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Avolites Tiger Touch II used for V&A Dundee opening ceremony

18/01/2019

Thomas Gerdon inszeniert Mayday mit über 250 GLP-Scheinwerfern

15/01/2019

Josef Zenisek selects Robe for Colours of Ostrava

15/01/2019

Gahrens + Battermann unterstützt Nibelungen-Festspiele mit Projektionstechnik

12/01/2019

Kuchem realisiert Management-Team-Sitzung der Telekom

12/01/2019

Airbeat One mit Europas größtem transportablen Zirkuszelt

12/01/2019

Litec überdacht Stadionkonzert

09/01/2019

Robert Juliat fixtures chosen for ‘Nouvelles Pièces Courtes’

09/01/2019

Glassjaw plays Brixton Academy beneath Elation rig

09/01/2019

‘De Stormruiter’ illuminated by Robe

09/01/2019

ROE Visual’s LED Strip highlights Lowlands festival grounds

09/01/2019

DAS Audio equips DJ Expo

09/01/2019

DB Audio Namibia uses Elation’s ACL 360 Bar for O&L Group Roadshow

07/01/2019

Painting with Light designs lighting and video for ‘Rubens the Musical’

03/01/2019

Jazzunique konzipiert Triaction Cube für Triumph

03/01/2019

LightLab debuts Elation Smarty Hybrid on Nekfeu summer tour

03/01/2019

Helene Fischer mit Systemen von L-Acoustics auf Stadiontour

31/12/2018

Alex Spengler verwendet Avid Venue S6L auf Helene Fischers Stadiontour 2018

31/12/2018

AV Awards 20th anniversary celebration lit by Chauvet

31/12/2018

Live-Show von Axwell & Ingrosso mit Scheinwerfern von GLP

31/12/2018

Stageco bei Electro Magnetic Festival im Einsatz

31/12/2018

Elation lighting package provided for Canadian block party and music festival

27/12/2018

Robe fixtures for ‘American Idiot’ in Buenos Aires

27/12/2018

Ben Everett expands rig for Maggie Rogers at Koko with Chauvet’s Rogue R1 FX-B

21/12/2018

Robe fixtures illuminate Estonian ‘Sweeney Todd’ production

20/12/2018

Avolites Tiger Touch II used for V&A Dundee opening ceremony

Avolites Tiger Touch II used for V&A Dundee opening ceremony
Avolites Tiger Touch II used for V&A Dundee opening ceremony

Dundee’s new V&A museum opened in September 2018 with a light, sound and pyrotechnics-focused ceremony. Lighting was designed by John Rogers who used two Avolites Tiger Touch II consoles. Rogers was commissioned for the project by Jon Pugh of JMP Productions.

 

The pair employed 30 Robe BMFL WashBeams in weatherproof domes and eight Prolights SunBlast IP rated LED strobes to achieve their design. These were rigged at ground level around the exterior of the V&A, pointed directly at the building’s architecture.

 

More than 10,000 people gathered at the city’s docks to experience the launch, with thousands more watching it live on the BBC and later on catch-up. The entire show was synced to music composed especially for the occasion, triggered by MIDI from Logic on a laptop.

 

One of the stand-out moments of the show was the words ‘Hello World’, beamed onto the external slats of the museum in Morse code. But the visual highlight came as each section of the angular structure was washed in markedly different, bright colours.

 

“What we were aiming for pushed the boundaries of what’s possible using fixtures instead of projection mapping,” says Rogers. “I was backed up by some of Titan’s signature features, including Key Frame Shapes. This made it simpler to create an animation of the BMFL’s shutter blades, for a start, meaning that the Morse code was clear and crisp. It also helped me programme position and rotation; layered, kaleidoscopic colours and trapezoidal shapes.” Off-site, Rogers used his own Titan Mobile to pre-programme, transferring the showfile to the Tiger Touch IIs in the run-up to the event.

 

(Photos: PK Perspective)

 

www.avolites.com

 

 

Avolites Tiger Touch II used for V&A Dundee opening ceremonyAvolites Tiger Touch II used for V&A Dundee opening ceremony

Thomas Gerdon inszeniert Mayday mit über 250 GLP-Scheinwerfern

Thomas Gerdon inszeniert Mayday mit über 250 GLP-Scheinwerfern
Thomas Gerdon inszeniert Mayday mit über 250 GLP-Scheinwerfern

Lichtdesigner Thomas Gerdon zeichnete im vergangenen Jahr zum fünften Mal für das Production-Design des Techno-Events Mayday verantwortlich. Erstmals seit Beginn der Mayday in Dortmund befand sich 2018 die 24 Meter breite Bühne in der Westfalenhalle 1 nicht mehr am Kopfende, sondern an der Längsseite der Halle.

 

Allein in der Arena verbaute Gerdon knapp 250 Schweinwerfer von GLP, zumeist GT-1 und JDC1, aber auch 36 Impression X4 XL. Technikdienstleister war, wie schon in der Vergangenheit, die Schoko-Pro GmbH aus Wiesbaden, die große Teile des Equipments zur Verfügung stellte. Gleichzeitig übernahm Gerdon auch das Design für den zweiten der drei Floors, das „Empire“.

 

Auf der Materialliste für die Arena finden sich neben 116 GT-1-Hybrid-Movinglights zusätzlich fast 100 JDC1-Strobes. Die tragenden Säulen der Halle wurden mit Impression X4-XL-Movingheads in Szene gesetzt. „Wir wollten jedem Künstler seinen eigenen, individuellen Look geben“, erklärt Gerdon. „Neelix zum Beispiel bekam zu seinen treibenden, aggressiven Beats ein entsprechend kühles, stakkatohaftes Licht, die DJanes Juliette Sikora und Danielle Diaz inszenierten wir hingegen weicher und mit wärmeren Lichtfarben.“

 

Rando Lorenz und Christopher Rostalski übernahmen in Thomas Gerdons Preproductionstudio die Vorproduktion und wurden dabei von GLP mit den nötigen Lampen unterstützt. Marek Papke und Markus Neubauer übernahmen parallel das Operating der Medienserver.

