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Robe fixtures chosen for Arsenal show in Antwerp
Lighting designer Wouter Verbeke chose Robe fixtures to be at the core of his lighting design for a gig by Belgian band Arsenal at Antwerp’s Lotto Arena. The Robe count included 28 x MegaPointes, 24 x Spikies, 28 x Spiiders, 22 x LEDBeam 150s and 8 x Pointes. Lighting equipment was supplied by rental specialist Splendit.
The starting point for the lighting was that band leader Hendrik Willemyns wanted a sun which rose at the start of the show, playing a strong visual role throughout their performance and then descending towards the end. The other element was that Willemyns loves trees, plants and greenery, so the stage set was provided by the installation of a forest of lush foliage and exotic plants.
The 4-metre diameter ‘sun’ was created using LED screen panels attached to a circular truss and artist Akiko Nakayama created all the content through “Alive Painting”, a technique she’s developed - not dissimilar to the liquid oil artists of the 1960s - which depicts the resonance between shapes and textures using different liquids and paints each with unique characteristics.
Wouter Verbeke and the band have worked with Akiko before on key gigs, and prior to this show they discussed the colour themes and lighting for different songs so she could co-ordinate. Her workspace was set up at FOH and the results were fed via an overhead camera system to the screen.
Verbeke wanted some small, beamy lights around the sun and therefore selected 24x Spikies. In addition to this, he wanted lights all around the stage from every angle. The Splendit crew installed a curved truss immediately above the tree line that formed an arch circumnavigating the band, which was rigged with 20 x MegaPointes.
These were used prominently throughout the show for effects, beams, spots and other looks. In addition to these MegaPointes on the arch, all the other major effects lighting was positioned on the floor and side-stage in front of the trees.
The front light was provided by 16 x Spiiders on the front truss and 8 x Pointes on the front truss which were used for gobo-work onto the trees and other bits, plus another 8 Spiiders on the floor. The 22 x LEDBeam 150s were behind the trees, where they worked hard to blast through the dense foliage producing decorative and atmospheric effects, especially when the sun was up.
Verbeke programmed and ran the show on a ChamSys console. He did some pre-vis, but they had only one programming day beforehand at Splendid with only part of the set - and no trees - in place. The first time he saw the stage with all the trees in situ was on the day of the show (the foliage arrived in five climate-controlled trucks). The band didn’t decide on the set list until the evening of the gig, so that meant Verbeke needed to be prepared for some improvisation. It was an “exciting but stressful” way to work he stated.
Other lighting on the rig included some other profile moving fixtures, LED blinders, LED PARs focused on the trees, and a quantity of floods. Splendit supplied all the lighting equipment, video and crew as well as - via Gravity Design - the automation which lifted the sun up and down, operated by Rik Uyttersprot.
(Photos: Louise Stickland)
Harmonic and Elation illuminate Knoxville’s inaugural ‘Lessons & Carols’
When Shoreline Church, Hope Fellowship Church and City Church, all in Knoxville, Tennessee, came together on December 9th, 2018, for a special night of scripture and song called ‘Lessons & Carols’, Harmonic Audio and Concert Productions of Chattanooga accentuated the evening with lighting using their inventory of Elation Professional lighting.
Held in Knoxville’s historic Bijou Theater, Harmonic was called on to create a ‘massive look’ with lighting as the stand out element of the show. “They wanted an immersive design so we went to Capture and designed a rig that highlighted the Artiste DaVinci as our profile with Fuze Wash Z350s adding color,” says Harmonic’s Drew Hornback, production designer for the event, who also handled lighting design and lighting programming duties.
Eight Artiste DaVincis flown in the rig and four units working from a floor position were used to project breakup patterns and profile looks out into the audience while the Fuze Wash 350s complemented the looks as an overall stage wash.
Hornback turned the center row of Fuze units around to wash the upstage choir when they appeared on stage. For a special congregational hymn toward the end of the show, the designer blacked out the stage and then lit the entire theatre using four DTW Blinder 350 IP 2-lites. One eNode 8 and two Antari F-4D Fazers were also used for ‘Lessons & Carols’. Daniel ‘Max’ Maxwell was the show’s Lighting Tech.
(Photos: Hayden Antal)
Claypaky fixtures light Davido at London’s O2 Arena
Nigerian music star Davido’s epic production at London’s O2 Arena was lit by show designer Anthony Hazelden using Claypaky’s Mythos and A.leda B-Eye K10 fixtures. Briefed with creating a production on the same scale as a Nicki Minaj or Drake concert, Hazelden took to WYSIWYG to plan a show for the artist, which included a catwalk and a flying stage.
The set heavily featured video content displayed on a 10 m x 4.8 m video wall. “The Mythos were the main fixture over the stage,” explains Hazelden. “I used Mythos’ gobos to create a number of different looks, and for each the light was still visible against the video running at 100%.”
