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CPL delivers ‘Carnival of Colour’ event for Tropic Skincare
CPL supplied full technical design and production for show producers Pandora Events who delivered Tropic Skincare’s 2019 “Glambassador” motivational event, a day packed with new product launches, presentations, awards and live entertainment, complete with a gala dinner. The event for 2500 people - themed ‘Carnival of Colour’ - was staged in Hall 4 at the NEC, Birmingham, UK.
CPL’s production and project manager Lee Gruszeckyj worked closely with Pandora’s Vanessa Carter and a crew of 27 technicians who started with the installation of a 20-metre diameter circular stage in the centre of the room. The inner 10-meter diameter section was a revolve. Above this, four large screens were installed, which were fed by Barco UDX high-powered projectors, giving 360-degree viewing angles.
The stage was a full custom design and build for the event, with a Steeldeck base covered in bespoke ply pieces to make up the spherical shape and the revolve machinery installed in the middle, completely flush with the outer section, so not immediately evident to the eye. The whole surface area was finished in white gloss vinyl.
An 8-metre runway protruded from each of two sides of the stage with 7-metre ramps at each end extending out into the audience. “One parameter was that the stage area had to potentially accommodate several hundred people for some of the Awards categories,” Lee Gruszeckyj explains, “so we had to ensure there was enough space for them to stand on it and enjoy their moments of adulation, as well as to facilitate that many people actually getting safely up onto the stage.”
The four screens flown above the central stage each measured 16 metres wide by 4.5 high, and each was fed by a pair of doubled-up Barco UDXW32 32K lumen projectors which were positioned on the largest of three concentric circular trusses flown - chandelier style at slightly staggered heights in the roof - with diameters of 15, 8 and 5 metres respectively. They produced some 4K resolution images.
On the two lower trussing circles, 70 x 1.2 metre by 100 mm wide Roe pixel strips were rigged running via Brompton T1 processors and fed with video content which produced colour and movement effects above the stage, and also eye-catching kinetics during the production numbers.
Four Sony HXC-100 HD cameras were utilised for the IMAG mix of the band/speakers/presenters/award winners, etc., mixed via a GV Kayak PPU, and ISO and TX records of the evening were also produced. CPL supplied an on-site mobile edit suite and a person dedicated just to ‘live’ editing.
CPL also created custom media content for the three major live performance segments which were stored on a fully redundant networked QLab system and synched to the accompanying music tracks over which they played and sang live.
Around 200 lighting fixtures - a mix of generics, LEDs and moving lights - populated the three circular trusses. The 150 x moving lights were made up from a mix of Robe Pointes, Spikies and LEDBeam 150s and the generics were a combination of profiles, fresnels and spots, all operated by Ian Wood and Peter Thompson using a GrandMA console.
An L-Acoustics sound system comprised Kara, HiQ and Arcs Wide speakers. Each of the ten Kara arrays contained between 6 and 9 speakers per drop. For stage lip fills L-Acoustics X8 speakers were chosen, while six HiQs were there for nearfields and the Arcs Wides covered the further away areas. The HiQs and Arcs Wides were also all flown, as were the 16 x SB18s - in three stacks - above the stage. The subs were augmented with four KS28s on the floor in front of the stage.
The system was powered by L-Acoustics LA8 and LA12 amps, and all the amp racks were flown for neatness. Dante was distributed via a fibre network. The band had both FOH and monitors mixed via two Yamaha CL5 consoles. Thirty-six channels of Shure Axient Digital wireless mics ensured that the band were fully wireless, which was the only option due to the revolve and their central room positioning, and a Sennheiser G3 IEM system completed the monitor package.
DPA 4099 mics were deployed for the drum kit with an array of mics including DPA 2011s for the rest of the band’s instruments. A full Riedel Bolero comms system was installed throughout the show-space connecting all involved in the event.
Also integral to the staging of the entertainment sections were 8 x lasers, strategically positioned heavy foggers and a massive multi-coloured confetti drop fired on the last chords of the end of the opening sequence.
Qube Event chooses Chauvet DJ for Kanjers in Concert
Kanjers in Concert, an event that recently took place at the Theater aan de Parade in ’s-Hertogenbosch, The Netherlands, offered a platform for mentally disabled artists to perform with established orchestral musicians. Tasked with providing visual support for the event, Qube Event Supplies chose 24 Chauvet DJ Vivid 4 panels that served to replay live video content while serving as a light source in themselves.
Divided into four separate sections to create four individual video walls each measuring 100 cm by 300 cm, the Vivid 4 panels were hung above the orchestra at 150 cm intervals. Each element within the arrangement was hung at a different stage depth to create the overall impression of perspective.
“We included the video screens within our visual concept for two reasons,” explains Joep van’t Hoff, video and light engineer at Qube Event Supplies. “Firstly, the panels served as luminous decor elements within the orchestral set up; and secondly, they provided a platform for video content to be displayed, such as playing introductions of each orchestra member before the performance.”
Nesi Alfasi equips Hanan Ben-Ari with Robe
For Israeli singer-songwriter Hanan Ben-Ari’s current tour Nesi Alfasi created a visual design that includes 12 x Robe MegaPointes at the core of the lighting rig. These are being supplied to the tour by rental company Mega Kol based in Rosh Hayain and headed by Zvika Refaelovich.