 

(Fotos: Ralph Larmann)

 

www.glp.de

 

 

Thomas Gerdon inszeniert Mayday mit über 250 GLP-ScheinwerfernThomas Gerdon inszeniert Mayday mit über 250 GLP-Scheinwerfern

Josef Zenisek selects Robe for Colours of Ostrava

Josef Zenisek selects Robe for Colours of Ostrava
Josef Zenisek selects Robe for Colours of Ostrava

With 20 performance stages offering over 350 live music acts and plenty of other creative engagement across four days, Colours of Ostrava (COO/Colours) 2018, the largest music festival in the Czech Republic, attracted a population of 50,000 fans.

 

Site-wide technical production was co-ordinated and delivered by Josef ‘Pepa’ Zenisek and his team from Smart Production, a massive logistical exercise which involved several rental partners for sound, lighting and video, more for rigging and staging, plus numerous dry hires, many from other countries. Smart also provided site management and stage management for all the main performance spaces.

 

The main stage for Robe this time - in terms of numbers and concentration of fixtures - was the ArcelorMittal Stage, where the production lighting design was completed by Kamil Kruzik. The lights were supplied by Rental Pro, part of the OneAVteam group which also includes Yventech, the LED screen provider for Colours.

 

Around 160 Robe fixtures were incorporated into the design, which broke down to 24 x BMFL Blades, 12 x MegaPointes, 24 x Pointes, 62 x Spiiders, 32 x LEDBeam 150s and three BMFL WashBeams which were on the FOH tower.

 

The Spiiders were spread out all over the overhead trusses with 12 on the floor. The back truss was also loaded with LEDBeam 150s and BMFL Blades; the two mid trusses were rigged with MegaPointes and BMFL Blades, while the front truss featured 13 of the Pointes in addition to 16 x Spiiders.

 

The floor package included LEDBeam 150s, Spiiders, MegaPointes and BMFL Blades which could be re-positioned for each act. Kamil Kruzik and his FOH colleague Jan Suskleb lit all the bands who didn’t have an operator. Lighting on ArcelorMittal was controlled via a Road Hog 4 run by Kruzik and a GrandMA2 light run by Suskleb. These consoles were available for guests.

 

While ArcelorMittal was the main showcase for Robe products this time, there were lights in plenty more areas. The Main Stage featured 11 x MegaPointes on the rig, together with seven BMFL WashBeams and 22 x ColorStrobes LED/wash strobes. The Electro stage lighting crew used 16 x Pointes, 16 x LEDWash 600s, 24 x LEDBeam 100s and 42 x PixelPatts, while the Fresh Stage was lit by 16 Spiiders, among other fixtures.

 

In addition to all the stages, the overall environment and industrial relics of Ostrava’s Dolní Vítkovice ironworks at night were also illuminated by Josef Zenisek and his team who used more Robe in the form of 8 x Pointes rigged on top of the Bolt Tower and above the entrance structure, plus 38 x CitySkape Xtremes and four CitySource 96s LED floods.

 

The CitySkape Xtremes and CitySource 96s were dotted around in safe places and used to imaginatively highlight vast silos, long runs of pipework, blast furnaces, ore chambers and other features from the plant’s former life.

 

The multiple rental sound and light and video companies Josef Zenisek dealt with in 2018 included High Lite Touring who supplied technical services for Main and Drive Stages, and the ArcelorMittal Stage construction. Rental Pro took care of lighting and audio for ArcelorMittal Stage and T-Servis did the complete tech production for the Fresh and Kofola Czech stages. Edward-Sound & Light Agency from Prague ensured the Electronic and Europe stages had all the required production elements. For the second year, StageCo was contracted to build the main stage.

 

(Photos: Petr Klapper)

 

www.robe.cz

 

 

Josef Zenisek selects Robe for Colours of OstravaJosef Zenisek selects Robe for Colours of Ostrava

Gahrens + Battermann unterstützt Nibelungen-Festspiele mit Projektionstechnik

Gahrens + Battermann unterstützt Nibelungen-Festspiele mit Projektionstechnik
Gahrens + Battermann unterstützt Nibelungen-Festspiele mit Projektionstechnik

Die Nibelungen-Festspiele werden seit 2002 in immer neuen Interpretationen am Originalschauplatz des Nibelungenliedes vor dem historischen Wormser Kaiserdom aufgeführt. Unter der Leitung des Intendanten Nico Hofmann und dem künstlerischen Leiter Thomas Laue wurde vom 20. Juli bis zum 5. August 2018 an sechzehn Abenden „Siegfrieds Erben“ aufgeführt. Für die technische Umsetzung der Videoinstallation auf den Kaiserdom zeichnete Gahrens + Battermann verantwortlich. Die Inszenierung des Video-Mappings wurde mittels sechs Laserprojektoren der neuesten Generation durchgeführt.

 

(Fotos: David Baltzer/Bernward Bertram)

 

www.gb-mediensysteme.de

Kuchem realisiert Management-Team-Sitzung der Telekom

Kuchem realisiert Management-Team-Sitzung der Telekom
Kuchem realisiert Management-Team-Sitzung der Telekom

Kuchem Konferenz Technik war als Leistungspartner des World Conference Center Bonn mit der gesamten technischen Durchführung der Telekom-Management-Team-Sitzung (TMTM) 2018 beauftragt. Hierbei handelte es sich um ein Treffen der weltweiten Führungskräfte der Deutschen Telekom AG.

 

Für die Darstellung der Inhalte im Hauptplenum wurden drei Bildflächen mit ca. 140 m² LED-Wand installiert. Quellenseitig kamen verschiedene Zuspielsysteme zum Einsatz, um die native Bespielung aller LED-Flächen zu realisieren.

 

Für das Bildmanagement wurden vier Barco-E2-Prozessoren eingesetzt. Außerdem kamen 40 neue Movinglights Robe MegaPointe zum Einsatz. Auch die Sessionräume wurde durch Kuchem Konferenz Technik technisch umgesetzt.

