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Mike Grabowski enhances backdrop for Times Square NYE broadcast with Chauvet's Colorado Solo Battens
Ayrton Mistral-S and Bora-S for The Rubens in Australia
Australian band The Rubens from Menangle, New South Wales, performed for audiences across the country last November and December. Lighting designer Tim Beeston of Melbourne-based Flash Bang Productions had Ayrton’s new Mistral-S spot luminaires on the tour, which were supplied by South West Solutions (SWS) of Yarraville, Victoria.
“I designed a ladder system incorporating mirror balls and small spot beams,” explains Beeston. He used eight Mistral-S fixtures, hung on four ladders along with eight mirror balls beneath each one, and used them either for beam looks, projecting onto the mirror balls to create big mirror ball bounces, or as the back spot for the show. However, for the first half of the show these were all hidden by a large Rubens silk backdrop to be revealed by a kabuki drop in song 10.
When the tour reached The Forum in Melbourne, Beeston used SWS’ new Ayrton Bora-S wash luminaire with three located on the downstage truss to be used for backdrop framing during the second set and backdrop wash for the first set.
The Rubens new album cover features three flags, so for the second part of the set, three mesh drops measuring 2.4 m x 6 m were revealed between the ladders and the three Bora-S on the front truss were used to light them in colours matching the album cover. “We used the Bora-S units to frame out onto the drops and then dropped in a gobo to do some textured breakups,” says Beeston.
(Photos: Mia McKenzie)
Astera fixtures illuminate ‘The Heart of Manchester’
Alex Webb, brand manager for Allied London, used 28 x Astera AX1 PixelTubes to create ‘The Heart of Manchester’, a 20-metre high heart shaped light sculpture on the Quay Street façade of the No. 1 Spinningfields building in central Manchester.
In celebration of Valentine’s Day, Spinningfields commissioned various public art displays around town to explore love and heartbreak in the city. The pulsing Astera AX1 heart was visible across the evening skyline and from key vantage points like the Deansgate-Castlefield Metrolink station and as far away as Old Trafford.
The tubes weigh only 1 kg each, and Alex Webb found some industrial strength suction pads which he used to fix them to the inside of the windows along floors 12 to 17 of the building. Black cloth was used as a mask behind the lights and the heart measured approximately 20 metres top to bottom, with its lowest point around 40 metres up the building.
The AX1s were programmed by Pete Deacon productions and Alex Webb, using the Astera App. The original idea was that the tubes could be removed and charged up during the day and then clipped into place ready for the evening’s lighting display, but with mains power available and the fact they can also run as wired fixtures, they were going for 24 hours. With the black cloth masking behind the luminaires and the brightness of the output, they could be clearly seen in daylight as well.
Alex Webb also used the AX1s for another installation on Hardman Square - a 2-metre-high heart shaped floral arrangement of cineraria eucalyptus, asparagus fern and salal, created by local florists at David Wayman Flowers, who are located in Spinningfields. This sat in a specially fabricated metal structure that helped keep it upright, and the AX1s, which were charged up during the day and set up at dusk, were cable-tied to the insides of the metal legs.
(Photos: Allied London)
Five Finger Death Punch on tour with Chauvet fixtures
Metal band Five Finger Death Punch's latest arena/amphitheater tour with Breaking Benjamin featured sing-alongs accented by audience lighting from Chauvet Professional Strike 4 fixtures, supplied by Christie Lites.
John Santos, the lighting designer for Five Finger Death Punch, had 10 of the LED Strike 4 fixtures spread out evenly on downstage truss during the tour. “They were my primary source of audience lighting and my blinders,” says Santos. “The show was designed around the skull over the drum kit and the two bats crossed in the back.”
“My Crew Chief, Marc Durning, and L2, Axel Noel, who focused the lights every day, did a great job working the Strike fixtures as well as the rest of the rig,” Santos continues. “We liked the way that each cell of the Strike 4’s cells could be focused individually. This gave us the ability to light both arenas and amphitheaters equally.”
Robe lights 2019 TPI Awards
Robe was again part of delivering a production design for the 2019 Total Production International (TPI) Awards, produced by TPI Magazine, part of Mondiale Media, and staged at the Evolution venue in Battersea, central London.
The event honours some of the best creative and technical achievements in the world of entertainment technology, and was this year hosted by stand-up comedian and actor Romesh Ranganathan.