The 24 x A.leda B-Eye K10s were rigged on the truss at front of house and were used as crowd and effects lights during the supporting acts. Throughout Davido’s performance, they were employed as the main stage wash light. “During Davido’s performance, the B-Eyes were zoomed out so that I could light the band and dancers across the whole stage,” says Hazelden.
Working alongside Hazelden on the production were lighting techs Alan Foxall, Luke Welch, Andi Lycett, Jordan Whyment, and James Smith, head video tech Steve Wright, stage manager John Mann, production manager Anthony Tang, and Vannessa Armadi from the artist’s management. The Claypaky fixtures were supplied to Hazelden and his team by Ian Livie Concert & Corporate Lighting.
(Photos: BC Media)
Chauvet fixtures chosen for asymmetrical Circa Survive rig
On Philadelphia-based progressive rockers Circa Survive’s recent tour (completed in December), their lighting designer Lenny Sasso devised an asymmetrical rig with Chauvet Professional fixtures, supplied by Squeek Lights. “I’ve never designed a true asymmetrical rig before, so it has been an interesting journey,” he says.
Sasso’s asymmetrical design was skewed right. Not only were the majority of fixtures on that side of the stage, they were also positioned at greater heights than their counterparts on the left. Adding to the disparity, the drum riser and three of the five band members were also stage right.
Critical to Sasso’s design was the positioning of the nine Rogue R2 Wash fixtures in his rig. He positioned six of these units stage right in a staircase staggered step down pattern. The three other units were stage left in an offset triangle.
“Positioning the R2s this way, I was able to get some nice weird wash patterns,” explains Sasso. “Then there were a few songs where I used the ring control macros and pointed the R2s straight into the audience for some eye candy effects during mellow parts of songs.”
The four Rogue RH1 Hybrid fixtures in the rig were positioned behind each band member, so they too were skewed right. “I used the RH1s with wide prisms and gobos to create huge starburst style effects behind the guys in the band. My prisms rotated clockwise, and the gobos rotated counterclockwise. When the band really dug in, I would throw in the occasional beam mode.
“Basically, I approached this design with the idea that each band member would have his own personal lightshow happening behind him,” continues Sasso. “At the same time, though, I wanted to have the lights across the entire rig still work together to form one cohesive show. So, for example, if I had a member on stage right ripping a solo and a member on stage left playing something mellow each got the lighting that matched his performance. The show would reflect that, in that stage right would be chaotic and stage left would have chill vibes, but all the coloring and positions flow nicely from side to side.”
The only fixture spread evenly across the stage were the four Rogue R1 FX-B units in the rig. Sasso staggered these fixtures at different heights, so that when tilted inward, they would fold on top of one another to create a wall of light.
Mostly, Sasso used his Rogue R1 FX-B fixtures to scan the audience. “I used a lot of really wide prism effects from the RH1s, along with an assortment of different gobos as well. Plus I had the FX-Bs scan the audience.”
(Photos: Sarah Hess)
Chauvet fixtures illuminate Ravens Night Masquerade Ball
For this year’s Ravens Night Masquerade Ball at the Birchmere, house LD David Beebe chose six Chauvet Professional Maverick MK1 Spot fixtures, supplied by JR Lighting. “The theme of this year’s show was ‘Memento Mori,’ which means ‘Remember Death’ in Latin, so it was quite dramatic,” says Beebe.
“We had two 90-minute sets with an intermission that featured a total of 14 acts. Lighting these dancers was something different for me. Belladonna and Ken Vegas, the organizers of the show, created the set, and many of the dancers brought their own very colorful costumes, which kind of elevated my lighting game.”
Beebe left the Maverick units in their normal house position for the dance show, four of them hung evenly spaced upstage and one each downstage left and right. Drawing on the fixtures’ gobo capabilities, he used them to create colorful patterns for the dancers to move through.
“We like to use the Maverick’s gobos to create backdrops and settings for singers, but with dancers they took on a somewhat different role by providing an architecture of light for the choreography,” Beebe explains. On his stage left and stage right, he also used Maverick MK1 Spots to provide him with sidelighting. “I did more sidelighting than I normally do for music shows,” he says. This gave the stage a more theatrical look.
(Photos: The Dancers Eye)
Manuel Rodrigues selects ChamSys for San Holo tour
The 13-universe Manuel Rodrigues-designed shows on electronic musician San Holo’s current tour are powered by a ChamSys MagicQ MQ80 desk and video server. “In my designs I always try to go to the essence of the looks I want to create,” says Rodrigues, who works with the tour’s Creative Director Thorwald van den Akker. “I’m very rigorous in applying the ‘less is more’ principle. I try to find the simplest lines and then line up every lighting and video element with each other.
“The CAD drawing I made might look boring to the untrained eye; everything is just in rows of the same fixtures, and all elements are lined up with each other. But when the light and video work in concert, their aesthetics become more apparent because of the clean design of the stage.” His rig on this tour included 73 luminaires and 75 video panels.