 

www.kuchem.com

 

 

Kuchem realisiert Management-Team-Sitzung der TelekomKuchem realisiert Management-Team-Sitzung der Telekom

Airbeat One mit Europas größtem transportablen Zirkuszelt

Airbeat One mit Europas größtem transportablen Zirkuszelt
Airbeat One mit Europas größtem transportablen Zirkuszelt

Mit insgesamt 180.000 Teilnehmern an allen vier Tagen feierte das Airbeat-One-Festival im vergangenen Jahr seine siebzehnte Ausgabe. 170 DJs und Acts aus aller Welt traten in Neustadt-Glewe auf fünf Floors mit nahezu allen Stile der elektronischen Musik auf.

 

Das Open-Air-Event stand unter dem Motto „Great Britain”, deshalb präsentierte sich die Mainstage mit 130 Metern Breite und 40 Metern Höhe in einer Collage aus House of Parliament, Westminster Abbey, Big Ben und der Tower Bridge, in deren Zentrum das DJ-Pult stand. Das London Eye ragte als Riesenrad hinter dem Tower hervor.

 

Mit „The Arena” feierte das mit 5.000 Quadratmetern Fläche größte transportable Zirkuszelt Europas als neuer Floor seine Premiere. Die achtzehnte Ausgabe des Festivals findet vom 10. bis 14. Juli 2019 statt.

 

(Fotos: Steffen Schulze/Tobias Stoffels/Airbeat One)

 

www.airbeat-one.de

 

 

Airbeat One mit Europas größtem transportablen ZirkuszeltAirbeat One mit Europas größtem transportablen Zirkuszelt

Litec überdacht Stadionkonzert

Litec überdacht Stadionkonzert

Tribute-Konzerte sind besonders in Italien sehr beliebt. So feierte man unlängst Leben und Lieder von Pino Daniele. Auf der technischen Seite kam u.a. ein MyT Folding Steroid Dachsystem von Litec zum Einsatz. Das Unternehmen hat den Aufbau und Einsatz in einem aktuellen Video ausführlich dargestellt.

Das Video dokumentiert den Aufbau des massiven Dachsystems inkl. der eingesetzten Spot- und Delaytürme. Diese bestanden ihrerseits aus modularen Komponenten von Litecs MyT-Folding-Steroid-Serie. Das landesweit im italienischen Fernsehen übertragene Konzert zog vor Ort mehr als 85.000 Besucher an und erreichte ein Millionenpublikum.

Das Litec MyT Folding Steroid Dachsystem ist eine komplette Lösung aus zwei Traversentypen. Das Grid besteht aus der MyT Folding Steroid Traverse, die aus der Alulegierung EN AW-7003 T6 gefertigt wird. Die 23 Meter hohen Tower im Maß 85 x 85 cm aus EN AW-6082 T6 werden ergänzt durch Komponenten aus Baustahl S355; Beispiele sind die Ballastbases, der Sleeveblock und die Verriegelungseinheit, der Safety-Block. Zum informativen und unterhaltsamen Video geht es hier entlang:

www.youtube.com/watch?time_continue=155&v=DOunPf1waHM

Weitere Informationen zu Litec und den unterschiedlichen Konstruktionsmöglichkeiten gibt es hier:

www.litectruss.com

Robert Juliat fixtures chosen for ‘Nouvelles Pièces Courtes’

Robert Juliat fixtures chosen for ‘Nouvelles Pièces Courtes’
Robert Juliat fixtures chosen for ‘Nouvelles Pièces Courtes’

‘Nouvelles Pièces Courtes’ is a collection of short contemporary dance pieces, created in May 2017 by French choreographer Philippe Decouflé and his Compagnie DCA. Lighting designer Begoña Garcia-Navas used Robert Juliat fixtures to complement each different dance piece through her use of lighting, choosing 20 Robert Juliat Dalis 860 Cyclight LED batten fixtures to light the massive cyclorama backdrop, and Robert Juliat profiles, including 613SX, 614SX, 713SX and 714SX fixtures, as conventional lighting.

 

Garcia-Navas also specified three RJ followspots, with the models changing according to which venues the company visits. She positioned ten Dalis 860 Cyclight LED battens in the grid and a further ten at stage level, with a minimum distance from the back wall of 40/50cm depending on available space at each venue. From these positions the Dalis covered the 6.5 m tall drop with colour.

 

Garcia-Navas selected her Dalis fixtures after trying out several options. “Initially we used some architectural LED fixtures, and then tried around 60 tungsten fixtures with colour gel filters, but I was not satisfied with the result,” she says. “I decided to compare some LED battens and, over several tests, was finally convinced that the Robert Juliat Dalis was the one I wanted.”

 

 ‘Nouvelles Pièces Courtes’ toured France throughout 2017 before returning to the Théâtre National de Chaillot, Paris in April 2018. The production then moved to Japan, where the Robert Juliat equipment was supplied by Robert Juliat’s distributor, Sogo Butai, overseen by Kohei Nishida. ‘Nouvelles Pièces Courtes’ also traveled to Brazil and Russia.

 

(Photos: Laurent Philippe)

 

www.robertjuliat.com

 

 

Robert Juliat fixtures chosen for ‘Nouvelles Pièces Courtes’Robert Juliat fixtures chosen for ‘Nouvelles Pièces Courtes’

Glassjaw plays Brixton Academy beneath Elation rig

Glassjaw plays Brixton Academy beneath Elation rig

For post-hardcore band Glassjaw’s show at London’s O2 Academy Brixton in August 2018, lighting designer Hayden Borgars had an Elation lighting rig of 12 Platinum Beam Extreme beam lights and 12 Platinum Wash ZFX Pro LED moving head washes at his disposal.   

 

“With ‘Material Control’ being Glassjaw’s first album in 15 years I wanted my design to be fairly versatile to be able to create some classic looks for the older tracks and then some more modern and fast-paced looks for the newer material,” Borgars comments.

 

“Having the Platinum Wash ZFX’s in the overhead rig worked well in being able to produce some zone-based effects and more saturated colors for the tracks from (Glassjaw’s new album) ‘Material Control’ as well as some vibrant and brighter colors for the older tracks,” he says. The designer also used the multi-purpose RGBW wash lights for front color wash.

