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Bright! Studios turn to Elation for opening of European Football Championships

28/06/2024

Tom Kenny uses Elation indoors and out at 2024 CMT Music Awards

21/06/2024

Eric Price debuts Elation SOL I Blinder on Taking Back Sunday tour

13/06/2024

Ayrton illuminates first major event in Spain’s renovated Santiago Bernabéu

11/06/2024

Showtec, Infinity und DMT bei „Pump Up the 90’s“ in Hardenberg im Einsatz

29/05/2024

Nick Jevons immerses at Terminal V Festival with Chauvet Professional

29/05/2024

SJ Grevett and DMX Productions create the looks for Mobo Awards with Chauvet

28/05/2024

Chauvet fixtures selected for Jon Batiste’s Coachella show

23/05/2024

Innlights steuert Videowand mit 840 Quadratmetern LED-Modulen zur ITB 2024 bei

22/05/2024

4Wall energizes Detroit Lions new uniform reveal with more than 100 Chauvet fixtures

21/05/2024

Distortion Studios launches Bristol Virtual Production space based on Stage Precision software

21/05/2024

Magnum PA and SR Productions field Martin Audio WPL for Admiral Insurance ASM

20/05/2024

Forbidden City Concert Hall uses Green-Go for Juan Gomez gig

20/05/2024

Gearhouse Splitbeam invests in Ayrton Rivale Profile for South African production of “Mamma Mia!”

17/05/2024

Tim Goodacre relies on Astera

15/05/2024

South African sound engineer Simphiwe “Smooth” Mhlanga chooses DPA Microphones

15/05/2024

Luis Torres creates celestial looks for Phoenix Lights with Chauvet

26/04/2024

Martin Audio WPS provides weight for The K’s album launch at Warrington’s Parr Hall

24/04/2024

CTC Events realisiert Beiratskonferenz für Versicherungskonzern

23/04/2024

Hippotizer selected for Finnish TV show “Tähdet, tähdet”

23/04/2024

Martin Audio WP rigged in twelve minutes for UB40 show at St. Andrews Stadium

22/04/2024

PRG nutzt GLP Impression X5 Compact für jüngste „Feuerwerk der Turnkunst“-Tourneeproduktion

18/04/2024

Jimmy Olausson brings element of surprise to Avatar’s winter tour with Chauvet

18/04/2024

Mitch Rowland turns to Britannia Row for headline solo tour

17/04/2024

Stage Sound Services combines Brompton Technology and Infiled for theatre productions

07/03/2024

Bright! Studios turn to Elation for opening of European Football Championships

Just before the start of UEFA Euro 2024, Frankfurt, one of the ten host cities, set the stage for four weeks of international football fever with a spectacular multimedia show. The show, a collaboration between Bright! Studios and spatial experiences agency Atelier Markgraph on behalf of Tourismus + Congress GmbH Frankfurt, transformed one of the city’s notable bridges over the Main River (Flößerbrücke) into a gigantic musical instrument.

 

The bridge, covered in the colors of the 24 participating nations for the duration of the European Championship, became the centerpiece for the 25-minute show. Lighting designer Thomas Giegerich from Bright! used 96 Proteus Excalibur, 48 Proteus Maximus and 48 of Elation’s new Pulse Bar L linear lighting solutions to visually bring the concept to life. Kaiser Showtechnik was responsible for the production’s technical equipment with all Elation gear distributed through Elation’s German partner LMP.

 

“The starting point of the concept was the colored fields modeled on the Euro 2024 logo and attached to the bridge, which we wanted to extend up and down with the help of light and have them ‘play’ like a piano or violin in time with the music”, explains Thomas Giegerich. “The reflections on the water further expanded the playing area.”

 

Giegerich chose the Proteus Excalibur IP65 beam light to extend the colors of the “bridge jersey” up and down: “After a test setup, it quickly became clear to me that I would like to use Proteus Excalibur in order to project the national colors intensively into the night sky during team presentations.” Additionally, 48 Proteus Maximus fixtures provided uplight for the color fields. “The Maximus worked from scaffolding towers almost 150 meters from the bridge”, notes Giegerich.

 

The designer was the first to debut Elation’s Pulse Bar in Germany, a new linear strobe and effect light which is also IP65-certified. “In addition to the reflected light and the visual extension through beams, I wanted a little additional color intensity towards the audience”, he explains. “The Pulse Bar is incredibly bright and has a very intense effect. We only ran them at 20 percent. It was precisely this headroom in terms of intensity that gave us the freedom we needed to occasionally set accents in the show with very high light output. It was also the Pulse Bars that visually translated the string passages in the piece of music onto the bridge.”

 

(Photos: Frank Baudy - Seitenstopper.de)

 

www.elationlighting.com

 

Tom Kenny uses Elation indoors and out at 2024 CMT Music Awards

Lighting Designer Tom Kenny utilized Elation lighting for both the indoor and outdoor stages at the 2024 CMT Music Awards earlier this spring. The lighting package, supplied by 4Wall, included Proteus Excalibur, Artiste Mondrian, and Dartz 360 luminaires, among other fixtures.

 

Broadcast live from the Moody Center on the University of Texas campus in Austin, performances took place inside and on an outdoor stage in front of the University of Texas Tower. Lighting direction for the indoor show was by Felix Peralta, David “Fuji” Convertino, and Michelle Griesmer, with Han Henze and Matt Piercy handling lighting direction on the outdoor stage. Production design was by Anne Brahic, her fifteenth year working the awards show.

 

Kenny was in his twelfth year designing for the CMTs. After familiarizing himself with the songs, he worked closely with the production team regarding camera angles to make sure the lighting looked compelling for the millions of at-home viewers, and after rehearsal time tweaked the lighting to ensure the artist was fully satisfied.

 

Kenny says he strives to make the lighting unique each time, adding drama while staying within the architectural look that Anne Brahic and her team have created. Video, naturally, was a dominant aspect of the look and the designer worked purposefully with color to blend lighting with video, harmonizing the LED screens with complementary lighting.

 

Elation lighting was prominently featured, especially outdoors at the UT Tower stage, where IP65-rated Proteus Excalibur beam effects were required to withstand rain while lighting up the entire skyline. Kenny placed the Excaliburs upstage on the deck, behind the band.

 

Additional to the Elation package were Dartz 360 LED beam/spot fixtures. Kenny positioned them throughout the house and on the University walls in the outdoor rig. He says the Dean of the University loved how they lit the buildings and foliage. “It’s always an interesting life being a lighting designer for CMT as they’re always breaking the rules on where a location should be”, shares Kenny. “It’s what makes these shows fan favorites.”

 

The CMT Music Awards made their return to Austin for a second consecutive year, after more than twenty years in Nashville, fully embracing Texas’ current status as a hotbed of country music. Inside at the main show, Production Designer Anne Brahic highlighted the city of Austin and its Congress Street Bridge with an asymmetrical set that extended to the heights of the venue and into the audience.

 

To cover the space, a large lighting package was used to light both set and talent and included Elation’s 51,000-lumen Artiste Mondrian LED profile fixture. The Mondrians were used both in the main show and throughout the outdoor rig at UT tower. “They cut through the strong video sources with the strong palettes created by Trevor Burke and Kat Folts”, says Kenny.