Over 300 Robe fixtures were used by lighting designer Nathan Wan and associate LD Andy Webb to ensure that the 1600 plus attendees and award winners were treated to a visual extravaganza, a task for which they worked closely with the video team from Visual Edge.
The Main Room theme for this year featured a 1980s rock show, including glitzy neon, skulls and fast motorbikes. This was Nathan Wan’s creative starting point. Two other areas were also lit for the occasion - the Reception/Foyer and Robe’s own VIP room.
Robe used the opportunity to give some of their NRG (Next Robe Generation) initiative students the chance to work hands-on on the gig. Nathan Wan was joined by Alex Merrett from the University of South Wales in Glamorgan as assistant lighting designer, and Owen Yelland from Kent-based Rose Bruford College again worked as lighting systems tech.
The main bar area was designed, programmed and operated by Espen Karlsen, also from Rose Bruford, assisted by Ben Linwood from Guildford School of Acting. The Robe VIP lounge lighting design was a collaboration between Jasmine Williams from the Royal Welsh College of Music & Drama in Cardiff and Georgia Wren from LIPA (Liverpool Institute of Performing Arts).
Four long diagonally flown lighting trusses were installed in the roof, following the contours of the ‘winged’ video screen design, meeting up in the centre of the room, and Nathan Wan approached it as a multi-zoned space, with a nucleus of fixtures in the middle area that were available to pull the visual focus to the stage at any time.
Sixty MegaPointes and 50 x Spiiders were right at the heart of the rig. Fifty of Robe’s new SuperSpikies were also key lightsources on the rig, and these were used for making beamy contrasts and accents cutting across the washes together with 64 x LEDBeam 150s. Key lighting was provided by 20 of Robe’s new T1 Profiles.
For the Awards section, four Robe BMFL Blades running as a RoboSpot remote controlled follow spot system were positioned around the room, each optimised for pick-ups in their particular quarters of the room, so those accepting Awards could be picked up as soon as they stood up from their tables, and followed on and offstage.
In the reception area, the Robe crew worked with Arkaos who provided the dynamic video mapped central screens forming a large box above the bar. This also dictated the positioning of the lighting trusses and the fixture choice by Espen Karlsen and Ben Linwood, who deployed a combination of Pointes, MegaPointes and Tarrantulas, Robe’s biggest LED wash beam.
Lighting control for the main room was an Avolites Arena console running with a TigerTouch II as backup, with TigerTouch’s in both the Bar/Reception area and Robe VIP. The Bar/Reception console was running Arkaos Kling-Net protocol to pixel map the Tarrantulas and other pixel-fixtures.
Robe again sponsored the ‘Lighting Designer of the Year’ Award, which was presented by CEO Josef Valchar and won by Tim Routledge, whose recent credits include Sam Smith, Rita Ora and Stormzy as well as ‘X Factor UK’.
Other winners of the night include LCR for the first time, picking up ‘Favourite Lighting Rental Company’ and Universal Pixels who walked away with the ‘Favourite Video Rental Company’ also for the first time. Roger Waters’ ‘Us + Them’ tour (Lighting designer: Pryderi Baskerville) won the ‘Live Production of the Year’ and Richard Turner took the ‘Des Fallon Video Visionary of the Year’ title.
Pictured (left to right): TPI Awards Presenter Romesh Ranganathan, LD of the Year Award Winner Tim Routledge and Josef Valchar, CEO of Robe Lighting. (Photos: Lindsay Cave)
August Burns Red on tour with Elation Dartz fixtures
For metalcore band August Burns Red's 2019 'Dangerous' tour, which kicked off January 24th in Lexington, Kentucky, lighting designer David Summers chose 12 Elation Dartz 360 fixtures, supplied by Squeek Lights.
The 3-degree RGB Dartz fixtures were grouped across four towers of 5-foot pipe in a straight line upstage. From these positions, two each side of the drum riser, Summers split the visual plane in two, allowing for a variety of design possibilities. "I’m a big fan of symmetrical looks and movements so anything with big sweeping 'XX's and 'VV's I love," he says. "I had an 'XVXVX' cue that I used frequently on the tour."