 

Borgars placed the Platinum Beam 5R Extremes in both the overhead rig and as part of the floor package. “They were able to create a very tight beam which is exactly what I was looking for, especially for the fast-paced songs,” he explains. “The 6 Platinum Beams in the floor package were also used for the slow-paced songs with gobos and slow movements.” The lighting rig for Glassjaw’s O2 Academy Brixton show was supplied by Ian Livie Lighting.

 

www.elationlighting.com

 

 

Glassjaw plays Brixton Academy beneath Elation rigGlassjaw plays Brixton Academy beneath Elation rig

‘De Stormruiter’ illuminated by Robe

‘De Stormruiter’ illuminated by Robe
‘De Stormruiter’ illuminated by Robe

‘De Stormruiter’ (The Stormrider) - staged in the Saksen Hall at the WTC Expo in Leeuwarden, the city in the heart of Friesland, The Netherlands, and recorded for TV broadcast - was commissioned by the Royal Friesian Horse Studbook (Koninklijke Vereniging) and the Fader Horse Foundation and produced by Leeuwarden Friesland 2018 as part of the city and region’s year as European Capital of Culture.

 

Lighting designer Marc Heinz used 160 x Robe moving lights - BMFLs, LEDBeam 1000s and Spiiders - to help achieve the visual scenography needed to bring the 60-metre-deep and 80-metre-wide performance space alive. The narrative required the creation of multiple locations and environments.

 

The set was designed by Harn Naaijer. It included an 80-metre-long by 2.5-metre-wide scenic dike upstage - traversing the full width of the arena - which split in two and tracked on and offstage. At the back of the dike was a 60-metre-wide projection screen.

 

The 24 x BMFL Spots were positioned on nine overhead LX trusses, and all hooked into a tracking system following 12 of the principal actors. The BMFL WashBeams were dotted all over the trusses. The BMFL Blades were on the front trusses, where their shuttering was used for solos, specials and practicals.

 

The two most downstage LX trusses both had returns onto stage at the corners - making them into a U shape, and the 12 x Spiider LED wash beams were hung along these returns. They provided additional key and front lighting from that angle.

 

Thirty-four of the 68 x LEDBeam 1000s were placed all in a row on one of the upstage trusses, the other 34 were scattered around on the front and mid trusses. Marc Heinz added 180 x narrow beam PAR 64s to the plot, spread asymmetrically around the trusses, which played an important role in recreating night and day, sunshine, cloudy weather and general meteorology.

 

Lighting consumed 14 universes of DMX and was run on a Hog 4 programmed by Pepijn van der Sanden working alongside Heinz. The operator for the run of shows was Idwinge Boetes. A Road Hog console was used for running the video media server. All lighting equipment was supplied by Flashlight from Utrecht.

 

(Photos: Louise Stickland)

 

www.robe.cz

 

 

‘De Stormruiter’ illuminated by Robe‘De Stormruiter’ illuminated by Robe

ROE Visual’s LED Strip highlights Lowlands festival grounds

ROE Visual’s LED Strip highlights Lowlands festival grounds
ROE Visual’s LED Strip highlights Lowlands festival grounds

Above the vast festival grounds of Lowlands 2018, two towers shed their light on the audience at night. The towers are part of the restyling of Planet Paradise and feature each 4 rings fitted with ROE LED Strip. Faber Audiovisuals was commissioned by Mojo Concerts to supply the LED lights for the Intergalactic Planetary. Faber chose to use ROE Strip LED elements for this job. With approximately 240 ROE Strips per tower, Faber equipped each Strip with a white diffusor, to create a soft dispersion of the light.

 

(Photos: Nathan Reinds)

 

www.roevisual.com

 

 

ROE Visual’s LED Strip highlights Lowlands festival groundsROE Visual’s LED Strip highlights Lowlands festival grounds

DAS Audio equips DJ Expo

DAS Audio equips DJ Expo

DAS Audio supported the DJ Expo 2018, the industry’s largest gathering of professional DJs. “The DAS setup included four Vantec-20A full range active, curved source line array enclosures that served as the top boxes along with two Event 121A powered subwoofers for the low frequency”, says Edwin J. Guerra, U.S. Marketing Manager for DAS Audio of America, the Miami-based office for the company's operations throughout the Americas. “The equipment was configured for a sub and two tops each for the left and right sides. Completing the setup, we used Altea 712A powered, 2-way point source enclosures as monitor speakers for the setup.”

 

“The DAS equipment was used for all DJ performances at our booth along with Serafin’s Tasty Tuesday after party,” Guerra adds. “The party took place on Tuesday, August 14th in the evening and was sponsored by DAS Audio. Some of the acts that performed through our loudspeaker system included Grandmixer DXT, Jazzy Jay, Sophia Lin, Serafin, as well as Buck Rodgers and several of the MixSyndicate Radio DJs.”

 

www.dasaudio.com

DB Audio Namibia uses Elation’s ACL 360 Bar for O&L Group Roadshow

DB Audio Namibia uses Elation’s ACL 360 Bar for O&L Group Roadshow
DB Audio Namibia uses Elation’s ACL 360 Bar for O&L Group Roadshow

For the past fourteen years, the O&L Group has been connecting with their almost 6000 employees across Namibia through a special outreach called the Mwenyopaleka Employee Engagement Roadshow. Rental company DB Audio Namibia has been associated with the roadshow for years and in 2018 turned to Elation Professional’s ACL 360 Bar effect to give the show a more modern, futuristic look.

 

DB Audio Namibia was responsible for the technical translation and realization of the roadshow concept and event content. The addition of the ACL 360 Bars provided the setup with the futurist look required as briefed by the event producer, who specifically requested a linear beam effect.

 

Lighting design for the roadshow was by Geraldo Papo supported by Gillroy Barmann. “The ACL 360 Bars were spaced close together. The positioning of the fixtures in different configurations kept the stage dynamic for the different scenes,” explains Ernst Steynberg, Corporate Communication Manager at dB Audio Namibia.

 

The first Mwenyopaleka Employee Engagement Roadshow of 2018 took place on April 10th in Walvis Bay with the final event held on June 23rd in Mariental. The roadshow ran a total of 17 times in 7 different towns with a combined team of 24 personnel traveling more than 4000 kilometers. After fourteen years, this was the final year that O&L has used the edutainment format to keep their employees connected to the O&L purpose.