The video content is created by Bob Jacobs. “We shoot a lot of the video on old VHS cameras,” Rodrigues explains. “San Holo likes to use a tape delay to give his sound extra layers of depth, and by using video cameras we tried to emulate the same feel. Often, this video content is then pixel mapped and used to drive the LED fixtures.” The ChamSys MQ80 has been instrumental in helping Rodrigues achieve his vision on the global tour.
Rodrigues’ show on the tour is almost entirely synced. “The only thing happening live in this tour is setting FX speed/size and the front light for San,” he says. “I want to have as little front as possible, and therefore I make as small as possible light regions for San to step into - and I only turn them on when needed. The rest of the show is synced using M2Q.
“The bridge between Ableton and ChamSys enables the designer to use MIDI to draw light sequences. This information is then translated into the ChamSys Remote Protocol. San uses Ableton to play back his music, and I put my lighting MIDI sequences in this same Ableton set. This way synchronicity is ensured, and San still has all the creative freedom possible by default from within Ableton.”
Spectacle Wearer of the Year Awards lit by Chauvet
For the past three years, the design of the Spectacle Wearer of the Year Awards (SWOTY) has been left to the hands of SXS 20, which built its design for the most recent SWOTY around a collection of over 90 Chauvet Professional fixtures.
SXS 20’s design concept for this year’s gala revolved around the idea of creating stunning looks while still respecting and accentuating the architectural elements of the event venue at 8 Northumberland Avenue, just off Trafalgar Square.
To achieve this goal, the SXS 20 team had to address the issue presented by the relative lack of hanging points in the venue. The team did this by constructing a ground support structure and recessing its towers in the room’s arches. This made it possible to hang more lighting in the room.
SXS 20 used 11 Maverick MK1 Hybrid fixtures at the event, deploying eight units for mid-air effects and breakups, while dedicating two units to statue washing and one to backlighting winners backstage.
SXS 20 also deployed eight Rogue R2 Wash fixtures as audience washes, six as front lights, two as specials and four as part of the DJ floor package. The design team also used four Rogue R1 Wash fixtures as front lights at the judges’ table. For backstage lighting, they used 10 Colordash Par-Hex 12 fixtures. The team also positioned Well Fit fixtures around the room for uplighting.
Alton Towers Fireworks with ChamSys
Olly Suckling has lit the famed fireworks display at Alton Towers Resort. “Given the nature of this show, the first time everything is seen working together is on the opening night,” he says. “It simply isn’t possible to have a rehearsal with all the fireworks and other special effects being set off due to the sheer cost of such a large display. This means that the creatives from each department have to work together closely to plan how the show will look, without fully seeing the final product.”
From a lighting designer’s perspective, working on the fireworks show also requires the ability to very quickly update programming and make critical changes. This was something Suckling was able to accomplish in his 8-universe 156-fixture show by using his ChamSys MagicQ MQ80 console.
“I was able to fully program offline using a laptop, while still being able to use external time code,” he explains. “The ability to build and patch the rig in Capture, and then have all of the data transferred automatically into my ChamSys show file, was a massive time saver. I also used MagicQ’s time code tracks feature to program repetitive stabs quickly.”
The lightshow, accompanied by music, supported the 27-minute fireworks display. Suckling used his ChamSys MagicQ MQ80 and a ChamSys MQ500 to run through an ever-changing variety of looks, choosing colors that coordinated with the fireworks themselves. The consoles were run entirely from time code as a main and backup system.
Chauvet fixtures light ‘Les Misérables’ in Melbourne
For the recent production of ‘Les Misérables’ at Scotch College in Melbourne, Tom Willis designed a lightshow that featured Chauvet Professional Maverick MK1 Spot fixtures, supplied by Showtools International.
“This is the second project I did with OSMAD (Old Scotch Music and Drama), the theatre group that performed the musical at the school,” Willis says. “The set I worked with was beautiful, but it actually had very few moving parts, so light became important to help transition from one location to the next - from field, to inn, to water hole etcetera. However, there were many times where location was less important, and my main focus was on the emotional journey of the characters. I used light to effect and support the relationships of the different people through combination of color, texture and focus.”
Willis tended to avoid or minimize saturated color when lighting ‘Les Misérables’, except during the most dramatic scenes. He opted instead to rely on the interplay of warm and cool, as well as subtle shades of color, to set moods that corresponded to the feelings driving the show’s characters.
“Saturated color is great and has its place, but it loses impact in a theatrical context when you’re constantly jumping from one primary or secondary color to the next,” Willis explains. “I’d much rather save those saturated colors for moments of high drama or camp. The same goes for texture - less is more in my book. I very rarely focus to a hard edge on a gobo. Dappled light is far more interesting when you can’t quite work out what’s going on. Although, like every rule, there are exceptions to that one too, of course.”