 

Art Director was Gloria Lamb; Jonathan Stoller-Schoff was the Asst Art Director. The main show team included: Cole Kiracofe (Gaffer); Michael Smallman (Best Boy); Alex Flores (Lighting Crew Chief); Matt Weede, Daniel Teeter and Taylor Moore (Lighting Techs); Loren Barton (Media Server Programmer); Zach Peletz (Content Director); Michael Moxon (Video Crew Chief); David Imlau, Tom Armbruster and Brandon Oosterhof (LED Leads); Russell Eia, Ryan Hollis, Austin Stengle and Kenny Stanley (LED Techs).

 

The Remote Stage UT Austin Tower team included: Daniel Fly (Gaffer); Brian Monahan (Production Electrician); Adam McIntosh (L1); Jake Riddell and Amy Sunshine Ross (L2s); and Ivy Weede (RoboSpot Tech).

 

(Photos: Rick Kern/Catherine Powell/Getty Images for CMT)

 

www.elationlighting.com

 

Eric Price debuts Elation SOL I Blinder on Taking Back Sunday tour

Taking Back Sunday lighting designer Eric Price is the first to tour with Elation’s new SOL I Blinder, integrating the LED light into the rock band’s set on their current North American outing. The tour kicked off on May 19, 2024, in New Orleans and continues through the summer.

 

Price and tour manager Andrew Sprague talked design ideas with Taking Back Sunday vocalist Adam Lazzara, who Price says is very hands on with the look of the show. Looking back at styles as diverse as Queen shows of the 1970s and the iconic sets of Soul Train, Price says Lazzara wanted a bold, traditional aesthetic with eye candy looks on stage and minimal moving lights.

 

“Obviously we weren’t going to bring out 100s of PAR cans so we explored custom set pieces”, explains Price. “Looking at venue sizes and logistics, we needed something efficient and effective and we settled on an idea of a lot of blinders.” After talking to Jason Reberski at lighting vendor JRLX, as well as Ross Blitz at Elation, Price says he realized that the SOL fixtures were an interesting option.

 

The setup includes a 24-ft wide by 4-ft tall riser with steps, a drum riser stage left and a vocal riser stage right, all skirted with 44 SOL I Blinder fixtures. The SOL live on pipe in racks of four which clamp onto the back of the legs of the riser decks, a quick set-up and tear-down rigging plan that was worked out by stage provider Gallagher Nashville, along with JRLX. Elation SixBar 1000 LED battens provide side lighting.

 

The band’s music, a mix of heavy numbers with quick transitions into quieter more emotional songs, gives Price the opportunity to use the fixtures in a variety of ways. “I enjoy transitioning from big white CTO looks or saturated color sweeps down into a dark moody blue, just following the music”, he says. “You don’t need a lot of gobos, just color and tempo.”

 

Taking Back Sunday music pairs well with strobe looks, which Price turns to at medium to low intensity. “They would destroy the crowd at full intensity”, he says, noting that he generally runs the SOLs at 30-35 percent with an end-of-show walk-off look at up to 60 percent.

 

Ryan Kestler is the LX/Video Tech on this tour. Worm serves as Stage Manager/Carpenter. Video Vendor is DCR Nashville.

 

(Photos: Salma Bustos/Glenn Cummings/Charlie McCarty)

 

www.elationlighting.com

 

Ayrton illuminates first major event in Spain’s renovated Santiago Bernabéu

The “Telefónica 100 Live” event - a celebration of Telefónica’s centenary, held on May 18, 2024, at the newly-renovated Santiago Bernabéu stadium in Madrid - brought together over 60,000 attendees for a night of music and technology that featured performances by artists like Alejandro Sanz, Hombres G, and Ana Mena, among others.

 

Each act was accompanied by an audiovisual display. The mastermind behind this setup was lighting designer Caco García. At the heart of the lighting display was the Ayrton Cobra Laser IP65 luminaire. With 56 units strategically deployed, these luminaires illuminated the stadium and transformed it into a canvas of light and colour.

 

The Cobra’s laser beams cut through the air, synchronized with the music to create a variety of patterns and shapes. “The Ayrton Cobra fixtures were essential to achieving the visual impact we sought”, says García. The LED screen surfaces were harmoniously integrated with the lighting effects to create a synergy between light and sound. Every note and musical rhythm was accompanied by synchronized lighting movements.

 

“The key was close collaboration with the technical team and suppliers”, adds García. “The success of this event was the result of collective effort and meticulous planning.”

 

(Photos: Nabscab)

 

www.ayrton.eu

www.stonexsl.com

 

Showtec, Infinity und DMT bei „Pump Up the 90’s“ in Hardenberg im Einsatz

DPL Licht en Geluid, niederländischer Anbieter von Beleuchtungs- und Audiolösungen, hat bei der jüngsten „Pump Up the 90’s“-Veranstaltung in der Evenementenhal Hardenberg (Overijssel) wieder die 1990er Jahre zum Leben erweckt: Am 20. April 2024 traten Künstler wie Charly Lownoise, T-Spoon, Flamman & Abraxas, Critical Mass, DJ Potato, DJ Zany und Don Cartel unter der Lichtshow von Showtec, Infinity und DMT auf.

 

Für die „Duikboot Area“ wählte DPL Produkte aus, die eine immersive Atmosphäre schaffen sollten. Dazu gehörten vier neue Infinity-Raccoon-S420/4-Scheinwerfer, ein Strobe/Wash mit sektionaler Steuerung, RGBW-Wash-LEDs mit einem CRI von 92 und 35 CW-Strobe-LEDs mit über 70.000 Lumen. Diese wurden von zwanzig Infinity-Raccoon-P14/4-RGBM-Pars, drei Infinity-TF-300-Fresnels, 32 Showtec-Phantom-180-Wash-RGBW-LED-Wash-Moving-Heads und sechs Showtec LED Octostrip Set MKII für insgesamt 48 Meter mit sektionaler Steuerung unterstützt.

 

Für Lichteffekte sorgten zwei Sets des neuen Showtec Stage Blinder Flex Blaze mit insgesamt sechzehn warmweißen (3.000 K) 100-W-LED-Blinder-Pods. Jeder Pod ermöglicht eine traditionelle Wolfram-Dimmsimulation mit integrierten gelben LEDs und bot RGB-Blaze-Effekte. Um Farben und dynamische Beleuchtung zu erzeugen, wurden 150 Showtec Spectral M800 Q4 IP65, wetterfeste RGBW-LED-Pars, in zwei Hallen platziert, die von zwei Showtec-Lampy-20-2U-DMX-Konsolen gesteuert wurden.

 

Die Banner wurden von zwanzig Showtec ACT Profile 50 WW, warmweißen Theater-LED-Ellipsoid-Scheinwerfern, beleuchtet. Die Hauptbühne wurde von einer vierzig Quadratmeter großen DMT-Premiere-Series-4.6-G2-Outdoor-LED-Leinwand dominiert.