 

(Photos: Willem Very)

 

www.elationlighting.com

 

 

DB Audio Namibia uses Elation’s ACL 360 Bar for O&L Group RoadshowDB Audio Namibia uses Elation’s ACL 360 Bar for O&L Group Roadshow

Painting with Light designs lighting and video for ‘Rubens the Musical’

Painting with Light designs lighting and video for ‘Rubens the Musical’
Painting with Light designs lighting and video for ‘Rubens the Musical’

Painting with Light presented a lighting and video design together with bespoke video content for ‘Rubens the Musical’, staged by Historalia on a series of pontoons floating in the moat of the (old) Westerlo Castle in Belgium.

 

Painting with Light also supplied the lighting and video control package, including one of their new disguise servers to run the 50-metre-wide canvas that formed a backdrop to the stage. Painting with Light’s Luc Peumans created the lighting design in close collaboration with Paco Mispelters, who also worked as the lighting director on site, while Arthur Claesen worked with set designer Marnik Baert to create the video content.

 

A tensile roof was erected to protect the stage from rain, however this didn’t offer up any flying facilities, so all the lighting positions were rigged onto the upstage scaffolding structure supporting the set and video elements, resulting in a heavily backlit show.

 

The front lighting positions were facilitated by the tent structure covering the audience seating tribune and by a scaffolding tower with a trim of 13 metres. The principal characters were highlighted by follow spots.

 

The main moving lights used were Robe, with 16 x BMFL Blades for front lighting and to illuminate a pathway immediately in front of the stage, where some of the action also took place. The Blades were complimented with seven BMFL WashBeams, the core back- and sidelight fixtures.

 

The bulk of the stage and set washing was achieved with 30 Robe Spiider LED wash beam luminaires rigged from the set scaffolding, and these also lit across the stage and the band, who were positioned inside the set.

 

Twenty-four Robe LEDWash 600s were used to pick out the cast and to augment the band, leaving around 100 x strategically positioned LED PARs to illuminate the set and stage from the front and side footlights positions. Two follow spots were deployed out front and used to pick up the principals at various times.

 

As with all Painting with Light projects, the control system of choice was a GrandMA2 for lighting, programmed and operated for the run of shows by Painting with Light’s Ivar van Dijk. The console also triggered the video cues stored on the disguise 4x4 pro media server - programmed by Dries Mees - as well as varying the intensity of the LED screen.

 

All the lighting equipment - and the audio - was supplied by L&L Stage Services and Demon, and the LED screens were from Pixelscreen. Arthur Claesen, assisted by Wouter Verhulst, specified 250 square metres of 10 mm LED screen which made up a substantial element of the set. With the audience seated 30-40 metres away, 10 mm was chosen as super HD was not necessary.

 

With this digital canvas as an integral part of Marnik Baert’s set design, the screen layout featured 14 columns, each 7 metres high by 2 metres wide, with a 9-metre-wide by 3.5-metre-high landscape orientated centrepiece LED divided into two. The full pixel map to which all the content was worked totalled 3552 pixels wide by 672 high, and Arthur Claesen optimised all the images in HD to that exact size.

 

(Photos: Elke Briers)

 

www.paintingwithlight.be

 

 

Painting with Light designs lighting and video for ‘Rubens the Musical’Painting with Light designs lighting and video for ‘Rubens the Musical’

Jazzunique konzipiert Triaction Cube für Triumph

Jazzunique konzipiert Triaction Cube für Triumph

Unter dem Motto „Find the one that moves you“ hat der Wäschehersteller Triumph im Jahr 2018 eine Roadshow durch Deutschland, Österreich und die Schweiz veranstaltet. Ziel war es, Frauen auf die Sport-BH-Kollektion „Triaction“ aufmerksam zu machen. Unterstützung für die Roadshow leistete die Frankfurter Agentur Jazzunique.

 

Der von Jazzunique konzipierte Triaction Cube diente als Eyecatcher in den Shopping-Malls. Das Feeling und die Performance der Sport-BHs standen dabei im Mittelpunkt und konnten auf der Bühne vor dem Cube direkt unter Beweis gestellt werden.

 

Bei verschiedenen Live-Aktivitäten wie Acro Yoga, Power- oder Dance-Workouts präsentierten professionelle Sportlerinnen die Features der verschiedenen Modelle in Aktion, ehe sie im anschließenden Interview mit Moderatorin Julia Hagel von ihren Erfahrungen im Alltag berichteten.

 

Im Triaction Cube konnten Frauen die Möglichkeit der Sport-BHs bei einem kostenlosen Fitting durch Triumph-Mitarbeiterinnen kennenlernen und die Kollektion selbst anprobieren. In der Trampolin-Fotobox entstanden Schnappschüsse, die über Soziale Medien geteilt wurden. Im Anschluss an den sportlichen Teil sorgten kostenlose Vitamin-Boosts an der Smoothie Bar für Entspannung. Triumph überreichte Give-aways für jeden Kauf eines Artikels der „Triaction“-Kollektion.

 

(Foto: Mike Auerbach)

 

www.jazzunique.de

LightLab debuts Elation Smarty Hybrid on Nekfeu summer tour

LightLab debuts Elation Smarty Hybrid on Nekfeu summer tour
LightLab debuts Elation Smarty Hybrid on Nekfeu summer tour

Lighting design studio LightLab, headed by lighting designer and art director Alexandre LeBrun, created a lighting and stage design for French rapper Nekfeu’s 2018 summer tour based around mobile walls of light and used Elation Professional’s Smarty Hybrid CMY color mixing moving head, supplied by Dushow, to realize the look.

 

“I wanted to create a panoramic light design, horizontal and low,” LeBrun explains, “so I designed walls of light with the idea of only using it on the stage. The idea was to forget about light coming from the top.” LightLab used 120 of the compact fixtures in the design. The fixtures were placed in six frames (2.8 m x 2.65 m), 20 Smartys per frame, with three frames arranged in a diagonal on each side of the stage, visually complementing each side of the DJ booth. Each frame was mounted on rollers.