Hanan Ben-Ari’s tour features a 3-metre diameter circular LED surface upstage made up of over 3000 smart pixels in strips which are mapped into a series of different shapes and graphic effects throughout the set, providing a digital element that is different from a standard video playback screen. Eight of the MegaPointes are rigged on the back truss, with four positioned on the floor upstage of the band.
Hanan Ben-Ari’s tour celebrates his third studio album and will run for at least two years. The first gig was at the Charles Bronfman Auditorium (Heichal HaTarbut) in Tel Aviv for which Nesi Alfasi added another 12 MegaPointes to the rig as well as Mega Kol’s 12 x Pointes.
(Photos: Louise Stickland)
SGM unterstützt Marketingaktion auf Hohenzollernbrücke
In einer Nacht im Oktober 2019 erstrahlte die Kölner Hohenzollernbrücke im Zuge einer Marketingaktion ab Mitternacht in unterschiedlichen Farben, zudem wurden die Logos zweier fusionierender Telekommunikations-Unternehmen auf die Brücke projiziert.
Erschwert wurde die Aktion durch heftigen Wind und starken, lang anhaltenden Regen, der die IP-Klassifizierung für alle eingesetzten Geräte erforderte. Der Aufbau erfolgte links- und rechtsrheinisch.
Für das Gesamt-Lichtbild auf der Hohenzollernbrücke wählte der ausführende Event-Dienstleister sowohl 60 x P-6 als auch 12 x P-10 von SGM. Darüber hinaus kamen vier SGM G-7 für die Projektion der Firmen-Logos zum Einsatz; dazu wurden sie mit je zwei Kundengobos ausgestattet.
Auf jedem Flussufer sorgte ein mobiler Stromerzeuger für die nötige Stromversorgung. Was die Steuerung betrifft, musste ein DMX-Signal von der zentralen Lichtsteuerung auf die andere Rhein-Seite gelangen, ohne dass dafür Leitungen verlegt werden konnten. Gelöst wurde dies über WDMX-Module von Lumenradio, die bei einer Entfernung von mehr als 400 m für eine zuverlässige Übertragung sorgten.
Allein für die Ausleuchtung des Brücken-Mittelteils mussten rund 220 m Distanz von jeder Seite überwunden werden. Hier kamen die SGM P-6 und P-10 mit 10°-Abstrahlwinkeln zum Einsatz.
Zero 88 in action at Fringe Festival in Edinburgh
At the 2019 Edinburgh Fringe Festival the Zero 88 team was - again - on the ground with training and technical support for a range of their lighting consoles and control solutions.
They also embraced the sociosphere with the creation of #behindthefringe - a forum for anyone into fringe performance and involved with a show using Zero 88 products (#behindthefringe will be launched as a website later in the year as a hub and platform for comments, experiences and opinions, sharing information and connecting people through various Fringe projects linked via Zero 88).
Over 100 different Zero 88 consoles were in action site-wide at this year’s Edinburgh event, which is the largest arts festival in the world, producing nearly 60,000 new performances in over 300 venues across 25 days. These included an ever-growing number of latest generation Zero 88 FLX lighting desks, and generally around the Fringe, Zero 88 is one of the most popular control solutions for a diversity of productions.
This year 89 new Zero 88 lighting desk operators were trained. Most of the training sessions were for between two and six people, conducted in numerous different locations around the city.
Zero 88 consoles were being used in many key areas of the 2019 Edinburgh Fringe including The Space UK, which was using FLX for the first time; the assorted Underbelly venues and for Assembly and Summerhall productions all of which featured FLX across multiple sites and venues.
Mark Knopfler mit Hog-4-Konsole von High End Systems auf Tournee
Zum Tour-Tross der aktuellen „Down The Road Wherever Tour“ von Mark Knopfler gehört eine Hog-4-Lichtkonsole von High End Systems. Lichtdirektor Tellson James ist bereits zum zweiten Mal mit Knopfler auf Konzertreise; für die Tourneen 2015 und die US-Tour 2019 entwarf Mark Henderson das Lichtkonzept, James war jeweils für die Programmierung zuständig.
Neben der Hog 4 ist noch weiteres High-End-Systems- und Hog-Equipment mit auf Tour, darunter ein Full Boar 4 (als Backup) sowie vier externe DMX-8000-Prozessoren (drei im Einsatz, einer als Backup). Jeder der Prozessoren verwaltet unter HogNet acht DMX-Universen.
„Wir könnten Art-Net oder sACN fahren, was die Fähigkeiten des Prozessors auf sechzehn Universen pro DP erhöhen würde“, sagt Tellson James. „Wir betreiben 22 Universen. Die interne DP des Pults lasse ich dabei frei, um die ‘House’- und ‘Festival’-Schweinwerfer zu patchen.“
Circo de los Horrores on tour with more than 120 Robe moving lights
Spanish performance phenomenon Circo de los Horrores (Circus of Horrors) is currently on tour with ‘Apocalipsis - A Day After’, their fourth circus rock opera production.
Lighting designer Juanjo Llorens’ lighting rig includes 126 Robe moving lights, with 24 x MegaPointes, 24 x Pointes, 24 x Spiiders, 24 x LEDBeam 150s, 24 x ParFect 100s and six BMFL WashBeams, which together with other lights are being supplied and co-ordinated by technical production specialist Smart Fussion.
It’s the largest Circo de los Horrores show to date and the third that Llorens has lit. Central to this production is a 28-metre-wide 8-metre-high LED screen acting as a cyc and providing digital scenery and a variety of ambient backgrounds.
Juanjo Llorens worked closely with show director Suso Silva to establish the style and aesthetic of the piece which blends ideas and visual moments from theatre, rock, dance and acrobatic performance.
A square rigging grid was designed to facilitate all the circus acts and a separate mother grid was installed below this to create the overhead lighting positions, trimmed at 14 metres. Pointes, MegaPointes and Spiiders were rigged on this.
Llorens wanted additional room for essential side lighting positions, so after a bit of consideration, the rigging structure built for the video screen was utilized. This effectively meant the lights surrounded the stage in a U-shape above. Using under-hang brackets and drop bars, lights are fitted all the way down these side positions.
This is particularly effective for lighting the choral and dance numbers and is where the remaining LEDBeam 150s and ParFects came to be positioned. Llorens also positioned Pointes and MegaPointes on the floor which are used for movement and aerial effects.
The six BMFLs are used for front light, while the Spiiders are primality used as wash lights. The MegaPointes create the overall environmental ambience for each section of the performance.
Llorens programmed the show with his colleague Pablo Zamora, and the technical team comprised head of lighting Raúl Sáez, lighting assistants Víctor Navarro and Jasón Rossi plus technical co-ordinator and head of sound for the tour Pablo Alcázar and audio assistant Ricardo Máquez. Rafael González takes care of all the tent and structures technical direction.
(Photos: Pepe Castro)
Martin Audio’s WPL debuts at ‘Rock In Japan’
Celebrating its 20th anniversary year, and extended to five days for the 2019 edition, the ‘Rock In Japan’ festival also marked the Japanese debut of Martin Audio’s Wavefront Precision Longbow (WPL). ‘Rock In Japan’ was running on seven stages over two weekends at Hitachi Seaside Park.
Martin Audio systems are now regular fixtures at this event, with the MLA adopted for the largest, 70,000 capacity Grass Stage. “It was back in 2011 when we first introduced MLA on the Lake Stage,” reports Shuzo Fujii, president of MSI Japan. “This is now the ninth year that the system has been adopted.”
On the Grass Stage, twenty elements each side formed the main arrays supported by a further sixteen cabinets per side as outfills. In addition, 48 MLX subwoofers provided low frequency extension.
MLA was also adopted for other stages such as the Park Stage (10,000 cap), Lake Stage (10,000 cap) and Sound of Forest (8,000 cap) with the control offered by MLA also helping to prevent unnecessary sound bleed between stages.
At the new Buzz Stage (4,500 cap) WPL was making its debut. Six WPL elements had been flown per side, driven by three iK42 in 1-box resolution. In addition, two WPC enclosures were stacked as outfills, along with WPM as lipfill - all driven by iK42 amplifiers. The four iK42s were set up at the side of the stage, connected via a Dante audio network.
Due to the Luminex Gigacore switch which has V-LAN settings, Dante primary and secondary as well as the control signals of VU-Net and Apex Intelli-X3 processor were combined into a single optical cable. Meanwhile, ten MLX subwoofers were set under the stage.
GLP fixtures dominate main rig at Manchester’s Mayfield Depot
For the 14th year in succession, DBN Audile have installed the technical infrastructure for the Sacha Lord/Sam Kandel promoted Warehouse Project pop-up, through its various venues in Manchester.
Originally working under separate guises, before DBN Lighting merged with Audile, the technology specialists recently put in infrastructure at the Project’s latest home, the 10,000 capacity Mayfield Depot, which sits adjacent to Manchester’s Piccadilly Station; this includes large quantities of GLP X4 Bar 20 battens and JDC1 hybrid strobes in the main room for the four-month season which runs until January 2020.
Starting life at the old Boddington’s Brewery, the event now sees dance acts performing under a lighting rig designed by DBN Audile director Pete Robinson. “When I asked what the load limit was, since we had designed 2-tonne rigging brackets, I was told not to worry as directly overhead there were two platforms which would take 100-tonne trains each, as the building had originally been a freight depot for Mayfield Station,” he says.
“We did a one-off event in this space last year as part of the Manchester International Festival and lighting designer Stuart Bailes suggested we use X4 Bars. When we came back here we decided to use them again, and this time have upped the quantity to 52 X4 Bar 20s.” At the same time they acquired 32 JDC1s, which have also been pressed into service.
For the Warehouse Project, all the X4 Bar 20s are mounted on vertical trusses. “The main space has pillars throughout the venue and each supports a pair of Bars, hung one above the other. The remaining eight are positioned at the same height at the back of the stage behind the semi-transparent LED screen,” says Robinson.
“The Bars are run in 89-channel single pixel high resolution mode and so frequently get mapped. Most weekends we have visiting LDs coming with the artists and finding different creative ways of using them,” he adds. As each of the trusses occupies half a DMX universe (or two pillars to a single universe) the JDC1s are run in the normal 23-channel mode.
In addition to designing the rig Pete Robinson also project managed, supported by production technician Dale Wilson and house LX operator Colm Whaley.
Chauvet Rogue R2 Wash fixtures used at Gurdas Maan concert
Punjabi musician Gurdas Maan’s recent live show at The Northern Alberta Jubilee Auditorium in Edmonton, Canada, included an immersive Roosevelt Dsouza lightshow that featured 40 Rogue R2 Wash fixtures from Chauvet Professional.