 

(Fotos: DPL Licht en Geluid/Highlite)

 

www.highlite.com

www.dplsound.nl

 

Nick Jevons immerses at Terminal V Festival with Chauvet Professional

For this year’s tenth edition of the Terminal V Festival in Edinburgh, Scotland, which took place in April at the Royal Highland Centre, the V2 Stage (now Area V2 Stage), a mainstay of the annual EDM event since 2017, was turned into a 360-stage. The team at 19MIL, which designed the Area V2 Stage and the adjacent Terminal Stage, therefore called in Nick Jevons, lighting designer and president of Nick Jevons Designs Ltd.

 

Working in Depence 3, Jevons created 3D renders of his design to share his vision for the V2 Stage and the gritty industrial look of the Terminal Stage. At the Area V2 Stage, Jevons had twenty Chauvet Professional PXL Bar 16 motorized battens and sixteen Color Strike M motorized strobe/washes supplied by Marc Callaghan and his team at Liteup.

 

Jevons arranged the batten units around the bi-level central video screen that surrounded the DJ booth, and used the Color Strike M units to frame the video screens in the four corners of the expansive room. He also brought in Auratecture to run the Area V2 Stage.

 

At the Terminal stage, Jevons ran the show himself. He used twenty Colorado PXL Bar 16 to make the massive video screen stand out against a hard-edged background to create greater audience interaction. “I had ten of the PXL Bars line the top of the screen and ten line the bottom”, he says. “They were the main element of my design in this setting.”

 

(Photos: Chauvet Professional/Nick Jevons Designs Ltd.)

 

www.chauvetprofessional.com

 

SJ Grevett and DMX Productions create the looks for Mobo Awards with Chauvet

The 26th annual Mobo Awards, held at the 11,000-capacity Utilita Arena in Newcastle, once again was the UK’s biggest celebration of Black music and culture. Supporting the music on stage was a lighting design by SJ Grevett, operated by Liam Griffiths and Kris Goodman, that featured 98 Chauvet Professional fixtures.

 

The kit included 24 Maverick Storm 4 Profiles, thirty Maverick Storm 3 BeamWashes, 32 Strike 1 units and twelve Colorado PXL16 motorized tilting battens. “We went for the big and bold look with brightest fixtures, so we could really punch through against so much LED screen space on camera”, says SJ Grevett.

 

At times, Liam Griffiths would endow the stage with a bold multi-layered background, then have it disappear to be replaced by a more subtle, dreamy panorama. Throughout the show, he changed color combinations to coordinate them with video content. Kris Goodman expanded and contracted the amount of dark space and key light to ensure that the looks were varied and interesting for both the live audience and television viewers.

 

The looks that were conjured up were reflective of the aspirations of the performers on stage. “We didn’t see content until a few days before the show, so everything was a bit of a stab in the dark, then tweaked on site. It was a real team effort to bring the creative ideas of the artists to life”, says Grevett who set these looks within a clearly defined framework on his 12-meter trim stage.

 

“Essentially, when it comes to award shows, in my opinion are two options - either frame a stage as we did in this case, or just go huge on the back with massive open stage”, he explains. “Budget dictated that we framed it for this show.”

 

(Photos: Chauvet Professional/DMX Productions/Mobo Awards)

 

www.chauvetprofessional.com

 

Chauvet fixtures selected for Jon Batiste’s Coachella show

During his appearance at Coachella’s Outdoor Theatre, Jon Batiste, his band, and a variety of special guests took fans on a musical odyssey that included everything from covers of Beatles songs to the classic from his hometown New Orleans, “When The Saints Go Marching In”.

 

The set on Batiste’s stage reflected the rich diversity and creative spirit of his music, with a tree in the middle of the stage, a clothesline to the left, a recording studio to the right, and a utility pole thrown in for good measure.

 

Accenting the set pieces and reflecting Batiste’s music and stage persona was a Shepherd Lowrey lighting design on a rig that featured twelve Chauvet Professional Color Strike M motorized strobe washes from Ariel Afar and his team at SLX Productions.

 

Describing the vision behind the production of the Jon Batiste show, Lowrey says: “It was all about the tree of life. Once we surrendered the right of way to the tree, everything made sense. We used some light as roots that carried this electric current of the tree. Others, like the Color Strike Ms, were almost like budding flowers, or maybe even weeds underneath the tree, depending on the roll they played for each song.”

 

Lowrey achieved this effect by positioning the Color Strike M fixtures upstage left and upstage right, as well as across the downstage deck. He ran the fixtures at 65 percent to achieve the desired level of brightness and coverage.

 

“In this show, I used the Strikes for candy light”, continues Lowrey. “Like candy, they were not absolutely necessary for your everyday diet - but they were oh so delicious. They were really used to accent the music as opposed to washing the stage or keep anyone visible. The Strikes had no responsibility to keep anyone covered, so we could use them freely to spice up the show with stabs of white or chase effects.”

 

On the subject of white light, Lowrey says “ain’t nothing like a blast of white to break it up!” He used white lighting in the show to accent drum hits. “We wanted to support the drums with blasts of white so that the sound connects with the lighting and locks the whole thing in for an immersive experience”, he explains. “White is full on. So, we gave the down beats blasts of white to command the visuals.”

 

Jon Batiste’s Coachella show was the product of many collaborative hands, which in addition to Lowrey included the SLX team, creative director Jemel McWilliams, production designer Eighteen Twenty-Six Studio, scenic designer Winston Studios, content designer Cameron Leahy, and video director Raux Rau.

 

(Photos: Charles Detwiler/Mach Shot)

 

www.chauvetprofessional.com

 

Innlights steuert Videowand mit 840 Quadratmetern LED-Modulen zur ITB 2024 bei

Innlights steuert Videowand mit 840 Quadratmetern LED-Modulen zur ITB 2024 bei
Innlights steuert Videowand mit 840 Quadratmetern LED-Modulen zur ITB 2024 bei

Während der offiziellen Eröffnungsveranstaltung der Internationalen Tourismus-Börse (ITB) vor 3.000 Gästen in Berlin erstrahlte am 4. März 2024 auf 105 Metern Breite bei einer Höhe von acht Metern eine zusammenhängende Video-Wall mit der Vorstellung des diesjährigen Gastlandes Oman. Gebaut und geliefert wurde die Video-Wall von Innlights Displaysolutions aus Wuppertal im Auftrag der Berliner TSE AG.

 

„Es ist die größte LED-Wand an einem Stück, die wir für ein Indoor Event bisher realisiert haben“, sagt Kolja Birkenbach von Innlights Displaysolutions. Für das Video Processing der insgesamt 17.640 x 1.344 Pixel setzte Innlights seinen Video Controller InnVision SCXR Pro 7U ein. In seiner Maximalkonfiguration ist der Controller mit elf Input- und elf Output-Karten ausgerüstet, die jeweils 4K-Auflösungen steuern.

 

Für das Event zur ITB mit 840 Quadratmetern LED-Modulen wurde der InnVision Controller über sieben Output-Karten in 10-Bit-Farbtiefe mittels Glasfaser-Leitungen zwischen Regie und LED-Wand verbunden. Der Controller bot dabei über sein Multiview Board eine ständige Diagnose zur Videosignalqualität. Für den Aufbau der Hardware setzte Innlights Displaysolutions zehn Techniker und weitere sechs Helfer ein. Das Team benötigte insgesamt zwanzig Stunden für Installation und Inbetriebnahme.