 

The rest of the lighting rig included ten Elation Proteus Hybrid moving heads, which were floor positioned and used for back lighting, along with five LED strobes. Other spots were used for front lighting and back light with additional spots incorporated from each host festival lighting kit. Lighting operator for the Nekfeu summer tour, Fabrice Pinsard, was the first to work with the Elation Smarty Hybrid on a tour.

 

(Photos: Nicolas Galloux)

 

www.elationlighting.com

 

 

LightLab debuts Elation Smarty Hybrid on Nekfeu summer tourLightLab debuts Elation Smarty Hybrid on Nekfeu summer tour

Helene Fischer mit Systemen von L-Acoustics auf Stadiontour

Helene Fischer mit Systemen von L-Acoustics auf Stadiontour

Mit mehreren Bühnen, Flugnummern und innovativer App-Einbindung setzte Helene Fischer bei ihrer „Farbenspiel“-Stadiontour 2015 neue Produktionsstandards - gewürdigt unter anderem mit einem LEA Live-Entertainment-Award. Nach einer Hallentour kehrte der erfolgreichste deutsche Popstar der letzten Jahre im Sommer 2018 in die großen Arenen zurück.

 

Neben einer LED-Wand, die in ihrer Kombination aus Größe und Auflösung bislang nur selten zu sehen war, trug auch der Stadion-Sound zum Konzerterlebnis bei. Soundhouse und FOH Alex Spengler entschieden sich hier für insgesamt 96 K2, 48 K1, 32 K1-SB und 32 KS28 von L-Acoustics.

 

„Wir haben das System im Vergleich zur letzten Stadiontour noch einmal deutlich aufgewertet - nicht zuletzt durch die geflogenen Subs, mit denen ich den Sound am Pult noch besser formen konnte“, erklärt Spengler, langjähriger FOH-Engineer von Helene Fischer und technischer Leiter der Produktion.

 

Der Blick auf die rund 56 Meter breite und 28 Meter hohe Bühne wurde durch vier PA-Arrays abgerundet: 10x K1 + 4x K2 + 4x K1-SB als L/R-Konfiguration mit acht weiteren, dahinter geflogenen K1-SB, die von zwei ausgewachsenen K1/K2-Side-Hangs für die Haupt- und Gegentribüne flankiert wurden.

 

„Bei der letzten Hallentour hatten wir durch die komplexere Bühnensituation eine etwas spezielle Konfiguration mit mehreren Clustern in der ganzen Halle“, so Spengler weiter. „Obwohl die Beschallung hier eher klassisch geplant wurde, bot mir die Kombination aus K1/K2 und den geflogenen Subs alle Möglichkeiten, die ich unter anderem durch das neue Pult (seit 2018 setzt Spengler auf ein Avid S6L) hinzugewonnen habe.“

 

Als ergänzende Beschallung für die Oberränge fungierten 6x K2 pro Seite unter dem Tribünendach. Zudem sorgten zwei Delay-Tower plus ein K2-Stack-Delay hinter dem FOH-Bereich für die Ortbarkeit. „Das gestackte Delay in der Mitte war eine Alternativlösung, da uns ein dritter Delay-Tower nicht genehmigt wurde“, erklärt Jürgen Erhard, System-Engineer von Soundhouse.

 

Auf der „Farbenspiel“-Tour 2015 hatte der Einsatz einer Spidercam für eine Flugnummer von Helene Fischer ebenfalls einen dritten Tower verhindert. „Je nach Stadion kombinierten wir in diesem Fall Stack-Tower und geflogene Delay-Systeme für den hinteren Tribünen-Bereich“, sagt Erhard. Zwei einzelne, geflogene Syva-Lautsprecher auf der Bühne dienten auf der 2018er Tour dem erweiterten Monitoring für die Tänzer.

 

www.l-acoustics.com

 

 

Helene Fischer mit Systemen von L-Acoustics auf StadiontourHelene Fischer mit Systemen von L-Acoustics auf Stadiontour

Alex Spengler verwendet Avid Venue S6L auf Helene Fischers Stadiontour 2018

Alex Spengler verwendet Avid Venue S6L auf Helene Fischers Stadiontour 2018
Alex Spengler verwendet Avid Venue S6L auf Helene Fischers Stadiontour 2018

Nachdem FOH Alex Spengler (Foto) das Venue S6L von Avid bereits im April/Mai 2018 auf der Tour von Semino Rossi inklusive Orchester in Konzertsälen und Stadthallen eingesetzt hatte, feierte das modulare Live-Sound-System auf der 2018er Tour von Helene Fischer seine Stadion-Premiere.

 

„Ich komme noch aus der Analog-Zeit und schätze es, wenn ich die zentralen Funktionen stets am gleichen Platz vorfinde. Deshalb kommen mir unter anderem die anpassbaren Layouts der S6L sehr entgegen, dank derer ich auch bei vielen Signalen nie den Überblick verliere - etwa bei Musikern, die für bestimmte Songs auf andere Instrumente switchen“, erklärt Spengler.

 

Der FOH, der auch als Technischer Leiter der Produktion fungierte, entschied sich für die größte Ausbaustufe in Gestalt der S6L-32D-Bedienoberfläche mit vier Touchscreens und 32 + 2 Fadern sowie E6L-192-Engine. „Im Vergleich zur letzten Stadiontour war die Band etwas kompakter. Zudem gab es diesmal keine Streichersektion, sodass wir diesmal unter 64 Eingängen geblieben sind und alles mit einer Stagebox fahren konnten.“

 

Beim Thema Plug-ins fährt Spengler auf der S6L einen eher zurückhaltenden Kurs: „Ich habe die Anzahl der eingesetzten Plug-ins im Vergleich zu früher deutlich zurückgefahren - ohne Waves, dafür umso mehr mit den internen Effekten.“ Hier nimmt vor allem der neue ReVibe-II-Hall einen zentralen Platz ein. „Zudem hat mir ein Kollege von Avid neulich die Plug-ins von Sonnox ans Herz gelegt. Mit dem Frequenz-Kompressor kann ich insbesondere die Vocal-Sounds nach meinen Vorstellungen formen.“

 

www.avid.com

 

 

AV Awards 20th anniversary celebration lit by Chauvet

AV Awards 20th anniversary celebration lit by Chauvet

For the 20th anniversary of the AV Awards, live events specialists Corporate Events Ltd created a special circus and steampunk-inspired production at London’s Grosvenor House, which was bolstered by a selection of Chauvet Professional Rogue RH1 Hybrid fixtures positioned on the ground pointing upwards towards the stage. Here, the fixtures were responsible for providing visual support for the vast LED video wall in the background.