Arranged on six overhead electrics, the Rogue R2 Wash fixtures provided a broad color palette that Dsouza used to convey different moods on stage. “I have a few color palettes that I use for all my shows, with Congo blue being my favorite,” he says.
Adding depth to the color washing were the streaks and specs of white light that Dsouza often mixed in with his rainbow of hues. “Mixing in some white with colors expands your range of looks,” he remarks. Dsouza, who has been touring internationally with Maan for three years, also used the Rogue R2 Wash fixtures for audience washing.
Robe equips summer opera festivals in Estonia
A Robe moving light rig supplied by Tallinn-based rental company E&T was used for Estonia’s two highest-profile annual summer opera festivals, the Birgitta Festival organized by the Tallinn Philharmonic Society and Saaremaa Opera Days organized by Eesti Kontsert.
Saaremaa took place on a 60 x 30 metre stage built beside Kuressaare Castle on Saaremaa Island in the Baltic Sea. For the Birgitta festival, the same staging company constructed a temporary roofing/staging structure adjacent to the ruins of the Pirita Convent in Tallinn.
In both cases, the lighting rig comprised around 120 Robe fixtures - a mix of Spiiders, MMX WashBeams, MMX Spots, LEDWash 800s, Cyc FX 8s, DL4S profiles, Spikies and ParFect smart whites - which were used in conjunction with several conventional theatrical fixtures.
The lighting designer for the 2019 Saaremaa Opera Days was Denis Enyukov, who is the permanent LD at the Moscow Helicon Opera, which also staged all this year’s shows, and he sent a complete lighting plot to Olev Luhaäär from E&T who co-ordinated the kit list. Five major opera works were on the bill this year, plus two gala shows, one for children.
At Birgitta, promoted as an ‘international musical theatre’ festival, the shows encompassed a diverse mix of opera, ballet and musical galas. There was a ‘house’ lighting rig, but a different LD for each of this year’s six performances, so Luhaäär received all the different LD requirements and from these compiled a kit list and proposed a ‘production’ design.
The overhead lights were installed on LX trusses and that is where the majority of the Robe LED washes and hard-edged MMX luminaires were positioned. At Saaremaa they were supported by extensive side booms on the floor and Robe CycFX 8s were brought in to up-light the back cloths and other scenic elements.
At Birgitta, some of the over-stage bars were used for scenery, so the LEDWash 800s, Spiiders and MMXs were distributed on two advanced trusses and the two most downstage overhead LX trusses, with some on the far upstage truss, leaving the rest of the overhead space free for set.
On the floor in between side booms rigged with conventional profiles were eight additional MMX Blades, four a side along the downstage edges for cross lighting. Eight Spikies along the front of the stage provided effects that filled the whole stage.
(Photos: Gunnar Laak/Kalev Lillorg)
Astera Titan Tubes illuminate ‘The Voice South Africa’
South African lighting designer Joshua Cutts from Visual Frontier used Astera Titan Tubes - supplied by DWR Distribution, the new exclusive South African Astera distributor - to light various segments of the final of ‘The Voice South Africa 2019’, which was staged at the Mosaïek Teatro in Fairlands, Johannesburg, and broadcast on M-Net Channel 101.
Cutts decided to control the Titan Tubes through his GrandMA lighting console. His initial idea was to use eight of the wireless battery powered fixtures to illuminate the dancers for different songs. Then, he and some other core production team members, including choreographer Michelle Oppenshaw, show director Darren Hayward and TV director Nadia White, decided that they should also hand-hold them - light sabre style - and spin them around singer Craig Lucas (winner of series 2 in 2017), who made a special guest appearance in the 2019 Finale.
At one point the dancers - holding their Titan Tubes - formed a circle around Lucas and raised their Titan Tubes aloft so their luminescence became passing key light for some dramatic moments during that section of the show. For some songs - the finale show featured twelve different contestant songs plus guest appearances - Josh Cutts employed the Tubes for other lighting tasks.
A 12-piece strings section was brought on to accompany the backing band for some songs, and Cutts dotted the Tubes amongst them, some lying horizontally on the floor up-lighting their faces and others rigged vertically on the little stands that come with them. For one of the other numbers, Cutts moved the Titan Tubes to create a picket fence either side of the piano whilst finalists The PJ Twins performed Luther Vandross’s “Impossible Dream” with Timothy Moloi.
Lighting, audio and video equipment was delivered by rental company Multi-Media with the set built by JDM sets (designed by Dewet Meyer), all other aspects of the technical production were coordinated and overseen by production manager Chris de Lancey.
(Photos: Duncan Riley)
CPL supplies video to Camper Calling festival
Celebrating its fourth year, the UK’s Camper Calling music festival organizers Jazz Events upped the ante and invested in more production. CPL was back as video supplier to the main Lakeside Stage. The company has been involved since the first one in 2016 and this time added LED IMAG side screens to their package for the first time.
The stage - one of Star Live’s mobile structures - was bigger this year, around 15 metres wide, and the two IMAG screens were rigged either side, each measuring 6 meters wide by 3.6 metres high and made up from CPL’s Roe CB5 LED product in Air Frames.
Onstage more CB5 was set up as a 2.4-metre-wide by 4.8-metre-deep centre screen flanked by four different length columns - two per side - with drops of 4.2 and 3.6 metres. The gently asymmetric look was designed by CPL’s events director Lee Gruszeckyj to break up the stage.
All the screens were processed by Brompton Tessera SX40s - main and hot backup - for full redundancy. A D3 4x4 media server was supplied to feed the onstage screen elements, and CPL produced and composited all the content. The IMAG screens were used for public announcements and for roving audience camera pick-ups during the changeovers.
CPL’s control/command position was established in a portacabin backstage, from where Lee Gruszeckyj directed the camera mix. He worked with four crew on the show days and an extra five for the in/out.
Also feeding into the Barco E2 system used for screen management were four cameras. Two Sony HXC-100s, one with a Canon CJ12 lens, was stationed in the pit for close-ups, and the other was located back at the FOH position, fitted with an HJ40 lens for overall shots and some zoom-ins.
Two of CPL’s Agile remote cameras were positioned onstage - one fixed on the stage left structural leg truss, and the other on a movable stand. This often sat behind the drum kit to capture a full reverse shot of the crowd from stage, but this was variable depending on the act and their backline setup.
On site Lee Gruszeckyj and his team worked with the crew from Urban Audio who supplied sound and lighting and production manager Warren ‘Waz’ Fisher.
(Photos: Charlie O’Beirne/Lukonic)
Cadac CDC Five on IBC TV
Cadac again provided the audio mixing capabilities for the IBC TV broadcast studio at this year’s convention. The CDC Five handled the audio duties for the studio.
The complete Cadac MegaComms 96k/24-bit audio mix setup comprised the 48 input/24 assignable buss console, CDC I/O stagebox and CDC MC MADI bridge. “The use of the MADI bridge enabled quick, easy and stable connectivity to the EVS systems that are at the core of our workflow,” says Pete Craigie, IBC TV Sound Supervisor.
Cadac also supplied a MegaComms network for use in the in the Big Screen auditorium, specified by Terry Nelson from IBC Technical Resources, comprising a CDC MC Router, multiple stage boxes, CDC Seven-s and CDC Six mixing consoles, and a CDC MC Dante bridge. Phil Crisswell mixed FOH with the CDC Six in the auditorium. A further CDC Six and I/O stage box was supplied for use in the Emerald Room conference facility.
Pictured: Pete Craigie.
Tom Sutherland selects Elation Dartz for ‘Dancing with the Stars’
‘Dancing with the Stars’ has been a mainstay of American reality television since premiering in 2005. For season 28, which premiered on September 16th, 2019 on ABC, lighting designer Tom Sutherland is using Elation Professional Dartz 360 beam/spot LED moving heads as a principal luminaire in an immersive 360-degree lighting environment. Lighting vendor for ‘Dancing with the Stars’ is Felix Lighting with Nicole Barnes as account manager.
Tom Sutherland, lead designer at DX7 Design, positioned 84 of the Dartz fixtures around the set to frame the underside of the audience balconies. “We also use them to light the edges of the dancefloor as well as in reverse shots,” he says.
(Photos: Hunter Selby/James Coldicott)
LED-Cubes von Screen Visions deutschlandweit im Einsatz
Der LED-Cube von Screen Visions ist im September 2019 in mehreren deutschen Städten zum Einsatz gekommen. Für Kunden aus der Textil- und Technologiebranche nutzte Screen Visions den Würfel als digitale Präsentationsfläche in Berlin, Düsseldorf, Hamburg und München.
Bei den Outdoor-Einsätzen in Berlin, Düsseldorf und München verwendete Screen Visions einen Cube mit 5 x 5 x 3,5 Metern und einem Pixelpitch von 4,6 mm. In Hamburg wurde ein Indoor-Würfel mit 3 x 3 x 2 Metern und 2,9 mm Pixelpitch eingesetzt.
Für eine amerikanische Designer-Marke platzierte Screen Visions den LED-Cube zunächst vom 12. bis 19. September in der Hamburger Europapassage, bevor er vom 22. bis 29. September auf dem Düsseldorfer Schadowplatz für Aufmerksamkeit sorgte.
Hier erwartete die Passanten neben dem LED-Cube auch eine Fotobox, in der gemeinsame Erinnerungsbilder gemacht werden konnten. Diese wurden direkt auf eine der vier Würfelseiten übertragen und konnten dann auf 23 m² LED-Screen betrachtet werden. Zusätzlich konnten die Besucher die Bilder über einen QR-Code auf das Handy laden oder als Ausdruck im nahegelegenen Store abholen.
Zeitgleich sorgte Screen Visions im Auftrag einer englischen Schuhmarke vom 4. bis 19. September auf dem Breitscheidplatz in Berlin für einen digitalen Hingucker. Der LED-Cube zeigte hier die Werbeinhalte des Kunden.
Vom 16. bis 22. September präsentierte zudem ein Telekommunikations-Unternehmen im MAC-Forum am Münchener Flughafen Werbespots und Produktneuheiten auf dem LED-Cube.
Am 19. September wurden die Pressekonferenz und die Produktvorstellung der neuen Smartphone-Modelle auf allen vier LED-Wänden mit Ton als Live-Stream übertragen. Für Screen Visions war die Pressekonferenz die erste Live-Übertragung, die über einen LED-Cube umgesetzt wurde.
(Fotos: Ralf Rühmeier/Sandra Sommerkamp)
Robe MegaPointes illuminate KVIFF Opening Ceremony
Those who attended the Opening Ceremony (OC) of the 2019 Karlovy Vary International Film Festival (KVIFF) were treated to a vertical dance performance featuring large-format projection and eight aerialists from Jednotka Rychlého Nasazení (Rapid Action Unit) who were directed by brothers Michal Caban and Simon Caban, collectively known as ‘Cabani’.