 

(Fotos: Innlights Displaysolutions)

 

www.innlights.de

 

4Wall energizes Detroit Lions new uniform reveal with more than 100 Chauvet fixtures

This spring, the Detroit Lions football team unveiled their new uniforms for the upcoming 2024 season. NFL regulations allow teams to change the look of their uniforms every five years. The Lions held a reveal event for the new uniforms at their Ford Field home, drawing thousands of fans. The same stage was also used for the Detroit Lions NFL Draft Party. Both events were executed with the help of 4Wall Entertainment’s Detroit crew.

 

Led by VP of Live Events Joe Leahy, the 4Wall team of Kareem Harris, Gary McGarity, Ross Zhang, Xavier Williamson, Jason Dunk, Robert McGoldrick, Jon Sogoian, Johnny Pike, Michael Gallacher, Brian Lavender, Tommy Minkowski, Joshua Ruhlman, and Rahul Samuel set a stylish, upbeat tone for the reveal event.

 

Helping them in this effort were 113 Chauvet Professional fixtures, including 14 Maverick MK3 Washes, 48 Colorado PXL Bar 16 motorized battens, 14 Color Strike M strobe-washes, 14 Strike Array 4 blinders, 20 Epix Strip IP one-meter linear units, and five Cloud 9 foggers.

 

Working with a 58’ x 38’ mobile stage with an 80’ T-shaped thrust and 29-30’ trim, the team created a bold setting on the field. Three large video walls ran the width of the stage, and a horizontally oriented screen ran across its top, all of which were supplied, installed, programmed, and operated by 4Wall. The video content displayed during the reveal event was shot at the 4Wall Detroit warehouse utilizing Chauvet gear.

 

At the start of the actual reveal, the stadium became dark, with almost all the light coming from video walls, which displayed narrated images. When the video ended, the Colorado PXL Bar 16s positioned on the runway deck bathed the arena in the Lion’s blue team color.

 

Next, as players entered wearing the new uniforms, the rig’s Mavericks created crossing beam patterns, while the Color Strike M units strobed accenting the fog from the Cloud 9s, and the Epix Strip fixtures on rolling truss carts served up some dynamic backlight.

 

(Photos: Chauvet Professional/4Wall Entertainment/Detroit Lions)

 

www.chauvetprofessional.com

 

Distortion Studios launches Bristol Virtual Production space based on Stage Precision software

Distortion Studios launches Bristol Virtual Production space based on Stage Precision software

Distortion Studios, specialists in virtual production, recently opened the doors of its new Bristol-based studio, backed by an in-house team of immersive digital arts specialists. The space can be utilised by anyone looking to shoot virtual production content, as well as serving as a training and community hub.

 

“At Distortion Studios, we want to play a part in upskilling the next generation of industry professionals locally”, remarks Nick Diacre, Technical Director at Distortion Studios. “So, we’re looking to invite technical people in and run training in the space, alongside the usual studio hire. Remaining technologically agnostic was therefore important to us.”

 

Diacre first encountered SP by Stage Precision in the software’s early beta phase, which coincided with his exploration of XR setups using Disguise technologies during the Covid-19 pandemic. “SP slotted into a gap when we needed to take our productions to the next level and be more versatile”, recalls Diacre. “With SP we didn’t need to program custom code from scratch to build integrations anymore.”

 

Diacre designed the VP workflow at Distortion Studio based on Stage Precision. Distortion’s commitment to remaining platform-agnostic allows for adaptability to different tools and technologies based on project and client requirements. With Stage Precision at the centre of operations, Distortion Studios can switch between platforms, software, and systems. “Unreal Engine, TouchDesigner, Pixera; all of these can be connected into a single interface in SP. The software just does its job and puts out the correct data”, adds Diacre.

 

Distortion uses SP’s seamless integration with Stream Deck to control camera positions and lighting functions. Stage Precision’s Shield plug-in for Unreal Engine 5 is also in use at the studio. “Shield has become a potent tool for us, taking the legwork out of controlling Unreal”, says Diacre. “Our green screen workflow is elevated as Shield facilitates a closer control and monitoring of Unreal Engine.”

 

(Photos: Stage Precision/Distortion Studios/Andre Pattenden)

 

www.stageprecision.com

www.distortion.studio

 

Distortion Studios launches Bristol Virtual Production space based on Stage Precision softwareDistortion Studios launches Bristol Virtual Production space based on Stage Precision software

Magnum PA and SR Productions field Martin Audio WPL for Admiral Insurance ASM

Magnum PA and SR Productions field Martin Audio WPL for Admiral Insurance ASM

Cardiff-based Magnum PA Ltd and SR Productions enjoy an ongoing strategic partnership, with Martin Audio’s Wavefront Precision series line array at the heart of it. While Magnum PA carries the WPL in its inventory, SR supports the WPC in its hire fleet - so that between the two companies, the Martin Audio box count exceeds 150. To further strengthen the offering, both companies frequently partner with Bristol-based SWG Events.

 

Long-standing SR Productions client Orchard Media and Events Group recently required a solution to cover delegates for Admiral Group’s annual staff general meeting at Utilita Arena Cardiff. A main hang of twelve WPL per side was supported by an outfill of eight WPC per side, while centre fill duties were carried out by four Torus T820 and monitors by four LE200s. This created an end-to-end Martin Audio solution.

 

(Photos: Admiral Insurance ASM/Magnum PA Ltd/Martin Audio/SR Productions)

 

www.martin-audio.com

 

Magnum PA and SR Productions field Martin Audio WPL for Admiral Insurance ASMMagnum PA and SR Productions field Martin Audio WPL for Admiral Insurance ASM

Forbidden City Concert Hall uses Green-Go for Juan Gomez gig

For Colombian singer-songwriter Juan Gomez’s concert at Forbidden City Concert Hall in Beijing, China, the ethernet-based Green-Go digital solution was chosen to improve efficiency. The Concert Hall’s main stage measures 23-metre wide and 14-metres tall, offering more than 1,400 seats on two floors. The venue hosts both international tours, the Beijing International Music Festival and concerts by the China Philharmonic Orchestra and Beijing Symphony Orchestra.

 

China Green-Go dealer and AV expert EZPro was tasked to provide an intercom system for sound engineers and stage staff for the show. Inside the Concert Hall’s main auditorium, the team configured a Green-Go Wall Panel X - a wall mount station with direct access to three channels and an integrated speaker and a headset connection - at the FOH position, for use by sound engineers. At this point, a Green-Go Beacon call indicator was also rigged, which emits a flashing red signal when receiving a call ensuring the sound engineers can communicate effectively in low-light environments.

 

Four Green-Go Wireless Beltpack X units were used by the stage staff, enabling them to make use of 32 available channels, a program audio channel and an extra channel for direct user communication. This allowed them to talk directly to other stage staff or within multiple groups. In addition, a Green-Go Wireless Antenna was located at the rear of the Concert Hall, serving the four Wireless Beltpack X devices.

 

(Photos: Green-Go/ELC Lighting/EZPro)

 

www.greengodigital.com

www.elclighting.com

 

Gearhouse Splitbeam invests in Ayrton Rivale Profile for South African production of “Mamma Mia!”

Theatre and professional rental specialist Gearhouse Splitbeam of Johannesburg, has made its first investment in Ayrton, purchasing a consignment of new Ayrton Rivale Profile fixtures from Ayrton’s South African distribution partner Planetworld.

 

The decision came after a concerted post-pandemic fact-finding mission to secure new LED moving lights with which to update Splitbeam’s aging lighting stock, spurred on by the requirements of Showtime Management’s production of “Mamma Mia!” later in the year and a need to increase its stock of LED moving lights. Departing from its traditional manufacturers, Splitbeam decided in favour of Ayrton Rivale Profile following a shoot-out between major manufacturers’ products and a visit to the Ayrton factory just ahead of the launch of Rivale Profile.

 

“We are essentially a theatre and long-term lease company working only on theatre productions, and therefore concerned with the finer details of moving lights”, explains Splitbeam’s managing director Alistair Kilbee. “Previously we’d experienced problems with colour mixing in LED moving heads, but Michael Althaus (Ayrton’s Global Sales Director) promised me Rivale would solve these problems. And he was right.” Kilbee placed his first Rivale Profile order with Mike Summerfield of Planetworld for 36 units, which were turned around quickly and immediately went out on tour with “Mamma Mia!”.

 

“Mamma Mia!” features a full South African cast, crew, and band, and is headed by an award-winning South African creative team. The production’s lighting and set designer is Denis Hutchinson. The tour kicked off on 6 March 2024 at the Artscape Opera House, Cape Town, playing to full houses before transferring to Teatro, Montecasino, Johannesburg, on 12 April where it will run until 9 June.

 

(Photos: Christiaan Kotze/Alistair Kilbee)

 

www.ayrton.eu

www.planetworld.co.za

www.splitbeam.co.za

 

Tim Goodacre relies on Astera

Tim Goodacre relies on Astera
Tim Goodacre relies on Astera

Tim Goodacre, a freelance gaffer and lighting specialist based in Sydney and working all over Australia, primarily on TV dramas, has invested steadily in Astera to help drive his business over the last two years, most recently purchasing one of the new LeoFresnel products from Astera’s Australian and New Zealand distributor ULA Group, which is added to his existing stock of AX3 Lightdrop and NYX Bulb kits and workhorse Astera Titan and Helios Tubes.

 

Goodacre immediately utilised the LeoFresnel on season two of the Netflix “Heartbreak High” reboot, specifically for a forest night scene shot on location with the Heartbreak High students camping out under the moonlight. In a different scenario, a moving light might conventionally be used, however the practicalities of the location demanded a wireless lighting solution. Goodacre rigged sixteen Titan Tubes on a “Moon Box” with the LeoFresnel positioned in the centre, which was hoisted above the action pointing right down with the LeoFresnel acting as a spotlight.

 

Controlled through the Astera app, the need for a board operator to run the moon-box was averted. Goodacre created different cues and looks which provided the moonlight and a cost-effective way of lighting the scene with a clearly defined central lightsource surrounded by shimmering light from the softened tubes which combined to produce the effect wanted by director Neil Sharma and DoP Campbell Brown.

 

Goodacre has also used Astera fixtures for night scenes along roads, in the bush and other “run-and-gun” situations without needing a generator, PD, cables and extensive prep time. He recalls a night beach scene on another project, always a galvanising place in to find lighting positions for soft sources, which in this case were needed to back-light three people. Here his water resistant LeoFresnel was rigged on a stand with an 8x4 bounce reflector attached that facilitated the creation of a soft source in the right place. He’s also used the LeoFresnel on comedy drama “Ladies in Black”, shot in Adelaide.

 

Goodacre says he will often use his AX3 LightDrops for quick deployment and architectural requirements, together with AX5s and AX9 LED PARs for general purpose lighting of buildings, sets and structures. The NYX Bulbs will be used for a myriad of set practical applications. Also, for cityscape effects like bokeh dots and twinkling lights in the background, run in festoon style in the distance with authentic and random looking “living, breathing” colours and looks dialled in just like a real city.

 

(Photos: Tim Goodacre/Josh McDowell)

 

www.astera-led.com

 

Tim Goodacre relies on AsteraTim Goodacre relies on Astera

South African sound engineer Simphiwe “Smooth” Mhlanga chooses DPA Microphones

South African sound engineer Simphiwe “Smooth” Mhlanga chooses DPA Microphones

Dedicated to the art of music engineering, Simphiwe “Smooth” Mhlanga spent years training and honing his skills as a freelance sound engineer for both broadcast and live music. With a growing reputation, he has become the top choice for some of South Africa’s most promising talents, including the likes of Jabulani “Sjava” Hadebe, a singer, rapper and actor, as well as Kiernan Forbes, the late rapper and producer known as AKA.

 

Additionally, as Sub-Saharan African music has recently seen a surge in music sales and an increase in streams on popular music platforms, Mhlanga’s experience is needed now more than ever. This global recognition for the musical style has opened the door for artists, producers and engineers from the region to showcase their talents and compete on an equal footing to their colleagues in more established markets.

 

Working with DPA Microphones specialist Keith Karimi from ApexPro in South Africa, Mhlanga selected the DPA 2028 Vocal Microphone to benefit all of Mhlanga’s production work. “The DPA 2028 is a handheld vocal condenser mic that can be used wired or wirelessly. It is specifically designed for the live stage”, says Karimi.

 

The benefits of the 2028 go beyond the artist’s performance on the engineering side - Mhlanga has found that the response and EQ issues he previously experienced were solved once introducing DPA into his workflow. “The mic is sensitive enough to allow more gain before feedback, but rugged enough to hold up on the road and during live shows”, he says.

 

Mhlanga began his sound engineering career while still in high school, when he joined the production crew at Hope Restoration Ministries in Gauteng, South Africa. This experience led him to a passion for the art and the subsequent pursuit of formal training, specializing in film, television, radio and broadcast.

 

Now, as a freelance sound engineer, he often collaborates with other like-minded young professionals to provide live production, outside broadcast and post-production services to creative and corporate clients in the region.

 

Pictured: Keith Karimi and Simphiwe “Smooth” Mhlanga. (Photo: DPA Microphones)

 

www.dpamicrophones.com

 

Luis Torres creates celestial looks for Phoenix Lights with Chauvet

Luis Torres creates celestial looks for Phoenix Lights with Chauvet
Luis Torres creates celestial looks for Phoenix Lights with Chauvet

Taking place on the Raceway in Phoenix, Arizona, at the end of March, the Phoenix Lights 2024 festival featured a wide range of EDM performances, supported by a light and video show created by Luis Torres on a 100-foot wide and 48-foot tall rig. Torres channeled the musical energy into visuals with help from forty Chauvet Professional Color Strike M and thirty Maverick MK3 Wash fixtures supplied by Hardwired Productions.

 

Like the rest of the lighting fixtures in his rig, the Color Strike and Maverick units were spread throughout the truss structures. Torres did this to create unexpected visual moments and convey the kind of uncertain spontaneity that was in keeping with the festival’s supernova theme. “I wanted the rig to have different moments and surprises”, he says. “That’s why I had lights on the video trusses but also in between the video strips. This way, when video was off, I could have the lighting pop up and fill the gaps.”

 

Using his Color Strike M fixtures as strobes, Torres arranged them in four rows of ten units each, having five located on each side of the circular truss that held the main video screen. “As strobes, these fixtures helped give the rig that important width and symmetry”, he says. “I like doing this sort of thing in my designs. Having the strobe in rows, open the chance to create some neat chase effects.”

 

“Given that the theme of the show was ‘Phoenix Lights Supernova’, having the Color Strike Ms cover the width allowed me to create effects that could reflect a supernova - an explosion of a star in the galaxy”, he continues. “Probably my favorite look in the show was when we had all the strobes on in full output around the circle.”

 

Torres placed twelve of his Maverick fixtures on each side of the circle. He arranged the units in rows of six pieces. “The MK3s gave me that bright pop I was looking for in between the video strips. The other MK3 units were used for key light for the DJ and the dancer platforms that were in the outside corner of the scaffold structures.”

 

Radiating light in different patterns around the circular truss, the Color Strike and Maverick fixtures gave this central video element a floating celestial look that also played into the festival’s theme. The often-surreal images displayed on that video screen conveyed an even greater space-like vibe.

 

(Photos: Chauvet Professional)

 

www.chauvetprofessional.com

 

Luis Torres creates celestial looks for Phoenix Lights with ChauvetLuis Torres creates celestial looks for Phoenix Lights with Chauvet

Martin Audio WPS provides weight for The K’s album launch at Warrington’s Parr Hall

After playing a stretch of intimate in-store shows at independent record shops across the nation to announce their debut album “I Wonder If The World Knows”, The K’s arrived at one of their local concert venues, the 1000-cap, Grade II-listed Parr Hall in Warrington on April 10, 2024.

 

Martin Audio rental partner DBS Solutions were brought in to provide their flagship WPS (Wavefront Precision) scalable line array. This was set in a ground-stacked configuration, as due to weight limitation flying the PA wasn’t an option. The WPS was mounted, six-a-side, on a single SXCF118 cardioid sub, while a further six WS218X subs were arranged in a broadside array in the pit. Providing front fill coverage were four Martin Audio WPM, in 2-box stacks.

 

In the balcony of the building Martin Audio XD15s were deployed as fills in biamp mode, tied into the venue’s Torus T1230 constant curvature short throw speakers. DBS Solutions deployed a pair of iKon amp racks, each housing three iK42. They were able to power the main PA in the optimum 1-box resolution.

 

Systems engineer Daniel Clare designed the rig in such a way as to provide coverage to both the primary standing area and the initial parts of the balcony, where the house Torus system in this Victorian venue took over to provide even coverage into the furthest recesses of the upper balcony. The band’s FOH engineer was Ben Hubbard.

 

(Photos: Natalie Persoglio)

 

www.martin-audio.com

 

CTC Events realisiert Beiratskonferenz für Versicherungskonzern

CTC Events realisiert Beiratskonferenz für Versicherungskonzern
CTC Events realisiert Beiratskonferenz für Versicherungskonzern

Für den Kunden R+V Allgemeine Versicherung hat CTC Events zum wiederholten Male die Planung und Durchführung der Zentralen Beiratskonferenz realisiert. Der Corporate Event mit 250 Teilnehmern fand Anfang März 2024 im Atlantic Hotel Heidelberg, im Automuseum Dr. Carl Benz in Ladenburg und im Heidelberger Kultur- und Konzerthaus Halle02 statt.

 

CTC zeichnete für die Konzeption und Umsetzung der Konferenz der Bankvorstände verantwortlich. Zum Leistungsumfang der inhabergeführten Agentur mit Sitz in Wiesbaden zählten unter anderem die komplette Organisation, das Teilnehmermanagement, die Koordination der beteiligten Gewerke sowie die Transfers zu den einzelnen Locations.

 

Der Event startete mit einem Welcome und einer Keynote im Hotel, führte im Anschluss zur Abendveranstaltung zum Automuseum im benachbarten Ladenburg und setzte sich am zweiten Tag in der Halle02 unter anderem mit einem Plenum, Strategie-Talk und Deep-Dives in den verschiedenen Räumen des Kultur- und Konzerthauses fort. Ein Business Lunch bildete den Abschluss der zweitägigen Veranstaltung des größten deutschen Versicherers.

 

Jede Location erforderte eine individuelle Herangehensweise und Lösungskompetenz seitens CTC. Für das Automuseum gab es wenig Erfahrungswerte, da dort nur selten Events von externen Veranstaltern stattfinden und nur eine Standard-Bestuhlung innerhalb der Ausstellung vorhanden war. Die Halle02 indes musste als Industriehalle ohne direktes Tageslicht für eine Tagungssituation umgestaltet werden.

 

Das Atlantic Hotel schließlich sorgte für eine außerordentliche Herausforderung: Noch vor seiner offiziellen Eröffnung eine Woche später mussten im Rahmen der Veranstaltung 250 Gäste übernachten, zudem fanden hier auch Welcome und Keynote statt. Dies war nur mit einer Sondergenehmigung der Stadt Heidelberg im Hotel durchführbar.

 

Mit der Ausstattung der Veranstaltung wurden Professional Sound Service, Hafenwerk und Dumbo and Gerald sowie Vosseibert, TLS und Baiant Dienstleistungen beauftragt. Das Team von Taste of Now & Guerilla Chefs verantwortete das Catering und präsentierte einen Mix aus Flying- und Live-Stationen im Automuseum. In der Halle02 sorgte das Team der Location unter anderem mit Ingwershots und Energyballs für die Verpflegung in jedem Raum, während Taste of Now einen Business Lunch in Weckgläschen servierte, verteilt aus Air Trolleys und im Flying - auch als Doggy Bag für Schnellabreisende.

 

(Fotos: CTC Events)

 

www.ctc-events.de

 

Hippotizer selected for Finnish TV show “Tähdet, tähdet”

Finland’s TV contest “Tähdet, tähdet”, produced by Moskito Television, returned for 2024 with a host of singers belting out numbers ranging from 1980s pop to Eurovision classics. Broadcast on Finnish channel Nelonen, audiences watched performances backed by nine ROE Vanish V8T LED screens with live and pre-made content manipulated using TVOne’s Green Hippo brand of Hippotizer Media Servers.

 

“The set design required visual appeal tailored to the viewers both in the studio and at home”, explains Varpu Sipilä from Finnish visual design company Visual45, which was brought in to create the lighting and visual elements. “Lighting design and operation, as well as video content production and operation, played a significant role. Particularly, the use of video surfaces was emphasized to enhance the atmosphere of the performances.”

 

On stage, the Visual45 team deployed the nine ROE LED panels, all of which measured 2 x 3 metres, creating an enveloping canvas. More than 250 Sceptron LED tubes were positioned at the edges and at the top edges of the stage to create a sense of wider space, and more LED tubes were embedded in the judge’s table in a custom structure to reflect the shape of the stage. The Sceptrons were operated in hybrid mode, using a GrandMA2 light console and a Hippotizer Boreal+ MK2 Media Server linked to a laptop running ZooKeeper.

 

The design was led by Tero Kärpijoki from Visual45, whose expertise includes lighting design and visual design for TV productions. Content was created by Visual45’s Motion Graphics Designer Jani Saranpää, designed to complement each performance and drawing inspiration from the songs. The team created the content to act as a whole, with the lighting design in mind, but adapted the overall design to be individually distinct for every singer. In some numbers, live footage from cameras was played back on the screen, fed through the Hippotizer’s live inputs.

 

The Hippotizer Boreal+ MK2 Media Servers were supplied by Creative Technology Finland, which also provided the technical execution for the project.

 

(Photos: Green Hippo/TVOne/Visual45)

 

www.green-hippo.com

 

Martin Audio WP rigged in twelve minutes for UB40 show at St. Andrews Stadium

Within 15 minutes of completing victory over Preston North End on Easter Monday, Birmingham City’s St. Andrews stadium had been transformed into a rock concert venue. The production team behind the staging - enabling local legends UB40 to kick off their world tour and announce their new “UB45” album release - was Martin Audio partner 22live.

 

At the same time the football club was able to reveal its new branding. Henceforth known as St. Andrew’s @ Knighthead Park, the stadium provided the setting for this post match entertainment. But first 22live, led by Paul Timmins, had many challenges to overcome - not least where to site the fifteen ground stacks of Martin Audio WPC and WPS line array, as well as the speed of deployment to get the show underway immediately after the final whistle.

 

Two days’ rehearsal in Digbeth helped new monitor engineer Harry Le Masurier settle in, while staging options were debated and the fact that 56 channels were required, choice of stage was paramount. Timmins also knew this was no mere playback event - the band were going to perform live.

 

After dismissing other options they decided to construct the staging in the “sterile” area - or empty block of seating - segregating the home and away fans in the Gil Merrick stand. “The seats were removed, and the staging company built a two tiered stage because of the raking - set high up to avoid obscuring sightlines”, says Timmins. “Although big LED screens and lighting were able to be flown from the roof, in view of weight loading, audio was always going to be a pitch side perimeter speaker system.”

 

From past experience Paul Timmins was aware of safety implications, cabling challenges and the fact the speakers would need to be located behind the LED wall or advertising hoardings without blocking the access. But because of distance variations each stand required its own unique treatment. “The Main Stand is quite shallow and didn’t need as much power as the Kop side, so I chose WPS, four stacks high”, he explains. “On the Kop stand I used WPCs, four high because I needed more power. At the Tilton End I used WPC, three high, because I knew I could get away with less, with just two stacks WPS four high required on the Gil Merrick stage end - because coverage was only required on either side of the large centre section.”

 

Each stack was supported by an SXH218 sub. Torus T1230 speakers filled dead spots in corners between the Gil Merrick and the Kop stands and further T1230s and an SX118 subwoofer provided reference sound at the FOH mix position, which was located underneath the stands. Critical to the success of the optimisation was tilt angles. 22live knew that since they would be raking the system back into the stands, rather than have it tip forwards as would be customary, they could dispense with the standard WP grids in favour of straps. After verifying this custom approach with Martin Audio deployed this solution, which would also ensure each stack could be deployed swiftly as a single self-contained unit.

 

Crew boss Glen Little worked closely with extra local crew, who were experienced in dealing with Martin Audio boxes. Unlike a typical average home gate of around 19,000 this event drew 25,000 (since there was no increase in ticket price). DJ Jenny Powell led into the band, who played a full hour long set.

 

Production had to remain nimble and responsive to 11th hour requests. “In addition to the live sound we discovered we had to provide a broadcast mixdown from stems to Birmingham FC TV, and at the last minute they also wanted to record it - so we brought in Phil Wright, who is such a safe pair of hands, with his own kit to do the streaming”, concludes Timmins. “On top of it all, Birmingham City, after a wretched run of form, won the game, the sun came out for the concert and UB40 played a blinding set. It was one of those days where everything worked.” 

 

Other key personnel who contributed to the event’s success included tour manager Yaron Levy, with Russ Tite mixing at front of house. Jason McAvoy was control tech, Rylan Machin and Ryan Bass were the two system techs on duty, while other techs were Chris Wilcock and Jack Davis.

 

(Photos: Martin Audio/22live)

 

www.martin-audio.com

 

PRG nutzt GLP Impression X5 Compact für jüngste „Feuerwerk der Turnkunst“-Tourneeproduktion

Die Turn- und Sportfördergesellschaft mbH, eine Tochter des Niedersächsischen Turner-Bundes, feiert seit 34 Jahren Spitzensport mit Europas erfolgreichster Turnshow, dem „Feuerwerk der Turnkunst“, und wirbt gleichsam um Aufmerksamkeit und engagierten Nachwuchs.

 

Von Ende Dezember 2023 bis Ende Januar 2024 inszenierte der Veranstalter mit der Tournee „Heartbeat“ eine Hommage an die Tanzfilme der 1980er Jahre: „Dirty Dancing“, „Flashdance“, „Hair“. Die Tour umfasste 36 Vorstellungen in 22 deutschen Städten. Über 200.000 Besucher schauten sich die Turn- und Artistik-Show an.

 

PRG betreute die Tournee komplett mit Licht-, Ton- und Videotechnik sowie Rigging und realisierte alle Sonderbauten und die technische Planung. Das Lichtdesign von Marc Brunkhardt fundierte dabei auf GLP Impression X5 Compact und Impression X4 Bar 20, um die Spielfläche für die Artisten, Künstler und Turner gleichmäßig und sportgerecht auszuleuchten. Besonders wichtig sei es gewesen, die Sportler während ihrer meist sehr anspruchsvollen Auftritte nicht zu blenden.

 

Mit insgesamt 44 Impression X5 Compact, dem kleinsten Vertreter aus GLPs X5-Serie, erfüllte das PRG-Team verschiedene Beleuchtungsaufgaben. Zum einen wurden insgesamt sechzehn X5 Compact im Rigg jeweils in Vierergruppen in einem Follow-Me-System als Verfolger eingesetzt. Weitere zwanzig X5 Compact hinterleuchteten die transparente LED-Bande.

 

Zusätzlich zu den X5 Compact wurden hinter der LED-Bande auch Impression X4 Bar 20 verbaut. „Aufgrund der Abhängung hinter der Bande war die gesamte Technik für die Zuschauer nicht zu sehen“, so Tom Kaczmarek, Account Manager PRG.

 

(Fotos: Detlev Klockow)

 

www.glp.de

 

Jimmy Olausson brings element of surprise to Avatar’s winter tour with Chauvet

Jimmy Olausson brings element of surprise to Avatar’s winter tour with Chauvet

Lighting designer-programmer Jimmy Olausson was with his client Avatar on their European tour, when the metal band suddenly released the new song “Make It Rain” and asked him to program looks for it. “Normally, I prefer to do my programming in my office where I can focus on the details, so creating the lighting for ‘Make It Rain’ during the tour was a unique challenge”, he says. “But it turned out to be a fantastic addition to our set and gave me the opportunity to think outside the box, crafting a visual style for this song that stands out from the rest.”