 

To provide a number of looks on stage, Kerry Owen - senior event manager, Corporate Events - utilized the beam and spot effects of the Rogue Hybrid fixtures. The dimming and soft and saturated color capabilities of the fixtures ensured that a number of subtle looks could be achieved when video content played on the LED screens took priority.

 

www.chauvetprofessional.com

 

 

AV Awards 20th anniversary celebration lit by ChauvetAV Awards 20th anniversary celebration lit by Chauvet

Live-Show von Axwell & Ingrosso mit Scheinwerfern von GLP

Live-Show von Axwell & Ingrosso mit Scheinwerfern von GLP

Für das Konzert von Axwell & Ingrosso im Bill Graham Civic Auditorium in San Francisco hat Sam Tozer von der Vision Factory Material aus dem Katalog von GLP ausgewählt. Das Lichtequipment, darunter insgesamt 40 GLP Impression X4 Bar 20 und 58 GLP JDC1 Hybridstrobes, wurde von Christie Lites geliefert, den Videopart übernahm PRG.

 

„Die JDC1 waren das Rückgrat der Lightshow“, berichtet Tozer. „Damit konnten wir das Publikum in Licht tauchen. Gleichzeitig kamen die Impression X4 Bars rund um die Bühne zum Einsatz. Mit denen konnte ich eine Art Barriere zwischen dem Act und der Crowd schaffen.“

 

Tozer setzte die JDC1-Hybridstrobes im Full-Pixel-Mode ein, „so konnte ich das gesamte System als eine Art großes Display für Low-Res-Effekte nutzen“. Flamejets, Streamer, Pyro, Laser und Video wurden ebenfalls verwendet. Alex Hesse fungierte als Programmierer, Mattie Evans als Produktionsleiter. Darüber hinaus waren Peter Witting (Pyrotechnik), Lexy (VJ) und Nick Caeyers (Kameras) bei der Show im Einsatz.

 

(Fotos: Alex Gonzalez)

 

www.glp.de

 

 

Live-Show von Axwell & Ingrosso mit Scheinwerfern von GLPLive-Show von Axwell & Ingrosso mit Scheinwerfern von GLP

Stageco bei Electro Magnetic Festival im Einsatz

Stageco bei Electro Magnetic Festival im Einsatz
Stageco bei Electro Magnetic Festival im Einsatz

Einmal im Jahr verwandelt sich das Weltkulturerbe Völklinger Hütte in ein Partyareal. Bereits zum siebten Mal veranstaltete die 4 plus 1 Konzerte GmbH am 14. Juli 2018 das Electro Magnetic Festival im saarländischen Industriedenkmal.

 

Wie schon in den vergangenen Jahren, war die Veranstaltung ausverkauft, es feierten rund 10.000 Besucher zwischen Hochöfen, Erzhalle und Kohlegleis. Die Künstler traten auf fünf Floors auf. Für die Location am Erzplatz lieferte Stageco Deutschland die Unterkonstruktion für die Dekoration, bestehend aus sechzehn Schwarzstahl-Towern und einer DJ-Bühne mit transparentem Dach.

 

Die unterschiedlich langen Tower wurden Totempfählen ähnlich aufgestellt: Die erste Reihe wurde auf einem ehemaligen Gleisbett hinter der Bühne und einige Meter höher aufgebaut, die zweite Reihe in einer Achse mit der DJ-Bühne. Hand in Hand mit den Mitarbeitern der Lichttechnik und Dekoration wurden die Tower bestückt und nacheinander aufgestellt.

 

(Fotos: Christian Walter)

 

www.stageco.com

Elation lighting package provided for Canadian block party and music festival

Elation lighting package provided for Canadian block party and music festival
Elation lighting package provided for Canadian block party and music festival

Since its inception in 2013, the Glowfair Festival in Ottawa has grown substantially with the two-day event attracting roughly 60,000 people in June 2018. The name itself is an indication that lighting is an integral part of the event hosted along 10 full blocks of Bank St. in Ottawa.

 

As it has for the past five years, Ottawa Special Events (OSE) provided a package of Elation lighting fixtures for Glowfair - some drawn from their own inventory and others rented from Christie Lights. In all, nearly 100 Elation fixtures were deployed, a combination of Platinum HFX hybrid moving heads, ZW19 LED moving head beam/wash effects, compact ACL 360i beam effects and SixPar 200 LED Par lights.

 

In total, OSE specified 8 Elation Platinum HFXs, 12 ZW19s, 24 ACL 360is and 60 SixPar 200s. ADJ Focus Spot Three Zs were also supplied for Glowfair’s DJ stage, as well as ADJ UV Cob Cannons and Ultra Hex Bar UV fixtures for deployment around the site.

 

Four HFX units were placed on each of the central main stage trusses and used for a variety of looks, including all spotlighting. “They were our only spots on the rig because a lot of the bands have electronic features, so there are a lot of beams, strobes and flashes and we didn’t need a ton of spots,” comments OSE Production Manager Joel DesLauriers.

 

The remainder of the rig was rented from Christie Lights. The ZW19s were spaced evenly (6 per truss) on the upstage and downstage pipes. DesLauriers had intended to use 12 Elation Platinum 5Rs, not ACL 360is, but Christie’s fixtures were rented so OSE doubled up with 24 ACLs.

 

“We used them a lot to do symmetrical chases and 360 effects. We had 6 dance towers,” he says, “2 doubles and 1 single tower per side, so we placed 4 360is on the far stage left tower, 6 on the middle one and 4 on the next.” The same placement was used on stage right, with the remaining ACLs mounted centrally on the rear truss above a video wall. “So the beams were separated like fingers shooting down.”

 

Sixteen Elation SixPar 200s were deployed on the DJ stage, and the rest placed throughout the site to provide UV light for ‘Glow Fit’, ‘Glow Yoga’ and other events.

 

(Photos: Ghost Vapor Photography)

 

www.elationlighting.com

 

 

Elation lighting package provided for Canadian block party and music festivalElation lighting package provided for Canadian block party and music festival

Robe fixtures for ‘American Idiot’ in Buenos Aires

Robe fixtures for ‘American Idiot’ in Buenos Aires
Robe fixtures for ‘American Idiot’ in Buenos Aires

An Argentinian creative team including director, set and lighting designer Ariel del Mastro, lighting director Ariel ‘El Gato’ Ponce and video designer Maxi Vecco have created a production design for Green Day’s rock opera ‘American Idiot’, playing at the Broadway Theatre in Buenos Aires. Robe moving lights were central to the show, with Spiiders, Spikies and Squares prominent on the rig.

 

American Idiot is playing in rep at the Broadway Theatre with two other shows, the ‘Mahatma’ cirque-musical extravaganza and the adult orientated erotic show ‘Taboo’. While the three shows utilized the same rig, they all looked completely different. Some of the Robe fixtures were re-positioned and re-rigged in between, and ‘Mahatma’ also utilised some additional Robe Pointes.

 

Ariel del Mastro also designed sets for the productions mentioned above and came up with the idea of masking the extensive video elements installed for ‘Mahatma’ to produce the fragmented back wall look that defined the ‘American Idiot’ performance space. At the theatre, Ariel Ponce operated the show each night.

 

The 32 x Spiiders were all on overhead trusses installed in the theatre roof and were used for all the stage washes and colouring. The Spikies were dotted all around the video screens upstage. Twelve of the 16 Squares were used upstage of the back wall, blasting through the 6 mm video screens, with four on the floor - brought on and off and positioned manually for certain scenes - for more effects.

 

The programming was an intense process. The video content was finalised later on in the pre-production process, so they had to start programming - there are over 230 multi-part cues in the GrandMA2 - without having the material to refer to and then tweak once the video was all stored and programmed in the media server.

 

CDM Productions supplied all the lighting for ‘American Idiot’, ‘Mahatma’ and ‘Taboo’ having made a large Robe investment in 2017 which was delivered by Argentinean distributor, TSD Group.

 

(Photos: Louise Stickland)

 

www.robe.cz

 

 

Robe fixtures for ‘American Idiot’ in Buenos AiresRobe fixtures for ‘American Idiot’ in Buenos Aires

Ben Everett expands rig for Maggie Rogers at Koko with Chauvet’s Rogue R1 FX-B

Ben Everett expands rig for Maggie Rogers at Koko with Chauvet’s Rogue R1 FX-B
Ben Everett expands rig for Maggie Rogers at Koko with Chauvet’s Rogue R1 FX-B

When Maggie Rogers appeared at London’s Koko club to support the release of her new single, designer Ben Everett of Mirrad reflected her sound with a lightshow driven by 14 Chauvet Professional Rogue R1 FX-B fixtures, which were supplied by Colour Sound Experiment.

 

“The initial concept behind the design was to incorporate a mix of vintage looks with tungsten fixtures and more current electronic looks as a nod to both the folk and electronic genres that heavily influence Maggie’s music,” says Everett. “Budgetary constraints limited the number of tungsten fixtures we could incorporate, but we did rely very heavily on the Rogue FX-Bs.”

 

Everett arranged his Rogue R1 FX-B fixtures on three horizontal drop bars rigged from the house back truss at 1.5-meter (roughly 5-foot) intervals. He had five of the RGBW LED linear fixtures attached to the top bar, four to the middle bar and five to the bottom bar.

 

For some songs, Everett had the Rogue R1 FX-B pan up and down simultaneously, creating a light fanning effect. Like the other fixtures in the lightshow, the Rogue R1 FX-B was used to create heavily saturated blue, reds, ambers and open white. The LD deployed over 40 other fixtures in his rig, including spots, blinders and Rogue R2 Wash units.

 

(Photos: The Fifth Estate)

 

www.chauvetprofessional.com

 

 

Ben Everett expands rig for Maggie Rogers at Koko with Chauvet’s Rogue R1 FX-BBen Everett expands rig for Maggie Rogers at Koko with Chauvet’s Rogue R1 FX-B

Robe fixtures illuminate Estonian ‘Sweeney Todd’ production

Robe fixtures illuminate Estonian ‘Sweeney Todd’ production
Robe fixtures illuminate Estonian ‘Sweeney Todd’ production

Recreating the dark and gruesome world of Sweeney Todd, the fictional Demon Barber of Fleet Street according urban legend, at the Vanemuine Theatre in Tartu, Estonia, required the juxtaposition of a classic Victorian east London docklands ambiance as the historical industrial backdrop, shot through with lighting and effects to recreate multiple locations.

 

Lighting designer Margus Vaigur had the house Robe luminaires at his disposal including 20 x MMX Spots, 52 x LEDWash 1200s, 16 x LEDWash 600s and 12 x CitySkape Xtremes together with 12 new Robe DL7S Profiles which are a recent addition to the venue’s Big Theatre house lighting inventory.

 

Vaigur lit the entire production with the Robe moving lights together with some other LEDs, around 200 in total, using no conventionals at all. The production - the first time the musical has been staged in Estonia - was directed by director and actor Janel Jonas.

 

The set was created by Iir Hermelin. Margus Vaigur used the LEDWashes extensively, both for various general lighting and for effects, with some on the overhead rig and some on the floor and on side booms. The lower level lights were also used to shoot up through the shredded metal floors of the upper set, and Vaigur made much use of the LEDWash 1200s and 600s’ daylight white ranges of 4000k upwards.

 

The DL7S Profiles were the primary profiles supported by the MMX Spots. Positioned on the high bars, the DL7S’s shutters were used to isolate areas of the stage and set, picking out specific elements and highlighting certain actions.

 

(Photos: Maris Savik)

 

www.robe.cz

 

 

Robe fixtures illuminate Estonian ‘Sweeney Todd’ productionRobe fixtures illuminate Estonian ‘Sweeney Todd’ production