To light this choreography, they chose 24 x Robe MegaPointes, which were installed, together with custom trusses, motors and a bespoke people flying system into the Great Cinema Hall at the Thermal Hotel in the Czech spa city. The MegaPointes were delivered by Prague-based rental/production company AudioLight Service and operated by LD Ladislav Horak.
The OC involved eight aerialists who were attached to eight specially adapted harnesses, each flown on a Cyberhoist motor. The piece ran to a special soundtrack comprising eight different versions of the song ‘Sweet Dreams’ which Cabani remixed for the show.
Cabani also created and edited the projected video content that provided distinctive backgrounds and textured and shaped light for the performance in conjunction with Studio Najbrt and XLAB, and they consulted closely throughout the process with Ladislav Horak, who is their long-term lighting designer.
In addition to all the lighting, AudioLight Service also delivered sound, rigging and video equipment. The special projection screen flown upstage of the acrobats was supplied by décor company Stary & Stary.
Each performer’s harness was attached to a Cyberhoist, with three MegaPointes assigned to each one. The lights were positioned on special trusses installed and tailored to the Great Hall’s roof void which enabled them to be rigged right at the top of the ceiling, with 14 metres of airspace below.
In charge of designing the trusses and rigging needed to get the motors, acrobat harnesses, and MegaPointes and motors in the right place was Petr Znamenacek from AudioLight. The lights created mood throughout the work and were also synchronised with the projection cues and looks. Ladislav Horak controlled the MegaPointes via a GrandMA2 console.
The initial show programming took place at Audiolight’s studio facility where video operator Patrik Hlousek and motion control programmer Tomas Richter worked together with Cabani and Horak. They put everything in place and rehearsed for four days on-site.
KV2 Audio systems for pop-up theatre in Manchester
The Den is a new pop-up theatre that forms a key part of the Royal Exchange theatre’s local exchange programme in Manchester. Funded by a £1M gift from the Oglesby Charitable Trust, this performance space was designed by architectural studio Haworth Tompkins as an informal space-within-a-space for residents to make and share theatre and to see work from the Royal Exchange.
Pro audio specialists Autograph Sales & Installations provided key elements of the sound reinforcement equipment for the new space including seven EX10 compact, full range active loudspeaker systems from KV2 Audio, and an Allen & Heath Qu-16 rackmountable digital mixer.
Sorcha Steele, head of sound at the Royal Exchange, was responsible designing the audio system for The Den. “The Den will only ever go into existing buildings – it’s not designed to be outdoors,” she explains. “For example, in Stalybridge it was in the old market hall, but it could easily be constructed in a school gym or warehouse. In all likelihood, power in those venues will come down to standard 13 amp sockets so I had to design a system that could easily run off of that infrastructure.”
“The Den can also be constructed in three different sizes, so the system needed to be flexible enough to cater to that,” Steele continues. “With the programme being different each time it goes out, I also had to plan to cover everything from spoken word to small bands and everything in between.” She settled on a KV2 solution built on the EX10 active speaker system flown from a circular truss above the centre of the performance area, and also chose the Allen & Heath QU-16.
Adlib supplies full technical production for Netball World Cup
Adlib has supplied full technical production to the 2019 Vitality Netball World Cup staged at the 11,000 capacity M&S Bank Arena in Liverpool. Adlib’s rental departments implemented a fully integrated video, lighting and audio package linking in with broadcast elements for BBC and Sky.
The quadrennial event took place over ten days. Adlib’s technical team worked closely with curators of the ceremony, Culture Liverpool and Iluminos. Adlib provided six Panasonic RZ21K 20,000 lumen laser projectors mounted vertically to project the visuals created by Iluminos onto the courts below.
Adlib’s overall project manager was Dave Eldridge. He worked with a crew onsite, and closely with host broadcasters Televideo and several other contractors. The sports presentation started off as a two court set up as the first round matches took place and teams were whittled down to the final 8, culminating in the Australia vs New Zealand final.
Adlib’s technical design had this change of court layout at its heart, greatly influencing the choice of intelligent moving lights over standard generic fixtures. The change of layout happened overnight with a complete moving of courts and branding for which Adlib supplied courtside LED screens.
Working with Red Sky at Night Events, the on-site team implemented a video playback system, controlling a large ‘gondola’ style LED cube, plus a court side LED branding system and many break-out areas around the arena.
Adlib’s crew worked closely with the house riggers from UK Rigging on this event which required flying, roof access and working at height. Around 200 Martin MAC Viper Wash DX and Viper Profile intelligent moving lights were used to cover the Opening Ceremony and the dual court configuration, later morphing into the one court setup.
Adlib worked alongside Dominic Main to create a production lighting design. In addition to lighting the matches, he programmed numerous other lighting sequences used for entrances, exits, team presentations and other key ‘moments’ related to the competitions.
Adlib supplied a full trussing and rigging package. All the data and power distribution was positioned in the Arena roof and fed down from the gantries and catwalks onto the trusses.
Adlib supplied a pair of ChamSys MQ500 consoles for complete and redundant lighting show control. A custom specified Luminex network backbone ensured all the lighting technology on show didn’t miss a beat. Adam Nicholls - LD for the Opening Ceremony - programmed from the same console.
Nicholls had access to the entire house rig to light the Opening Ceremony and added a few specials - in the form of eight MAC Viper Performances in pairs - on the deck in the four corners of the Arena.
The 45-minute Opening Ceremony directed by the Culture Liverpool team was a collage of music, dance, aerialists, projections mapped on the arena floor, complete with a parade by the 16 competing nation teams.
Adlib worked with Illuminos who produced the large format projection content. They supplied the six Panasonic RZ21K laser projectors which projected onto both courts plus a fibre data control system which hooked them into Iluminos’ media servers programmed with all the content.
A main video element was the central flown video ‘cube’ in the middle of the arena which displayed IMAG footage from parts of the match relay and beamed information all around the arena. The flown position of the four screens started off being in the middle of the two courts, then it became the overall centre of the arena when in one court mode.
The four sides each measured 7 x 4 metres and were made up of Adlib’s 3.9 mm pitch Unilumin product. They were flown in a diamond orientation - at 45 degrees to centre - to provide the best arena-wide viewing angles. As with lighting and audio, Adlib also supplied all the necessary screen rigging for this and collaborated closely with the house riggers.
Around the sides of the courts at ground level five x 5 metre strips of 6 mm LED were deployed down each side of the two courts, a layout that transformed to having the 5 metre LED banners around three sides of the single court. Adlib’s video crew dealt with all the screen management and the playback materials being sent to the various sports presentation screens within the arena.
The complex setup enabled control of individual screens in the gondola and courtside LED elements. The system allowed for multiple keyed overlays of timers, scores, graphics, information and systems all to be called up at a moment’s notice from the data fed graphical replay system.
Additionally, they managed the incoming broadcast feeds from Televideo and all the playback content streams simultaneously via a RossVideo Carbonite 2ME switcher operated by Tom Wearing, working in conjunction with John Haggart who was co-ordinating all the screen information.
Adlib also had two playback operators –- Dan Brown and James Williams - running QLab video and audio playback systems, plus one RF camera operator covering the crowd interaction and sports presentation sections. They took inputs from these sources, plus a clean (broadcast) feed from the Televideo truck and also a dirty feed (what everyone was seeing onscreen in the arena) and distributed these around the venue.
Televideo also gave Adlib’s arena visual mix team a ’beauty’ camera shot for the wides angles to output to screen and bring a sense of scale, which could also be used as a ‘safety’ shot when required. In addition to the six strong video crew, Adlib installed a full wired and wireless Riedel comms package that tied all technical departments in with the broadcast crews on one master talkback loop.
Adlib co-ordinated and designed the audio system for this event which included multiple flown speaker arrays, together with a control package to cater for various audio sources during the event along with Opening and Closing Ceremonies.
A Coda Audio system - ViRay and AiRay - was chosen. The system was designed to cover all seating areas around the arena bowl including a temporary stand at the standard ‘stage end’ of the hall. There were seven main hangs. Two hangs of 8 x AiRay were at the ‘D’ end of the arena along with one more 6 x AiRay hang at the ‘stage’ end. Four further hangs of ViRay covered the long sides of the arena, with two hangs of 9 speakers each side.
This system was then zoned so that audio could be played in either half of the arena if needed (to coincide with the 2-court setup), and then both halves when the configuration moved to one court. Four Coda SCV-F subs made up each of the two sub hangs flown centrally in the arena.
All the amp racks and distro were installed into the Arena roof, to allow maximum ground space for the sports action. As with lighting and video, the sound design was multifunctional and dynamic to deal with the demands of the sporting action and the OC.
FOH control was a DiGiCo SD11 located at the back of one of the long end seating areas, and the show was run from there. The backup audio console - for full redundancy - was set up in video world backstage, along with the I/O racks and RF distribution. Most of the audio feeds were taken directly from the video. This consisted of stings, music tracks, and recorded announcements. Added to that were Shure Axient handheld mics to look after the live announcements between games.
For the Opening Ceremony, audio was generated from the video content so it was sync’d up with the rest of the choreographed visual elements. As part of this show there was a solo singer and choir which made use of additional Shure RF handheld microphones and Sennheiser IEM systems for their monitoring.
Kenny Perrin and David Grimes looked after the audio for the ten day event run, joined by Fabrizio Colucci for the Opening Ceremony, with Max Taylor assisting on the two day load-in and set up.
(Photos: Steve Sroka)
Yamaha supports air shows in Slovakia
The annual Slovak International Air Fest (SIAF) is one of Europe’s premier air shows and, this year, the Slovak Aviation Agency added a new air festival to commemorate the 100th anniversary of the death of Slovakian politician, diplomat and aviator General Milan Rastislav Štefánik. Yamaha audio systems were an essential part of both events.
The Slovak Aviation Agency stages SIAF at Sliac airport every August. This year it attracted an audience of over 100,000. Before this, in May, the new Aviation Fest Pieštany (FLP) was held at Pieštany airport, located between Sliac and the Slovakian capital Bratislava. Systems integrator MediaTech was asked to supply the public address systems to both events, choosing Yamaha systems for these applications.
“At both events, the main zone was the spectator area along the flight line, which measured approximately 800 x 300 m, plus a VIP area covering 300 m x 100 m,” says MediaTech’s Mario Brosch. “We had to consider that there may be up to 100,000 spectators in the main area and all of them had to hear and understand announcements, even when aircraft were passing and in bad weather like wind and rain. The speakers could also only be positioned along the boundary of the spectator area.”
Brosch and the Bratislava-based MediaTech team chose a system comprising 40 pole-mounted DZR15 powered loudspeakers. A TF1 digital mixing console was used to mix the input sources.
MediaTech also supplied the audio systems for a hangar party at both events - comprising two DSR115 active loudspeakers and two DXS15 powered subwoofers, mixed on a QL5 digital console - and, at Pieštany, an outdoor stage with theatre productions based on important events in the life of General Štefánik.
Here two DZR315 three-way powered loudspeakers and two DZR18XLF extended low frequency powered subwoofers comprised the main PA, with five DSR112 active loudspeakers as stage monitors, all mixed on another QL5 digital mixing console.
Green Hippo media servers in action at Nature One Festival
More than 50,000 EDM fans descended on a former NATO missile base in August 2019 to experience the Nature One Festival. Germany-based Gerdon Design specified two Green Hippo Boreal+ media servers for the main floor, to power live IMAG feeds, Notch effects and pre-made content.
Gerdon Design has been involved with Nature One since 2011, responsible for the stage, lighting and video design as well as creating the concept, audio and visual design for the timecoded highlights show.
“We were responsible for the content playback of all acts - except for those who were travelling with a VJ,” explains Gerdon Design’s Marek Papke. “We organized all of the custom content and the DJ-specific content before the show and used a GrandMA3 FullSize to sort and program all the content for later playback.”
In addition to the two main floor Boreal+ servers as main/backup, Papke and his team specified a third Boreal+ to manage a Barco S3 Switcher and to generate further Notch effects for IMAG.
The main stage boasted a large screen behind the DJs, measuring 12 m x 10 m, at 10 mm pixel pitch. This was the centrepiece of four banner screens and custom-made pyramids which formed the stage, created by Gerdon Design.
(Photos: Kenny Tran)
Vari-Lite’s VL2600 Spot luminaires selected for RTL’s ‘Télévie’
Filipe Dos Santos, director of photography at RTL Belgium, included VL2600 Spot luminaires from Vari-Lite in his design for Belgium’s annual charity television broadcast ‘Télévie’. Produced by RTL-TVI, ‘Télévie’ raises funds to help fight cancer and leukemia in adults and children.
“A television production has two challenges for lighting: the functional and the decorative,” says Dos Santos. “That is, what is technically good for the camera and what is pleasing and entertaining for the television audience.”
Dos Santos used 24 VL2600 Spot fixtures in his rig. “In television, we must always measure the levels and the white balance and the CRI,” he says. “The VL2600 corresponds to what we expect.”
(Photo: Stéphane De Coster/www.studio-sdc.com)
Amate Audio delivers X212AF line array for Positiv Festival
Amate Audio’s new X212AF advanced 3-way line array was FOH for Boris Brejcha at the Positiv Festival on 5 September in the Roman Théâtre antique d’Orange in southeastern France.
Sound hire company Dido Music supplied an all Amate Audio FOH system, comprising left/right stacks of five X2121AF line array elements, together with two further X212AF/X218WF pairings for front fills, flooding the 9000 capacity filled Roman amphitheatre with sound.
Capital Sound chooses Martin Audio for ‘Cool Britannia’
This year’s ‘Cool Britannia’ at Knebworth Park built on the success of last year’s inaugural event, and now looks to have become a consolidated festival. Capital Sound were again brought in to work alongside production manager Keith Morris, and as was the case last year they equipped both the Main and Ministry of Sound stages.
Capital Sound’s Robin Conway notes that “the biggest upgrade this year was that we were able to fly the MLA side hang stage right, thanks to the redesigned structures, whereas it was ground stacked last year.”
The main stage PA comprised 15 MLA and a single MLD Downfill per side, with 14 x MLX in broadside cardioid array providing LF extension. A further 10 W8LM Mini Line Array elements were placed in pairs on top of the subs as lip fills.
For the MOS dance stage, which ran later into the night, strict sound limits needed to be observed. “But we were able to run at 98dB(A) average and 101dB(A) peak,” says Conway. To achieve this they ground stacked five MLA Compact elements per side side, with 15 Martin Audio SX218 placed in five stacks of three across the front, with four Martin Audio XD12 on stands. Artists requiring monitoring were serviced by six Martin Audio LE1500 among the battery of stage wedges.
Capital’s team on duty included crew boss and monitor engineer Jonny Buck, Ben Turnbull (system tech), Dan Leaver (FOH engineer), Antony Best (monitor engineer) and Isabella Di Biase and Bheki Phakathi (Patch) - all on Main Stage - while Alex Legge and Alastair Hellard supervised the sound on the MOS Stage.
WI Creations helps KLM celebrate 100 years
Dutch national airline KLM celebrated 100 years this month. To mark this occasion, Hangar 10 at Schiphol Airport, Amsterdam, The Netherlands, was cleared out to host multiple days of the “KLM Experience” event, where guests were treated to an overview of KLM’s past, present and future.
WI Creations, working for technical production suppliers United Productions, used their new WImotion system and new proprietary MCA automation control to animate a massive LED video wall which tracked across the stage.
The screen was the centrepiece of the event’s show. It measured 17 metres long by 5.7 metres high, and split into three sections. The centre one at 10.5 wide was flanked by two at 3.36 metres wide, with a total weight of 2.6 tons.
The project was managed for WI Creations by Geert Stockmans who worked closely with Unlimited’s Bart Roelen.
(Photos: Jorrit Lousberg/Floris Heuer)