 

Turning up the intensity level on his twelve Chauvet Professional Colorado Panel Q40 rectangular washes, Olausson created pixel mapped sequences that evoked the turbulent mood of an approaching storm. He coupled this with a “waterfall” effect that he created with house lights to immerse audiences in the moment.

 

“When programming this song, I focused on highlighting the pixel effects of the Q40 fixtures. I wanted to make it clear to the audience that these are multi-functional fixtures”, he explains. “Normally, I prefer a more subtle approach, using the unique features of a fixture to enhance the overall look without overwhelming it. But this particular song is intense and demands a lot, so I pushed the Q40s to their limits. They added a dynamic layer to the performance that aligns perfectly with the song’s energy.”

 

Olausson also served up some unexpected visual delights of his own during the two-hour seventeen-song set. “What sets this show apart from our previous tours is its element of surprise and its theatrical nature”, he states. “I’m constantly looking for new ways to surprise the crowd and keep the light show dynamic and engaging. We’ve incorporated more drama and unexpected moments, which is something we’re considering developing even further in our future designs and tours.”

 

Helping Olausson create his novel looks was a Chauvet Professional floor package, which, in addition to the Colorado Panel Q40, featured sixteen Rogue R2X Wash and ten Rogue R2 Beam fixtures, as well as four Cloud 9 foggers. “For this show, we kicked things off with an ‘everything at once’ approach,” he says. “It’s a bit of a shift from our last album cycle for ‘Hunter Gatherer’, where we started with a minimal setup and gradually added more elements. I really enjoy the immediate impact we created when the band played the first note. But not to worry, it’s not full-on intensity all the time. I carefully choose which fixtures to use and when, ensuring there’s a nice flow and balance throughout the set, so each song and moment feels just right.”

 

Olausson kept the mood going all show long, moving from intense monochromatic washes, to dark, shadowy looks punctuated by sharp, side-angled light. At times he changed things up going with bold aerial effects, then moving to crowd lighting. The use of atmospherics played a key role in his design plan. “When it comes to atmospherics, my key approach is to have a solid reason for using them in each part of the show”, he concludes. “For a piano ballad, it feels almost natural. I aim to let the low fog dominate the stage, using minimal lighting to spotlight the singer. Essentially, I’m crafting an ambient, enveloping environment - and hopefully one that is full of surprises.”

 

(Photos: Chauvet Professional)

 

www.chauvetprofessional.com

 

Jimmy Olausson brings element of surprise to Avatar’s winter tour with ChauvetJimmy Olausson brings element of surprise to Avatar’s winter tour with Chauvet

Mitch Rowland turns to Britannia Row for headline solo tour

Mitch Rowland turns to Britannia Row for headline solo tour

Singer/songwriter Mitch Rowland found notoriety as Harry Styles’ guitarist and co-writer, and the pair toured the world together for two years during “Love on Tour”, which saw Britannia Row Productions supply audio for all 169 shows. When the time came for Rowland to take the spotlight in his own right, the American multi-instrumentalist turned to Britannia Row for live audio services on a much smaller scale.

 

Forming a close-knit bond after “Love on Tour”, audio engineer Christian Zuniga was welcomed back into the fold as Rowland’s Monitor Mixer and Production Manager. He comments: “Mitch is not an up-and-coming artist, he’s been touring arenas and stadiums for years, so he’s used to high-level touring. However, when he presented this new project, he wanted to play in small theatres instead of opening for a big tour. Every place has been special as each venue carries history.”

 

As the first artist signed to Harry Styles’ Erskine Records, industry backing doesn’t come much stronger, and the same can be said for Rowland’s audio team who were keen to support the new venture. Working closely with FOH Engineer Miguel Tapia, Zuniga continues: “Miguel is one the finest mix engineers out there, and Lez Dwight, Director of Britannia Row, and Ops Coordinator Shawn Dier from Clair LA’s office have all been so supportive of us. I thought that smaller tours wouldn’t get the same attention as the big ones, but I was wrong.”

 

The tour is running a pair of Allen & Heath DLive CTi1500s at both monitors and FOH with DMO MixRack and DX012, fitted with a pair of GigaAce cards for gain sharing. Each console has a Waves card for multitrack recording and virtual soundcheck, with everything running native and no outboard. “We wanted a small yet powerful footprint that could take us from festival appearances to clubs, as we’ve played some tiny stages”, says Zuniga.

 

“Miguel introduced me to Allen & Heath on my previous tour with Mexican pop act RBD. Most of those venues were stadiums and Miguel was mixing on a large format DLive”, he adds. “In previous meetings with Mitch and Rob, they wanted to produce a show that sounded like Mitch’s record ‘Come June’, with analogue tubes etc. An analogue system was out of the question due to venue size, but we were very pleased with how this sounded.”

 

Zuniga uses Shure PSM 1000s for Rowland and drummer Sara Jones, Rowland’s wife, on JH Audio Roxannes, with the rest of the band, Matt Schuessler (bass), Rob Schnapf (guitars) and Aiden Finn (keys) opting for D&B Audiotechnik wedges. “Mitch and Rob are very particular with their guitar sounds. We travel with two vintage Ampeg Geminis and a vintage Fender Custom Deluxe for their rigs. We use a mixture of Shure KSM32 and Beyerdynamic M60 mics, with the vocal mic being an SE V7”, Zuniga concludes.

 

(Photos: Britannia Row Productions/Clair Global)

 

www.britanniarow.com

 

Mitch Rowland turns to Britannia Row for headline solo tourMitch Rowland turns to Britannia Row for headline solo tour

Stage Sound Services combines Brompton Technology and Infiled for theatre productions

UK touring musicals “I Should Be So Lucky” and “Just For One Day” both utilise Brompton Technology LED processing and Infiled displays provided by audio visual equipment rental company Stage Sound Services (SSS) who worked with system designer and engineer Dan Trenchard, and video designer Andrzej Goulding on both productions.

 

“We first used LED with Brompton processors in 2021 on ‘The Drifters Girl’”, says Stage Sound Services owner Phil Hurley. At the end of 2023, SSS purchased a number of 4K Tessera SX40 LED processors and Tessera XD data distribution units: “We added more Brompton Tessera products for the Old Vic’s production of ‘I Should Be So Lucky’, a new musical based around the Live Aid story, which started at the end of January 2024.”

 

Dan Trenchard, with over ten years experience in theatre, touring musicals, plays, opera, live events, and concert touring, including Coldplay’s latest world tour, is also no newcomer to Brompton LED processing. For “I Should Be So Lucky” he collaborated with Andrzej Goulding to select both the equipment and supplier, as well as designing and installing the system.

 

“I feel the combination of SSS, Brompton Technology, and Infiled have brought LED to theatre in a much bigger way than ever before”, states Trenchard.

 

(Photos: Marc Brenner/Manuel Harlan)

 

www.bromptontech.com

www.infiled.com

www.stagesoundservices.co.uk