The band also carried six Elation SixBar 1000 six-color LED battens as side light along with six Proton 3K Color LED strobes positioned on the upstage deck. Antari Z-350 Fazers provided a canopy of dry haze for mid-air beams while lighting control came via an M2GO console with an M-Touch used as a wing.
Lighting vendor for the "Dangerous" tour was New York-based rental company Squeek Lights, headed by Victor Zeiser.
(Photos: Rob Wallace)
Qvest Media plant und baut Medienzentrale von Asharq in Dubai
Qvest Media wurde von der Asharq News Services Limited beauftragt, eine Multi-Plattform-News- und Medienzentrale im Finanzzentrum von Dubai zu errichten. „Bloomberg Asharq“ wird damit künftig auf Online-, Social Media-, TV- und Radiokanälen die arabischsprachige Bevölkerung weltweit rund um die Uhr mit Nachrichten aus Wirtschaft und Finanzen versorgen.
Dieses Projekt ist das erste in der MENA-Region, bei dem die Medien-Infrastruktur durchgängig auf IP-Technologie basiert. Eine zentrale Rolle spielt zudem die Nutzung von virtualisierten On-Premise-Systemen und Cloud-Applikationen als Hybrid-Architektur für Content-Aggregation, -Produktion sowie -Distribution.
Bereits beim Designkonzept und der Raumplanung für die Medienzentrale setzte Asharq auf ein Spezialisten-Team bestehend aus einem internationalen Architektenbüro, lokalen Baufirmen sowie dem Generalunternehmer Qvest Media für alle Technologiethemen.
Gemeinsam wurde eine Symbiose aus modernem Interior- und Arbeitsplatz-Design sowie funktionaler Raumarcharchitektur entwickelt, die die redaktionellen, kreativen und technologischen Arbeiten in das Set- und Studiodesign einbettet.
Nach der abgeschlossenen Technologieanalyse und der Abstimmung des Systemdesigns startet Qvest Media mit der Integration der Medien- und IT-Systeme. Das technologische Design basiert auf einer fortschrittlichen Architektur.
Ein Full-IP-Netzwerk nach SMPTE ST 2110 sorgt für die Standardisierung und Konnektivität der Systeme und macht infrastrukturelle Technologieveränderungen, wie etwa den Umstieg von einer Full-HD- auf eine 4K-Produktion und -Distribution, jederzeit möglich.
Neben der Full-IP-fähigen Architektur hat sich Asharq für den Aufbau eines Hybrid-Netzwerks, bestehend aus virtualisierten Systemen im lokalen Rechenzentrum sowie Anwendungen in der Cloud, entschieden.
Zum Studio-Design gehören Video-Walls und Boden-Displays mit einer Gesamtfläche von rund 300 Quadratmetern. Mehrere LED-Walls lassen sich in fünf Segmente aufteilen und verfügen über eine verfahrbare, motorisierte Deckenaufhängung, mit der sie geräuschlos im On-Air-Betrieb bewegt werden können.
Neben der Konstruktion und Installation dieser Systeme war es die Aufgabe von Qvest Media, die erforderliche Technik zur Visualisierung von Grafik- und Videomaterial zu implementieren, welches zur interaktiven Darstellung von programmbegleitendem Content auf den LED-Walls genutzt wird.
Foto: Philipp Glänzel, Principal bei Qvest Media.
Mike Grabowski enhances backdrop for Times Square NYE broadcast with Chauvet's Colorado Solo Battens
Millions of viewers welcomed 2019 by watching Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest. They saw stars like Christina Aguilera, Bastille and New Kids On The Block welcome in the New Year on the Midnight Countdown Stage, a small open structure perched over the one million celebrants who crowded Times Square. They also watched in anticipation, as they do every year, as the giant ball dropped from atop One Times Square at midnight.
What these viewers didn’t see very much of, though, were the fire egress routes located throughout Times Square. Put in place by NYPD, these passages are essential security measures, but their empty space and utilitarian guard rails don’t make for compelling television. In the past, their presence limited the number of wide camera shots taken from the Midnight Countdown Stage, but as 2018 turned to 2019, the Lighting Design Group came up with a way to block the lanes from view with the help of 12 Chauvet Professional Colorado Solo Batten fixtures, supplied by WorldStage.
“Most viewers at home don’t realize there are so many egress lanes all over Times Square,” says the Lighting Design Group’s Mike Grabowski. “The show had to be very careful about going to wide shots, since all you would see were railings and empty egress streets. This presented a challenge, because the wide shots could provide a very helpful change of scenery in a show that goes from 8 pm until after midnight.”
Being smaller than conventional strip lights, the Colorado Solo Batten fixtures fit on the Midnight Countdown Stage’s railings. This allowed Grabowski to create “a dynamic lighting element that fit the aesthetics of the broadcast while blocking out the view of the egress lanes with their light.”
Being part outdoors and part indoors, the Midnight Countdown Stage creates challenges dealing with the elements, which is something that made Grabowski appreciate the IP65 rating of the RGBAW batten.
On this project, Mike Grabowski worked closely with Wolfram Ott and Jeremy Dominik, associate designers; Ron LaValle, Inside IATSE Head; Joseph Cartagena, Outside IATSE Head; Ryan Phillips, Outside Programmer; Steve Garner, Inside Programmer; and David Cook, Lighting PM.
(Photos: Jeff Neira/ABC via Getty Images)
Mercedes-Platz in Berlin opens with Elation Proteus light show
On October 13, 2018, Mercedes-Platz in Berlin, a new mixed-use area that complements Mercedes-Benz Arena, was ceremoniously opened with a multi-media show that incorporated lighting effects from Elation’s Proteus Hybrid luminaires.
General service provider TSE AG was commissioned with implementation of the show with company specialist lighting planner Klaus Graewert using more than 30 weatherproof Proteus Hybrid fixtures to generate dynamic lighting effects.
Between noon and 6 pm, the audience was able to enjoy an extensive stage program with various live bands, but the highlight of the evening came shortly before 8 pm with a multimedia show of lighting, video and sound elements, along with water effects and a pyrotechnic finale.
Twelve Proteus lights were positioned on the roof of the Mercedes-Benz Arena. Another 20 units were distributed across the square. TSE rented the Proteus fixtures from Motion GmbH in Fürth. Sandra Boner and Adrian Carlin handled overall project management for TSE. In addition to Klaus Graewert as lighting designer, Rico Stegemann was involved as a specialist planner for video.
(Photo: TSE AG)
Dublin’s New Year Festival with Avolites Tiger Touch II
Thousands of people witnessed Dublin’s New Year Festival with a light show that illuminated the Custom House and River Liffey. Lighting designer Matthew Kilmurry, of Kilmurry Design, controlled the effects using two Avolites Tiger Touch II consoles.
“My brief for the event was to light up the sky and surrounding areas of Custom House Quay in Dublin city centre. The lighting needed to be dynamic, original and totally in-sync with the six-minute music piece that played at midnight,” says Kilmurry. “I pre-programmed to timecode, using Capture and a Tiger Touch II at home before the event - there were about 300 cues in six minutes.”
Both Tiger Touch II consoles were supplied by Production Services Ireland, with Ciaran Donnelly serving as Project Manager. As the site was so large, Kilmurry positioned one Tiger Touch II on each side of the river, networked so they could both be used at the same time, editing and updating palettes.
“We also had a router on each side of the river, enabling me to use the Titan app. This meant that I could walk along the river and see positions from different angles and update the console from the app on my phone,” Kilmurry explains. Kilmurry’s rig consisted of 80 x LightSky AquaBeams, 80 x SGM P5 LED, 30 x CLF Ares, 60 x CLF Yara, 20 x Prolights PanoramaIPAB, 10 x 3k AO Searchlights, 12 x 4k AO Searchlights.
In the run up to the Midnight Moment, organisers staged a ‘Countdown Concert’ featuring Dublin-based artist Gavin James, Ireland’s own Hudson Taylor band, and rockers Inhaler. Kilmurry also designed the stage lighting for the live music elements of the show, specifying an Avolites Arena console for in-house and band operators to control a rig mainly made up of Robe BFMLs, Pointes and Spiiders, supplied by Just Lite Ireland.
Pictured: Ciaran Donnelly (left) and Matthew Kilmurry. (Photos: Emma Synott/Allen Kiely)
Présence and Chauvet light up event at Casino Knokke
Although the glamorous days of the pre-modern era have passed, the Casino Knokke still retains its style and flair, making it a tourist attraction and a site for upscale functions. At a recent private reception, the team at Présence celebrated the venue with an event design that featured Chauvet Professional Rogue and Well Fit fixtures.
“The Casino Knokke is a landmark on the Belgian coast,” says Isabel D’Hulster, Business Manager of Présence. “With its rich history, this building makes people think about the ‘grandeur of yesterday.’ We wanted to reinforce this feeling with our design for this event, yet still retain a modern touch.”
The design team created a long silver-fringed tunnel at the event entrance. Working with its technical partner Solico, Présence animated the tunnel with color-changing light from 40 Well Fit fixtures. An additional 32 Well Fit units were used to uplight the event room.
The event itself took place in The Kroonluchterzaal (Chandelier Room), so named for the 6-ton, 8.5-meter diameter chandelier made of Venetian crystal that defines its décor. Présence accentuated this design element (it’s the fourth largest chandelier in the world) by colorizing it with eight Rogue R2 Wash fixtures.
Going beyond accenting the chandelier in light, Présence wove the iconic structure into their design for the event. The designers used eight Rogue RH1 Hybrid fixtures to light the broad stairway that led to the room in colors that harmonized with the colors washing the chandelier.
“We reinforced the glam feeling of the venue by putting the RH1 Spots on the left and right side of the stairs,” says D’Hulster. “This evoked images reminiscent of old movies or TV programs that had people coming down from the stairs to enter a ballroom or at the beginning of a show.”
As the event unfolded and the dancing began, the moving fixtures morphed from being mood setters to disco lights. Turning the Rogues from the chandelier and grand stairway, the designers directed a dynamic pattern of crisscrossing colorful light onto the dancefloor.
IPS supports film premieres with Chauvet LED panels
At the double premiere of the 2018 post-apocalyptic adventure films 'Mortal Engines' and 'Aquaman' in London’s Leicester Square, a large multimedia installation showed film snippets, custom created content and live action. IPS created the video screens with 106 PVP X6IP LED panels from Chauvet Professional.
“The most complicated aspect of this particular project was that there were two different premieres on consecutive days,” explains Ian Brown, Project Coordinator at IPS. “Understandably, the designer and IPS client Limited Edition Event Design wanted to create two completely different looks to ensure there was a different feel to each premiere, while working within the logistical constraints of the site and shows.”
For the first show, the premiere of 'Aquaman', IPS supplied seven rigging towers, each supporting a 1.5 m high by 2.5 m wide screen made from X6IP panels. For the next day’s premiere of Mortal Engines, three of the towers were removed and the screens reconfigured so the four remaining towers each supported a 1 m wide by 5 m high screen, also made from the repurposed X6IP panels.
MRG unterstützt Carpendale-Spezialshows
Für die fünf Shows, die Howard Carpendale zwischen Weihnachten und Silvester 2018 in Berlin gab, ließ sich der Sänger von Shows in Las Vegas inspirieren. Gemeinsam mit Lightoperator Lutz John und dem Soundspezialisten Detlev „Willy“ Klein sowie der MRG-Gewerkeleiterin Jeanette Weidenmüller wurde ein Techniksetup geplant und bereitgestellt.
Darüber hinaus waren zwei Sonderbauten von MRG Teil der „Die Show meines Lebens“ getauften Produktion. Ein großes Portal sowie ein Hitparaden-Podest wurden federführend von MRG-Techniker Stephan Ziegler gebaut.
Chauvet's Épix Strip IP used at Zoute Grand Prix
For the annual Zoute Grand Prix event at the Belgian coast, Stow International, one of the main sponsors of the event, installed an industrial piece of art on the dyke, showing what they do, industrial racking, and serving as pitlane for the participating cars.
For this year’s edition, the Stow racking construction was higher, including two lanes for the technical scrutineering and control to highlight the Zoute Pitlane. Stow commissioned event agency Bevas Events for a lighting concept that includes 280 Chauvet Professional Épix Strip IP fixtures. The lighting transformed the pitlane construction into a lattice of linear geometric illumination so that the Stow racking was highlighted from both sides of the dyke.
In order to transform the industrial racking structure, with its quadratic metal trussing, Bevas Events’ Designer Jeroen Van de Velde utilized the 100 LEDs on each of the 1-meter long Épix Strip IP fixtures to create a linear effect congruent to the structure’s form.
In addition to providing structural highlighting, the fixtures provided the basis for the illumination of the cars, heightening their entrance and exit through the structure with bursts of color, which rolled off the glossy paintwork to achieve a tunnel-like motion effect as they passed through.
(Photos: Bevas Events)
Elation lighting package for Mexico’s 'Abrazos'
Performance company Finzi Pasca used a large number of Elation Professional luminaires on the interactive show 'Abrazos' at the 2019 State Fair of León in the state of Guanajuato, Mexico. More than 100 Elation fixtures took part in the show.
A package of 42 SixBar 1000 IP, 8 Smarty Hybrid, 18 Fuze Wash Z350, 16 Fuze Pair Z120 IP, 11 Colour 5 Profile, 8 Paladin and 8 DTW Blinder 700 IP luminaires was used to light the show, which played from January 11 to February 5. Daniele Finzi Pasca, director of Switzerland-based Compagnia Finzi Pasca, wrote and directed the show. Lighting design was by Daniele Finzi Pasca and Alexis Bowles.
In the center of the arena, a 15-meter square stage was illuminated using 8 Acclaim Flex Tube RGB LED strips and surrounded by 42 Elation SixBar 1000 IP battens washing the stage from all angles. Trimmed at a height of twelve meters, Smarty Hybrid moving heads along with Fuze Wash Z350 and Fuze Par Z120 IP single source par moving head luminaires highlighted the dozen artists who starred in the show. Grupo Produce Comunicación was in charge of the production and its 75 performances.
(Photos: Carlos Alvar)
Another busy panto season for HSL
Lighting and visuals rental specialist HSL supplied lighting equipment to 32 Qdos pantomime productions all over the UK for their 2018-19 season, together with a full rigging - truss and motors package - plus Kinesys automation for "Cinderella" at Glasgow’s SEC.
This year HSL worked with 17 different LDs and liaised with 25 production LXs who made it happen on the various sites which included all the regional capitals - Belfast, Cardiff, Edinburgh and London. HSL’s 2018 panto team was led by Jordan Hanson, assisted by Emma Turner, and included account handlers Sean McGlone and Mark Shakeshaft.
Glasgow is typically the largest show in terms of production and venue size and this year lighting was designed by Tim Oliver. Other key ones were "Snow White" at the London Palladium, "Peter Pan" in Birmingham and "Goldilocks" in Newcastle, all lit by Ben Cracknell, together with Edinburgh’s "Beauty & The Beast" and "Aladdin" in Bradford with lighting designed by Matt Clutterham. Cracknell also lit the show in Darlington while Clutterham lit four others.
Emma Turner co-ordinated the custom gobos, which this year included over 3,200 gobos for several different types of moving lights. At HSL they were fitted into all the moving lights and addressed; a task which took around six weeks. At the end of the season, they returned to the warehouse with their original gobo sets.
Other stats for the 2018-19 season include the supply of 2,500 intelligent lighting fixtures - a mix of moving lights, LED and 'pixel' sources. The number of generics approached 1000 - profiles, fresnels, PARs and blinders, and to feed power and data to all of these there was over 100 miles of cable - multicore, power and data. Around 1500 boom arms were supplied for rigging various lights.
HSL also supplied lighting control and follow spots to some venues where these were not available in house. This and a variety of associated kit including power distros customised for each production all left Blackburn in between the 16th November and 13th December.
There was a two-week period within that timeframe when 29 trucks were loaded and dispatched, including three trucks for Glasgow. Some trucks shared loads and the task was optimised at 4 trucks a day. For tipping, the warehouse handled up to 7 trucks a day, with the last one returning on 28th January 2019. Just prior to loading, 16 of the 17 production LX’s came to Blackburn to engage in and oversee their relevant preps.
(Photos: Louise Stickland)
Elation illuminates NightGarden at Fairchild Tropical Botanic Garden
This past holiday season, south Floridians had the chance to experience NightGarden, a new enchanted walk-through experience at Miami’s Fairchild Tropical Botanic Garden, illuminated by lighting designer Chris Werner. Produced by Kilburn Live under the creative direction of Max Painter, the attraction featured talking trees, fairies, and 10-foot tall dandelions.
Responsible for lighting design, specification and programming for all of the exterior spaces within NightGarden, Werner created a variety of visuals by using light, color and movement that supported the story line.
With a tropical environment to contend with, IP65-rated luminaires were a must. