as day, or night, with saturated colors to establish a vibe,” said Caporale, who has lit Larkin Poe before. “Since my main intention was to create these night and day looks, I tried to stay in blue and orange family of palettes as much as possible. However, there are also times when we opt to do a complete 180 and take off to go with some psychedelic looks."

Regardless of which direction the feeling of a song takes on this tour, color is always at the heart of its visual representation on stage. For Caporale, the power of color was especially moving in the title song of the album "Blood Harmony", which celebrates family bonds with lines like "God gave mama a singing voice. And mama passed it down to me".

While Caporale designed the production and programmed the lighting, Molinaro is running the lightshow on the tour. Others contributing to this show are Tommy Bradel, the graphic designer of the backdrop,  Andrea Fraser, the account rep of Sew What?, tour manager Ryan Westbrook, project manager Jason Workman, and Chris Shrom of 4Wall, along with Peter Leak and Anna Pearson of Red Light Management.

photos: Bryan Cooper, Skye Morse-Hodgson

www.chauvetprofessional.com

Alice Merton mit GLP Impression X4 Bar 20 auf Tour

Bei den Konzerten der letztjährigen Europa-Tournee von Alice Merton verwendete Lichtdesigner Tobias Schwietz zwölf GLP Impression X4 Bar 20. Beim Licht- und Bühnendesign der Tour ging es laut Schwietz in erster Linie darum, einen möglichst aufgeräumten Look mit wenig sichtbarer Technik auf der Bühne zu erzeugen.

„Wir arbeiteten im Wesentlichen mit den drei klassischen Lichtebenen aus Gassen-, Gegenlicht und Backdropbeleuchtung, um der Bühne Tiefe zu geben und auch im Backdrop eine Dreidimensionalität zu erschaffen“, erklärt der LD. „Die ganze Show war geprägt durch starke Gegenlichtstimmungen, Silhouetten und Strobe-Effekte. Der Backdrop mit farbigem Himmel und davor Alice’ Initialen aus zwei Meter großen Holzlettern bildeten eines der Hauptelemente. Die Show startete sehr düster und wurde im Verlauf immer heller und fröhlicher. Dies sollte unterschiedliche Lebensphasen veranschaulichen.“

Die Impression X4 Bars dienten Schwietz dabei zur flächigen Ausleuchtung des Backdrops sowie als Gegen- und Gassenlicht. Der Backdrop wurde von acht in einer Reihe auf dem Boden platzierten X4 Bars in Szene gesetzt, während jeweils zwei vertikal gestapelte Bars links und rechts in der Nähe der Bühnenkante das Gassenlicht gestalteten.

Für die flächige Backdrop-Ausleuchtung zog Schwietz den Zoom komplett auf. Mit Hilfe der Einzelpixelsteuerung ließ sich Bewegung in den Himmel bringen, um einen Eindruck von animierten Wolken zu erzeugen. Den Kontrastlook dazu boten die Bars, wenn sie in entgegengesetzter Richtung und engem oder weitem Zoom in Richtung Publikum leuchteten.

Auch in der Gasse spielte Schwietz mit den gestalterischen Mitteln der Impression X4 Bars: „Im düsteren Anfangsteil der Show erzeugten die Geräte nur schmale symmetrische Lichtwände, um die Künstlerin ganz in den Fokus zu setzen“, erklärt er. „Verschiedene Dimmeffekte erzeugten weitere Dramatik. Später im Set habe ich den Zoom immer weiter aufgezogen, sodass auch die Band mit ausgeleuchtet wurde und alles heller und freudvoller wirkte. Mit ganz engem Beam dienten die seitlich platzierten X4 Bars aber auch mal als Blinder/Effektlicht in Richtung Publikum.“

Im Rahmen der Promotion zum aktuellen Merton-Studioalbum fand im Sommer letzten Jahres zusätzlich eine Livestream-Show statt, für die Lichtdesigner Patrick Rabus neben sechzehn Impression X4 Bar 20 auch elf XDC1 IP Hybrid und acht JDC Line 500 von GLP einsetzte.

(Fotos: Capadol/Lih Tsan/Unlost Films)

www.glp.de

Amberger Hexennacht mit Vio-Systemen von dBTechnologies

Nach zwei Jahren Pause fand im bayerischen Amberg wieder die jährliche Hexennacht auf dem Marktplatz statt. Die größte Faschingsparty der Oberpfalz, die unter anderem Live-Musik und DJ-Sets beinhaltete, lockte rund 10.000 Feiernde nach Amberg.

Bühnentechnik, Licht und Beschallung der Menge plante und realisierte der Veranstaltungsdienstleister Miet-PA aus Schnaittenbach. Als langjähriger dBTechnologies-Nutzer setzte Miet-PA Vio-Systeme von dBTechnologies ein.

Für die Bühne der Amberger Hexennacht, die von Stagemobil Oberpfalz bereitgestellt wurde, nutzte Miet-PA die aktiven Line-Array-Modelle Vio L210. Jeweils sieben Module rechts und links der Bühne waren als Main-PA im Einsatz, ergänzt von zwei Modulen Vio L210 als Frontfills, die auf den Subs platziert waren.

Als Subwoofer wurden jeweils sechs Vio S218 und Vio S118 R verwendet. Das komplette Beschallungssystem steuerte das Miet-PA-Team mit den dBTechnologies-eigenen Steuerungstools Aurora Net und Control 8.

(Fotos: dBTechnologies/LS/Michael Golinski/MGF)

www.dbtechnologies.com

www.miet-pa.de

Cameo-Scheinwerfer beleuchten Kölner Stunksitzungen

Die kabarettistisch geprägte Kölner Stunksitzung ist der Ur-Vater der „alternativen Karnevalssitzung“ und das größte Format dieser Art. Vom 7. Dezember 2022 bis zum 21. Februar 2023 fanden im E-Werk 46 Stunksitzungen statt, inklusive TV-Übertragung am 16. Februar im WDR.

Für die Lichttechnik der Stunksitzungen zeichnete auch in diesem Jahr der Kölner Event- und Medientechnikdienstleister AL-Media verantwortlich. Gemeinsam mit Lichtdesigner Jojo Tillmann verwendete das Team dabei fast ausschließlich Scheinwerfer von Cameo.

In den Jahren 2021 und 2022 hatte AL-Media-Inhaber André Lyrmann in ein breites Cameo-Portfolio investiert, das von Zenit-W600-Washlights über Opus-SP-5-Profile-Moving-Heads und Opus-H5-Beam-Moving-Heads bis zu LED-Fresnel-Spotlights der F-Serie reicht. Nachdem die Stunksitzungen 2021/22 aufgrund der damaligen Corona-Lage abgesagt wurden, kamen die Scheinwerfer nun erstmals zu ihrem Einsatz.

Als Frontlicht, Vorderlicht, Hinterlicht und für den Goboeinsatz fungierten insgesamt fünfzehn Opus-SP5-Profile-Moving-Heads, während Evos W3 als Beleuchtung für die Live-Band sowie als Seiten- und Effektlicht eingesetzt wurden. Der auf einer Empore oberhalb der Bühne platzierte Elferrat wurde mit vier kompakten F1-T-Fresnel-Spotlights mit Tungsten-LED von hinten beleuchtet und zusätzlich mit acht F2 T PO (stangenbedienbar) in Szene gesetzt, die gleichzeitig für verschiedene Einzelpositionen gedacht waren.

Als allgemeines Frontlicht kamen elf weitere F2 T PO zum Einsatz, um die Bühne bei Bedarf in helles Licht zu tauchen. Weiterhin integrierte AL-Media zwanzig Root-PAR-6-WH-PAR-Scheinwerfer (RGBAW+UV) an verschiedenen Positionen in den Bühnenaufbau. Komplettiert wurde das Bühnenlicht durch Beam-Effekte aus sechs Azor-B1-Beam-Moving-Heads.

Für die Ausleuchtung des Saals inklusive Publikum verwendeten Jojo Tillmann und AL-Media 28 Zenit-W600-Washlights. Zur festinstallierten Ausstattung des E-Werks gehören zudem zahlreiche Cameo-Q-Spot-LED-Spots, die ebenfalls in das Lichtdesign integriert wurden.

(Fotos: Cameo/Adam Hall Group/AL-Media)

www.adamhall.com

www.cameolight.com

www.al-media.de

www.jojotillmann.de

ETC Europe nutzt GLPs Fusion-Exo-Serie während Full Metal Cruise

Die Entertainment Technology Concepts GmbH (ETC Europe), Lieferant für LED-Technik mit Niederlassungen in Erkrath und Braunschweig und einem starken Standbein im TV-Geschäft, hat für eigene Projekte in die Fusion-Exo-Serie von GLP investiert. Alle drei Modelle der Serie von wetterfesten Moving Lights - Spot, Beam und Wash - sind nun bei ETC Europe verfügbar.

Ihren ersten Einsatz hatten die kompakten Geräte während der Full Metal Cruise 2022. Dieses Projekt sei auch mit ausschlaggebend für die Investition gewesen: „Die beiden Indoor-Bühnen der Full Metal Cruise haben uns in der Vergangenheit immer wieder vor große Herausforderungen gestellt, war die Stromversorgung dort doch stets am Limit“, erklärt Michael Casper, Key Account Manager bei ETC Europe. „In diesem Jahr sind wir dank der Exos mit weit weniger Strom ausgekommen.“

(Fotos: Michael Casper)

www.glp.de

ETC Hog 4 setzt Catwalk bei Mailänder Modewoche in Szene

Bei der jüngsten Ausgabe der Mailänder „Fashion Week“ steuerten Hog-Konsolen von ETC das Licht am Laufsteg. Lichtdesigner Danilo La Rosa verwendete unter anderem eine Hog 4-18 mit 3.17-Software. „Ich arbeite seit Jahren mit Hog-Konsolen“, sagt La Rosa, „ich kenne sie in- und auswendig.“

Zu den Keywords des Licht-Designs gehörten bei dieser Veranstaltung „starke Farben“ und „Regenbogen“. Das bedeutete für La Rosa, dass er neben der kreativen Tätigkeit auch Arbeit in die Konsolen-Programmierung investieren musste. „In Zusammenarbeit mit dem Regisseur und dem Bühnenbildner habe ich die zu verwendenden Sequenzen und Farben festgelegt und die Abfolge von Lichtern, Farben und Effekten erstellt“, erklärt er. Um die jeweils zu einer bestimmten Szene passenden Farben und Schattierungen zu finden, nutzte La Rosa das kalibrierte Farbabgleichsystem Color Picker und Gel Charts.

Neben der Hog 4-18 gehörte auf der „Fashion Week“ noch weiteres Equipment aus dem Hause ETC zu La Rosas Setup. „Eine Road Hog 4-21 ist als Backup ein Muss bei dieser Art von Produktion“, sagt er. „Ich benutzte sie hauptsächlich, um mehr Playback zur Verfügung zu haben und um mit den Submastern zu arbeiten.“ Unverzichtbar sei für ihn auch die sACN-Kommunikation mit den jeweiligen Nodes. Um das Lichtpult von der Bühne aus fernzusteuern, nutzte der italienische Lichtdesigner TouchOSC.

(Foto: ETC)

www.etcconnect.com

Art of Light inszeniert Ennio-Morricone-Show mit Showtec und Infinity

Am 2. Dezember 2022 fand im Rotterdam Ahoy die Veranstaltung „Ennio Morricone - The Official Concert Celebration“ zu Ehren des italienischen Filmmusikkomponisten statt. Unter der Leitung von Ennio Morricones Sohn Andrea wurden die Stücke vom Philharmonischen Orchester Flandern gespielt und von einem fünfzigköpfigen Chor gesungen.

Die von Art of Light konzipierte Beleuchtung umfasste Produkte von Showtec und Infinity, darunter sechzehn Showtec-Helix-S5000-Q4-Washer, drei Showtec-Mistique-CO2-Hazer und 36 Infinity-iW-1941-RDM-Moving-Wash-Lights.

Die Produktion, die Live-Musik mit Filmmaterial und Lichtdesign kombiniert, war von Ennio Morricone vor seinem Tod im Jahr 2020 zusammengestellt worden und zeigt neben Filmszenen, für die er die Musik geschrieben hatte, auch nie zuvor präsentiertes Material des Künstlers selbst.

(Fotos: Charles Batenburg)

www.highlite.com

Christie HS Series laser projectors selected for dome experience in Ho Chi Minh City

Christie HS Series 1DLP laser projectors brought to life the fictional planet of “Nebula”, offering immersive visuals in a dome set up within Dam Sen Cultural Park, an amusement park in Vietnam’s capital Ho Chi Minh City.

Titled “Nebula - The Elemental Lighting Planet”, this audiovisual showcase took place in an inflatable dome measuring 15 metres (49 feet) in diameter and 8 metres (26 feet) in height. It employed various technologies including several Christie D20WU-HS laser projectors, interactive lighting, laser effects, and realistic props to transport visitors to a universe inspired by “Avatar: The Way of Water”.

The concept was conceived and executed by Christie’s partner Alta Media, which specializes in systems integration, digital content, and show entertainment technology. “Nebula” tells the story of the four elements - air, earth, water, and fire - which are seamlessly weaved together using various technologies to create a show featuring an idyllic universe, planets, and the trees of soul and life that bind everything together.

“Among the highlights of this show were projections accomplished by Christie D20WU-HS projectors installed on opposite sides of the dome”, says Tai Hoang, co-founder and CEO of Alta Media. “Each projector was equipped with a Navitar fisheye lens and we were able to fill the dome with images by placing the projectors about 1.8 metres (6 feet) from the ground.” Hoang notes that the entire production of this project from conceptualization to installation was completed within ten working days.

(Photos: Alta Media)

www.christiedigital.com

IPS and Elation team up for Space Needle New Year’s Eve show

Illuminate Production Services (IPS), the company responsible for creating the light show at Seattle’s New Year’s Eve event at the Space Needle, has turned to Elation Professional’s line of IP-rated products once again. New to this year’s design were Elation Proteus Rayzor Blade linear effects, which joined other Proteus range luminaires and other Elation IP-rated lights on the show.

The New Year’s Eve celebration featured a choreographed 11-minute show with synchronized drone footage (Sky Elements), fireworks (Pyro Spectaculars), and Elation lighting. The show was set to a playlist highlighting significant music and pop culture events of the year, and included a tribute to Ukraine. Broadcast locally on King 5 and streamed online, the night also included two 10-minute light shows prior to the New Year’s countdown used to build anticipation. IPS President Rick Franke managed the lighting project for the IPS team while IPS Vice President of Design & Operations, Caleb Franke, served as lighting designer and programmer.

Thirty Proteus Rayzor Blade linear lights were used to illuminate the structure’s core. IPS used several other Elation Proteus line luminaires on the show, including six Proteus Maximus, twelve Proteus Hybrids, and twenty-four Proteus Beam moving heads, in various locations on the 605-ft tall structure. They also placed twelve Proteus Excalibur narrow-beam sky effects on the Space Needle’s saucer roof, which were a key part of the light show that could be seen from far away.

Other Elation fixtures used on the Space Needle NYE show included twenty-four IP65-rated Paladin wash/strobe/blinders used to color wash the entire structure. As the event is hosted by T-Mobile, the Paladins were key in washing the Space Needle in the company’s signature magenta brand color, also on days leading up to the celebration. Additionally, twelve Cuepix 16 IP LED matrix panels color washed the top of the saucer. All of the lighting for the show was designed and preprogrammed using Capture design software.

The Space Needle presents some challenges for the load-in as the elevator only stops at the 100’ level and 580’ level. “Access to our lighting positions is often a challenge with much of the gear being manually carried up ladders, stairs, and through narrow access points”, explains Rick Franke. IPS workers were often required to negotiate two sets of 960+ exposed stairs that run from top to bottom of the structure.

(Photos: Illuminate Production Services, Inc./Jeff Miller/Sigma Sreedharan)

www.elationlighting.com

www.lightingips.com

Event it realisiert ID. Buzz Experience in Kopenhagen

Für Volkswagen Nutzfahrzeuge (VWN) realisierte die Event it AG aus Hannover als Leadagentur der Veranstaltung die ID. Buzz Experience in Kopenhagen und setzte damit die erfolgreiche Zusammenarbeit der Vergangenheit fort.

Vom 22. August bis zum 3. Oktober 2022 kamen Gäste aus aller Welt in der dänischen Hauptstadt zusammen, um am Händlerkongress und Markteinführungstraining des neuen ID. Buzz teilzunehmen, der optisch an das Design des VW Bulli erinnert.

Gemeinsam mit der Kreativagentur Explizit Werbeagentur aus Braunschweig hatte sich Event it bei einem mehrstufigen Pitchprozess gegen weitere Agenturen für die ID. Buzz Experience durchgesetzt. Während Explizit die Produktshow sowie den Content- und Kreativpart im Rahmen des Businessmeetings konzipierte und umsetzte, zeichnete Event it als Leadagentur für die ganzheitliche Steuerung aller Prozesse verantwortlich.

Darunter fiel auch die Location-Auswahl, der Einkauf, die technische Planung mit Adhoc sowie die Gewerke-Ausschreibungen und -Beauftragungen in Abstimmung mit Volkswagen Nutzfahrzeuge. Das Veranstaltungspersonal, bestehend aus rund zwanzig Hosts und Hostessen, wurde ebenfalls durch Event it gestellt und begleitete die Gäste über den Veranstaltungszeitraum hinweg beim Entdecken des neuen ID. Buzz.

Über 4.700 internationale Gäste fuhren während der Veranstaltungslaufzeit mit dem ID. Buzz durch die dänische Landschaft. Neben Deutschland waren auf dem Event weitere europäische Länder wie Norwegen, Polen und Frankreich sowie außereuropäische Länder wie Mexiko, Japan und Südafrika durch ihre Händler vertreten. Auch Großkunden aus aller Welt kamen nach Kopenhagen, um an der ID. Buzz Experience teilzunehmen.

Der Event lief in 35 Wellen ab. Jeden Tag fanden sich rund 200 Gäste im Scandic Strandpark Hotel ein, bekamen innerhalb der folgenden 24 Stunden Informationen zum neuen Produkt und konnten an Workshops und Testfahrten rund um den ID. Buzz teilnehmen. Das Vilhelm Lauritzen Terminal des Kopenhagener Flughafens bot mit dem Hangar 145 die Kulisse und ausreichend Platz für die geplanten Programmpunkte.

Emotionaler Höhepunkt des Events war die Überfahrt der Öresundbrücke als Teil der Driving-Experience-Strecke mit dem ID. Buzz. Exakt 6.676 Überfahrten fanden während der Veranstaltung über die sieben Kilometer lange Brücke, die Dänemark und Schweden miteinander verbindet, statt. Abendveranstaltungen in einer Eventlocation im Meatpacking District gehörten ebenfalls zur ID. Buzz Experience.

(Fotos: Florian Trettenbach/Eyecatchme Photography)

www.eventit.ag

Andy Webb turns to Robe for UK panto shows

The UK’s Festive holidays ignited the British performance phenomena of pantomime which came to theatre stages up and down the UK. This year lighting designer Andy Webb was asked to design two panto shows - “Aladdin” at the Waterside Theatre in Aylesbury and “Beauty and The Beast” at the Festival Theatre in Malvern, both for UK Productions (UKP) - for which he chose a selection of Robe moving and LED luminaires.

“Rule number one in panto lighting is keeping up with the fast-and-furious pace of the action whilst informing the narrative and captivating the audience’s attention”, explains Webb. Audience participation is a major aspect of any panto production. In the last decade, Webb has been among the trailblazers advocating the use of LED and moving light sources in panto. He has dipped extensively into the various Robe product ranges, and lit several seasons in Blackpool and other cities.

The theatres in Aylesbury and Malvern are very different in size and shape, and to facilitate the programming schedule, Webb chose primary lighting fixtures which would work in both contexts and be scalable to fit the two venues, with Robe Spiiders and Esprites as the main workhorses. Five MegaPointes were the primary effects lights on both shows, but apart from these, the other Robe fixtures were all LED, and these were combined with luminaires from the house rigs of both venues.

“Aladdin”

Webb had lit the 1200-seater Waterside Theatre’s 2021 panto season, so he was familiar with the space and the house crew. He made full use of all seven available LX bars distributing five Robe Esprites and six Spiider LED washes on LX 1 and 2 to provide all the main over-stage looks. These seven bars were part of a grid of 53 bars, with all the rest utilised for hanging cloths and scenery pieces apart from two.

The MegaPointes were needed for all the flying carpet scenes and to create the massive aerial and big rotational lighting looks integral to creating the magic of this illusion. Eleven LEDBeam 150s on LX bars 4 and 6 were deployed for mid-stage specials. These bars flew in and out and were trimmed at different heights throughout the performance and were vital to the lighting of the sumptuous musical “production numbers”.

More LEDBeam 150s were rigged on the pros arch drop down ladders where they could fire light along the front of the stage and also create movement going out into the audience. They also assisted in the flying carpet reveal.

Webb’s design used eight Robe ColorSpot 700E ATs, four on a split bar straddling the palace wall set piece, with the other four on the same pros arch drop down ladders as the LEDBeam 150s, where their main task was skimming and texturing the side cloths. They also augmented the audience lighting looks.

Webb’s FOH rig at Aylesbury included Robe ParFects which added fill where needed from their advanced bar positions, together with an additional pair of Esprites on the circle front. On LX2 he deployed eight CycFX8 moving LED battens rigged at different trim heights for fanning out into the auditorium and creating columns and shafts of light that were fundamental to lighting the cave scene, where he wanted a specific “runway” effect.

A pair of Spiiders on the bottom of the pros ladders punched in at head height along the front stage apron. The house’s static LED profiles also fired in from the side cuts and boom positions, with generic Source Fours at FOH creeping in subtly to lift the face coverage. Webb observed that all the Robe fixtures were “spot on” for matching the warm QCT206 orange and the cooler 063 Pale Blue of the generic face light filters.

Webb operated the nearly 300 lighting cues in an Avolites Tiger Touch II console for two dress rehearsals himself, before handing over to the Waterside house lighting team for the 4-week run. Fog and haze were also running through the console, and the show was generally SFX heavy with multiple pyro moments.

“Beauty & The Beast”

To fit the more compact environs of the Malvern Theatre, Webb spec’d three Esprites and four Spiiders, rigged in near identical positions on LX2 as the fixtures in Aylesbury, with another four Esprites and five Spiiders on LX2, picked for the same reasons to cover all bases.

In this production, his upstage MegaPointes were again used to create and enhance the magic and key theatrical moments, like the transformation of the Beast at the start of Act 2. Again, they were used for aerial work where definition and beams were needed, and for general effects and razzamatazz that dissected the Spiider and Esprite stage looks.

ParFect 150s on LX4 were used for shafts of light peeping over the top of the west wing set, with a pair of ParFect 100s as pipe-end cuts on each of the five onstage bars. Robe’s compact LEDWash 300s were spread out on the lower levels of the pros ladders, approximately 10 ft from the stage.

Two DL4S Profiles were rigged on the front of the circle balcony and used to texture the stage cloths and front curtain, together with four ParFect 100s in the same position. Four Spiiders on the advanced bar provided extra fill and were utilised to spin out across the audience for interactive moments, working in conjunction with a pair of MegaPointes on the FOH pros perch to assist with the transformation scene.

“Beauty & The Beast” featured some bleed-through reveals via gauze curtains, a task for which the Esprites were used. This show also featured plenty of effects - serious smoke content with glaciator foggers, and Salamander flame effects in the orchestra pit which were fired through the lighting console, also an Avo Tiger Touch II.

Webb collaborated closely with his production LX Shaun Ellis on both shows. All the Robe moving lights and LED fixtures were supplied by Cambridge based CEG who supplied a total of four UKP pantos this season including these two.

(Photos: Lindsay Cave/Shaun Ellis)

www.robe.cz

Henk-Jan van Beek selects more than 250 Robe fixtures for Dutch “1% Quiz” TV show

The first season of the “1% Quiz” TV quiz show in the Netherlands was recorded at EMG’s Mediahaven Studio in Amsterdam with a lighting design by Henk-Jan van Beek of design studio Light-H-Art. This featured 110 x Robe Esprites, 98 x LEDBeam 350s, 46 x LEDBeam 150s and 20 x T1 Profile moving lights, all delivered by Eventec.

Dutch producers Blue Circle Productions added a few of their own exclusively Dutch elements as this was the first time the show concept has been produced outside the UK where it originated on ITV. One hundred contestants - who are also the audience - try to answer a question that only one percent of the country can get right. The show is styled as an IQ test with questions based on logic and common sense rather than general knowledge.

Henk-Jan van Beek worked closely with Dutch set designer Harald Kassies who took the original “1% Club” signature set design and reimagined it with some small adaptations that saw all 100 contestants seated around a 270 circular set. “Continuity was absolutely vital when it came to lighting”, explains van Beek who needed one luminaire per person to replicate the fast-paced and complex set of cues that were integrated into the Market Graph gameplay machine.

The key light for each contestant was aligned at the same distance to produce identical CT whites plus blue and red cues associated with the game cues as well as front lighting. Also, these 100 Esprite fixtures had to fit into tight spaces allocated on three circular trusses rigged at slightly different levels in the roof, approximately 13-14 metres from the contestants.

Host Tijl Beckand stood in different positions in the middle of the set, and the space between the two ends of the 270-degree set seating piece was filled with a large LED screen showing the game play status. The additional ten Esprites were used for covering these presenter positions from back and front, so he could move around freely and be picked up by any one of the thirteen cameras with face lighting. Michael Moser was the camera director.

The twenty T1 Profiles provided additional key lighting and specials. The LEDBeam 350s were positioned in a spherical shape around the studio floor inside the centre of the set and on the largest of the overhead circle truss at the back. The LEDBeam 150s were additionally used for back and fill lighting on the contestants/audience and to ensure there were no back-of-shot “black holes”.

The biggest challenge for Eventec was sourcing enough Esprites for the six-week period of set up and recording for two season’s worth of programmes. Seventy-five percent of the fixtures were sourced from Eventec’s own stock according to their manager of operations, Stefan Bensch. However, as they were also busy with other shows, some cross rentals were necessary to make up the large numbers, and these came from France, Belgium, Germany, and Sweden.

Lighting was programmed on a GrandMA3 console by Edwin Zuidwijk from Light-H-Art, which was linked to the main games machine that fired all the cues. Camera Director was Michael Moser. The eight days of shooting allowed the team to record two series - two shows a day - of the Dutch production which will be aired on VTM in summer 2023.

(Photos: Nathan Reinds)

www.robe.cz