Positioned on the upstage LX, the four Maverick MK1 Spots were critical to providing the aerials and surface textures in Willis’ design. He used the Maverick fixtures with four other moving LED spots to produce shafts of light that cut through the darkness to create dappled light on the stage’s scenic elements.
Eric Cathcart selects Chauvet for Greta Van Fleet tour
On Michigan-based rockers Greta Van Fleet’s current tour lighting designer Eric Cathcart, owner of Bigtime Lighting Design, uses a lighting rig featuring 25 Colorado 2-Quad Zoom Tour fixtures from Chauvet Professional. Cathcart selected the RGBW wash fixtures with an eye toward creating retro looks to match the band’s 1970s classic rock-influenced sound.
“My design concept involves creating a lot of old school par can-style looks, and the Colorados are essential to making this happen,” Cathcart explains. “They are the main workhorse of the floor package that we are currently touring with. We have five pipe and base towers, each with five Colorados on them. It’s very similar to having a par can six-bar hanging vertically back in the day.”
Cathcart keeps his color palette bold and bright, emphasizing reds, ambers, and yellows. When the band moves into mellower songs, he turns to a lot of blues and magentas. New color combinations or other twizzles are added to just about every show. “Every day the guys are tweaking one song or another, or working on something completely new during sound check,” says Cathcart. “This pushes me to update and polish my programming for each song.”
“For the first leg (of the tour), the design was based around space,” Cathcart continues. “Backline, audio consoles, and the lighting rig needed to be able to fit in a trailer behind the bus. Now that we’re doing more substantial venues, I have added video, but overall I am keeping the same design concept. From the very beginning, this design was intended to expand to larger venues.”
(Photos: Eric Cathcart)
Robe RoboSpots debut at Golden Melody Awards show
The 29th edition of the Golden Melody Awards (GMAs), staged in the 15,000 seat Taipei Arena last year, marked the first time Robe’s RoboSpot remote follow spotting system has been used in Taiwan. Organized by Taiwan’s Ministry of Culture, the GMAs recognises outstanding singing achievements in Mandarin, Taiwanese, Hakka and Formosan languages in both the popular and traditional music industries, attracting artists and audience from all over Asia. Moderated by Jam Hsiao, the 2018 show was broadcast live by Taiwan national TV throughout South-East Asia.
Hong Kong based LD Stanley Szeto lit the show, working for the Artesian Engineering Co Ltd. The RoboSpots were an investment by locally based company Aurora Lighting from Taipei. The three near-stage RoboSpots were individual BMFL FollowSpots with integral cameras, and they were used as back - for the forestage - and side key lights throughout the show.
“There was really nowhere on the rig for near-stage follow spots and operators to go, especially in the positions where they were needed,” Scotty Chen from Aurora explains. “With all the flying video panels making up the set it would have also been dangerous to have people in the roof in these positions”. With support from the Robe AP office and Jackson Yu from technical partner DLHG, Scotty Chen trained the GMA operators.
(Photos: Jens Poehlker)
Jacob Sartorius on tour with Chauvet fixtures
For Jacob Sartorius’ 2018 tour, Lenny Sasso - who lit Sartorius’ first headlining shows two years ago - created a futuristic concept, using a collection of Chauvet Professional Épix Strip Tour and Rogue R1 FX-B fixtures, supplied by Squeek Lights.
Sasso arranged the linear fixtures in a matrix-like formation, filling the upstage area with light while creating a high-tech look. “I wanted to wrap the band in Épix Strips,” he says.“It all revolved around the placement of the risers in that diamond style, which was something that we had done on Jacob’s original tours. Wrapping the fixtures around the upstage side of the risers pulled it all together.”
A total of 32 Épix Strip Tour fixtures was used in the wrap-around design. Hung on eight 10’ vertical pipes and 12 8’ horizontal pipes, the Épix units displayed light as well as video content run from a laptop with Resolume software.
Also arranged on the pipe structure were eight Rogue R1 FX-B fixtures, each with five individually controlled moving heads. Adding extra color and depth to Sasso’s lightshow, as well as aerial effects, were six Rogue R1 Wash fixtures arranged across the deck near the risers.
Sasso credits his lighting director Sam Parker with adjusting his rig for different venues so it retained its look and feel.
(Photos: Dallas Bowshier)
Christie unterstützt Showkonzept aus VR, AR und Robotik
Anlässlich seines 125-jährigen Jubiläums hat der Technologiekonzern ABB im vergangenen Jahr im schweizerischen Wettingen zu einer zweitägigen Veranstaltung mit jeweils rund 550 Gästen geladen. Im Mittelpunkt des von der Event-Agentur Standing Ovation AG unter dem Motto „Rückblick in die Zukunft“ entwickelten Show-Konzepts stand YuMi, der erste kollaborierende Zweiarm-Roboter der Welt für die Kleinteilmontage und Eigenentwicklung von ABB. Zusätzlich kamen zwei Roboterarme mit Leinwandelementen zum Einsatz, die das Bühnenbild vervollständigten.
Die Roboter waren vollständig in eine Choreographie mit 3D-Projektionen in Echtzeit eingebunden und fungierten als Bühnenportale sowie flexible Medienflächen, auf die zwei Christie Mirage 304K projizieren konnten. Die Roboterarme wurden mittels Echtzeit-Tracking gesteuert. Hierfür setzten die Verantwortlichen auf ein Setup aus Christie-Pandoras-Box-Medienserver und Christie-Widget-Designer-Framework. Die beiden Mirage-304K-Projektoren lieferte Smartec, Christies Vertriebspartner in der Schweiz. Für die Umsetzung der Bühnenshow holte man sich Unterstützung von Loop Light.
„Technisch war das Projekt eine große Herausforderung, da die Roboter für die Industrie und nicht für Shows konzipiert wurden“, sagt Michael Dancsesc, Geschäftsführer von Standing Ovation. Eine genaue Abstimmung der Kommunikationsprotokolle zwischen den beteiligten Systemen sei daher erforderlich gewesen. Um eine latenzfreie Mitführung der Projektoren auf den von Robotern getragenen Elementen zu erreichen, nutzten Loop-Light-Geschäftsführer Matt Finke und Michael Hantelmann teilweise eigens programmierte Software.
Die Projektoren waren am gegenüberliegenden Ende des Festzelts aufgestellt, um eine größtmögliche Tiefenschärfe zu gewährleisten. Die Inhalte selbst waren eine Mischung aus Realbild sowie Animation. Die Animation hatte zudem einen 3D-Effekt, der aus der Mitte des Raumes erzeugt wurde. „So sah es für den Betrachter so aus, dass die Panels, die von den Robotern getragen wurden, nicht flach sind, sondern eine Tiefe besitzen“, erklärt Finke.
Pablo Alborán on tour with Robe
The lighting and visual design for Spanish singer and musician Pablo Alborán’s ‘Prometo’ tour has been created by LD Chus Fernandez working closely with artistic director Salva Alborán. It was a fusion of lighting, video and automation.
Fernandez chose to work with Robe moving lights, picking 40 x MegaPointes, 48 x Spiiders and 32 x BMFL WashBeams as the work-horses of the rig, all supplied by rental company Fluge. He and Salva Alborán - who also created the video content - worked out numerous multi-level ideas and looks, including an upstage 4.8 mm LED screen measuring 16 metres wide by 7 high and a moving ceiling of 72 x 5x5 matrix LED fixtures as a special feature.
The upstage truss above the screen contained 16 x MegaPointes, and four diamond orientated trusses around the 5x5 ceiling feature were rigged with 24 x MegaPointes - six per section of truss. Thirty-six of the Spiiders were positioned on both sides of the stage in diamond shaped frames, with the other 12 Spiiders and 12 of the BMFL WashBeams on the floor, dotted around the risers and stage set. The final 20 x BMFL WashBeams were positioned round the sides of the screen.
Video included an IMAG mix cut by Iván García and David Hidalgo. Chus Fernandez programmed the show. During production rehearsals at Fluges Studios in Arganda del Rey, Madrid, he worked with two assistant programmers, Juan Manuel Lazaro and Javier ‘Rubito’ Lapuerta, and on tour, Lapuerta was his lighting design assistant.
The Fluge lighting crew chief was Bochi Piaggio. Miguel Angel Almagro was the video crew chief, Iñaki De La Vega operated the automation and Nacho Jipi was the stage manager. Gorka Mondragón was the production manager. Ricardo Badal was the tour manager.
(Photos: Juan Fajardo/The Fly Factory)
Damien Escobar on tour with Chauvet fixtures
On his latest tour, Damien Escobar’s hip-hop/classical blend was supported by a Jack Thomas-designed lightshow anchored by Chauvet Professional Rogue RH1 Hybrid and Nexus Aw 7x7 fixtures.
“To add depth to my design, I stagger the RH1s, going from the floor, to cases, to truss towers,” Thomas explains. “Typically, I use 8 to 10 RH1s, depending on the venue. I also enjoy using an odd number of units for an asymmetrical, edgier look.”
In addition to the Rogue RH1 Hybrid, Thomas used the Nexus Aw 7x7 on tour. He varied the position of these warm white fixtures (and the number he uses) to accommodate the needs of different venues. Typically, he places them on risers.
Miss South Africa show illuminated by Robe
2018 was the fourth time Joshua Cutts has lit the Miss South Africa beauty pageant event. The show was staged for the first time at the new Sun Arena venue at Times Square in Pretoria, and Cutts chose to illuminate the show - produced by SIC Entertainment and directed by Gavin Wratten for live broadcast on M-Net (DSTV channel 101) and Mzansi Magic (DSTV channel 161) - with a Robe moving light rig of 170 fixtures. This was the first time Cutts used Robe MegaPointes on a live show.
The event’s overall lighting and technical vendor was Dream Sets, with production manager Eben Peltz on site. The production also used elements of the Sun Arena’s house lighting system, which also includes a large Robe rig and is facilitated by MGG.
Josh Cutts received an initial brief from Gavin Wratten. They already knew they would have access to all the Sun Arena house lights plus specials and extras as needed from Dream Sets’ stock, all of which was necessary as the Sun Arena is a larger space than the Sun City and Carnival City arenas where Cutts had previously lit Miss South Africa.
It was the event’s diamond jubilee year, so Wratten and Cutts hit on the idea of basing the show environment on diamond shapes. They went for an extensive LED set but not a massive slab-like TV screen at the back. This allowed for the set to change and morph into different environmental looks as the show progressed.
Instead, the back wall comprised of LED columns, a combination of 2.9 mm and 4.8 mm surfaces, with 16 x 7-metre high sections spread out over a width span of 28 metres. The centre featured a 5 metre wide LED surface, also 7 metres high.
The main stage was 28 metres wide by 8 deep with a 14 metre ramp extending to the front and a 9 x 6 metre presentation stage at the end of that. Special effects included a kabuki drop at the top of the show to reveal the 12 finalists, and six water features which were integral to the set and also had to be lit.
Cutts used 18 x Robe BMFL Blades for all his key lighting across the main and thrust stages with the fixtures rigged on FOH trusses for maximum reach. Twelve BMFL Spots were used for producing breakup and other effects down the ramp from the stage to the presenter stage at the end of the thrust.
Four V-shaped trusses were installed above the stage for the overhead lighting positions, and 18 x BMFL WashBeams were rigged on these and used for beam work and texturing the stage and set. On these same LX trusses were 28 x Spiider LED wash beams which bathed the stage and set in a rich array of colours and the individual LEDs were mapped for back-of-camera looks and for varying the beam shapes during the aerial scenes.
The 24 x MegaPointes were positioned on a truss running across the back of the stage just above the LED columns. On the floor Cutts deployed 8 x Pointes, with another 16 on the downstage truss to create a crown of beam lights around the stage, while the audience was lit with 18 x LEDWash 800s.
Forty-eight LEDBeam 100s were rigged on ladders between the LED columns and also along the bottom of these for camera filler and additional sparkle. Sixteen Robe ColorWash 2500E ATs were handy for performer specials.
The primary moving light rig was supported with more LED strobes, six other profile moving lights and 152 x LED PARs dotted around the rig and the auditorium, plus 12 beam lights for the audience. Seventy-two conventional profiles were used to light the contestants when on the ramp, and 24 x LED battens framed along the tops of the screens. The house’s two Robert Juliat follow spots were used for the show.
The video playback content - including VT play ins and sponsor logos, graphics and stings - were stored on three Green Hippo servers, and all the lighting was run from two GrandMA Light consoles with an Ultra Light as a technical desk backstage. The show was fully manually operated. Josh Cutts and his assistant LD and associate Andre Siebrits had five days of programming and three days of rehearsals.
(Photos: Duncan Riley)
Chauvet fixtures selected for ‘Ensálsate’
Jamundí, Colombia-based lighting designer Milton de la Cruz worked the annual main show of ‘Ensálsate’, a Salsa Caleña cabaret with over 80 artists on stage, a live orchestra, 500 costume changes, and a nonstop flow of dance moves.
Helping de la Cruz reflect this choreographed panorama in light at Bogota’s Teatro Colsubsidio was a collection of Chauvet Professional Rogue R2 Spot and Colordash Par-Quad 18 fixtures. Flying six Rogue R2 Spot fixtures on midstage truss, de la Cruz used them for downlighting dancers and creating a sense of space on stage.
The color-rendering capabilities of the Rogue R2 Spot, which has two color wheels, split color capabilities and continuous variable speed scrolling, helped de la Cruz reflect different peaks in the cabaret’s performance. Working in conjunction with washes in the rig, the Rogue fixtures helped transform the entire mood of the stage with color changes.
Also key to colorizing the stage were the 22 Colordash Par-Quad 18 fixtures in the rig. Flown on midstage and downstage truss, these fixtures were used to set moods and coordinate the stage lighting with the dancers’ costumes. Blue, cyan and orange were the dominant colors used during the performance.
Jerry Appelt setzt Wiener Philharmoniker mit Elation Proteus Hybrid in Szene
Seit 2014 laden die Wiener Philharmoniker alljährlich zu einem Open-Air-Konzert in den Schlosspark von Schönbrunn. Jerry Appelt zeichnete im vergangenen Jahr erstmalig für das Lichtdesign des Konzertes verantwortlich, das in erster Linie klassische Lichtbilder erzeugen sollte, die die Musik unterstützen und die Philharmoniker im Zentrum der Aufmerksamkeit halten. Dabei setzte er unter anderem 48 wetterfeste Proteus-Hybrid-Movinglights von Elation Professional ein.
Appelt platzierte einige der Geräte an der Fassade des Schlosses sowie auf Balkonen an der Dachkante. In zwei Vierergruppen wurden weitere Proteus Hybrid auf den PA-Wings aufgesetzt. „Ich habe die Proteus Hybrid in erster Linie für die Schaffung einer Lichtarchitektur genutzt“, beschreibt Appelt sein Design. „Die Scheinwerfer waren also eher für ‚stille’ Bilder und Beamwork zuständig.“
Die Planung des Events lag in den Händen von Redline Enterprise aus dem österreichischen Wulkapropdersdorf. Redline lieferte auch die Tontechnik. Die Lichttechnik wurde von PRG bereitgestellt.
(Foto: René Langer Photography)
MSL lights gala at The Louvre with Chauvet fixtures
Martin Symul and his team at MSL (Sprimont, Belgium) elected to light a gala at the Musée du Louvre (aka The Louvre) in Paris with Chauvet Professional Well Fit uplighting fixtures. Guests who arrived at the event (a 60th anniversary celebration for the DEF Network group of fire prevention companies) entered the reception area via a spiral staircase and encountered a vista of richly saturated blue light from 90 Well Fit fixtures.
“We positioned the Well Fit uplights in the mezzanine and in the reception area to set an elegant mood with uplighting,” Symul explains. “The fixtures were static. They did not change colors. We went with a single shade of blue that matched the client’s logo, and used it to colorize columns and walls throughout the room.”
Brand.L begleitet Markteinführung der Marke Pieroth
Im Zuge eines veränderten Konsumverhaltens verfolgt der frühere Wein-Direktvertrieb Bacchus GmbH unter der neuen Dachmarke Pieroth ein Omni-Channel-Geschäftsmodell mit eigenem Weinberater als Markenbotschafter, Stores in frequentierten Innenstadtlagen und Events rund um das Thema Wein.
Ein wichtiger Bestandteil des neuen Geschäftsmodells wurde als erstes in München umgesetzt - in Form eines exklusiven Wine Lofts am Viktualienmarkt. Die Münchener Agentur Brand.L entwickelte zur Markeneinführung eine begleitende Kampagne mit besonderem Fokus auf das erste eigene Pieroth-Geschäft in München und dem Ziel, allgemeine Markenbekanntheit zu schaffen bzw. zu steigern und gleichzeitig Publikumsverkehr im Store zu generieren.
Die wichtigsten Ansatzpunkte, um weitreichende Aufmerksamkeit zu erzielen, waren dabei ein Opening-Event des Pieroth Wine Loft, eine begleitende Medienkampagne inklusive Anzeigen, Radiospots, Plakate und Banner sowie die Entwicklung von Eventreihen, die neue Zielgruppen für die Marke ansprechen sollen.
Darüber hinaus gestaltete Brand.L eine Reihe von Marketing-Materialien, angefangen von verschiedenen Flyern bis hin zu optisch auffälligen Verkostungsständen. Ein Schwerpunkt lag dabei auf der neuen Pieroth-Linie „Blueline“. Dabei handelt es sich um sieben exklusive Weine aus verschiedenen deutschen Anbaugebieten, die in auffälligen blauen Flaschen in den Handel kommen.
Eyecatcher im Rahmen der Kampagne für die neue Reihe ist auf Anraten der Agentur eine „Blue Lady“. Auch in die Zielgruppenanalyse, das Locationscouting sowie Konzept und Gestaltung des neuen Wine Lofts in München war die ortsansässige Agentur involviert.
Anders Matthesen on tour with Robe moving lights
For his 25th anniversary tour, Danish comedian Anders ‘Anden’ (the Duck) Matthesen used eleven trucks of production equipment. Seven shows were played in Denmark’s two largest arenas - five the Royal Arena in Copenhagen and two in the Jyske Bank Boxen Arena in Herning.
Peter Fisker, Matthesen’s lighting designer since 2006, chose Robe moving lights, specifying 26 x MegaPointes, 33 x BMFL Spots and another three BMFL Spots utilized as a RoboSpot follow spotting system complete with one MotionCamera and one BaseStation. These were delivered, together with rest of the lighting equipment, by Copenhagen based rental specialist Comtech.
Set designer Palle Christensen produced a design based on a clean modern look, with two large IMAG screens left and right, a series of multi-level risers, a semi-transparent cloth backdrop which included a massive scenic duck set flat outlined in LED to reinforce the nick-name. There was a long winding runway out into the audience which enabled him to get in amongst a vast amount of the audience.
Before the start of the tour, there was a month-long rehearsal period, and this is where most of the lighting cues evolved, just as the show, the material, the sketches and several songs developed. It included one side-splitting skit where Matthesen is ‘controlling’ the lighting rig from his cell phone.
Peter Fisker needed a load of LED wash light for the base colours, and BMFL Spots were selected as the show’s profile fixture. While there was haze and smoke at strategic moments, for most of the show he needed the beams to be potent enough without any atmospheric enhancement.
Having already seen the RoboSpot in action on some touring productions, Fisker decided to use it on this tour, adding three more BMFL Spots as his back-follow spots, which were operated via one RoboSpot BaseStation positioned backstage.
This gave him the option of picking any of the three BMFL RoboSpots best positioned to highlight Matthesen according to where he was on the stage or runway. They worked in conjunction with two manually operated Robert Juliat Lancelot 4Ks in the FOH positions.
Five of the MegaPointes were rigged on vertical trusses just behind each of the screens, so they appeared from behind, blasting across the stage creating structural patterns. At times they moved out and skimmed across the audience. Another four were under each screen, creating ACL style looks with six on the floor upstage and two at the centre entranceway mid-way along the onstage staircase.
Also on the rig were 48 x 2-lite blinders dotted around and on top of the drapes. Three Swobodas were used for the opening sequence. The Duck’s LED outline added another 487 x 4-channel RGBW LED fixtures and 1948 DMX channels to the MQ500 lighting desk. Fisker operated the show from his ChamSys lighting control console while the RoboSpot operator took care of the pan/tilt, zoom and focus.
(Photos: Louise Stickland)
Aventem stellt technischen Support für ZDF-Sendung „Sportler des Jahres“ bereit
Die Aventem GmbH, Anbieter für Veranstaltungstechnik mit Sitz in Hilden, hat in Kooperation mit dem ZDF den technischen Support für die Sendung „Sportler des Jahres 2018“ am 16. Dezember 2018 im Bénazet-Saal des Kurhauses in Baden-Baden bereitgestellt. Aventem stellte für die ZDF-Produktion das Show- und Effektlicht und das Zusatz-Rigging für Bühne und Saal zur Verfügung.
„Beim Zusatz-Aufhängen von schweren Lasten wurden für die unterschiedlichen Gebäudeteile - Publikumsbereich mit Rang, Bühnenhaus - eine große Anzahl an speziellen Lösungen eingesetzt, um Rohre und Traversen möglichst unauffällig in das Gebäude zu integrieren“, so Aventem-Geschäftsführer Holger Niewind. Aventem zeichnete für die professionelle Durchführung bei Auf- und Abbau, Betrieb und Betreuung in Koordination mit dem ZDF verantwortlich.
Erwin van Lokeren uses ChamSys console on Racoon tour
Erwin van Lokeren used a ChamSys MagicQ MQ80 console on Dutch alt rock quartet Racoon’s ‘Fall ‘18’ tour. “I have been Racoon’s designer since 2006, and it is always exciting and challenging working for them because their music is so diverse,” says van Lokeren.
“Racoon music ranges from up-tempo pop to really fragile small songs. This means that I have to go from making the show look big, to creating something very small and intimate. On this tour, I tried to create a show that was a bit industrial. I had lights moving up and down in different positions, so they worked as scenic pieces as well as sources of illumination.”
Limiting his three-universe show to 62 fixtures, van Lokeren was keeping his rig uncluttered to evoke an intimate hardcore basic mood on stage. This sense was reinforced by his use of retro theatrical fixtures that were hung at varying heights over the band. Changing the position of these fixtures created a sense of movement on stage, in addition to leading audiences through the different emotions evoked by the music.
In addition to his MagicQ MQ80, van Lokeren used an extra PC Wing to control front lights and hazers. “The Wing allowed me to adjust smoke at any time during the show,” he says. Systems techs for this tour - which marked van Lokeren’s 1000th show using a ChamSys console - were Bertje Ploegh and Marcel Koeter.
Chauvet fixtures illuminate Rio carnival Christmas party
Two million people travel to the Rio de Janeiro carnival in Brazil each year, and the team at Vivid Experience decided upon this exotic South American festival atmosphere as the theme for the Athena Christmas party in the East Midlands region of the UK.
Production Manager Jake Moore and Production Engineer Chris T-Smith devised a plan to support Vivid’s creative concept of a carnival-like atmosphere at the Athena event, complete with a makeshift street filled with various pop-up bars, Brazilian artifacts and Samba dancers on stage. Contributing to this environment were colorful lighting displays from 12 Chauvet Professional Maverick MK1 Spot and 12 Maverick MK2 Wash fixtures.
Central to awarding a more theatrical element to the evening was the wash unit’s 7° - 49° zoom feature, which enabled Moore to provide dynamic front light for the artists on stage during the dance performances. Punching through the colors were the targeted throws of the spot fixtures, which were mostly positioned in the wings of the venue to provide a contrasting set of effects.
(Photos: On Event Production Co.)
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)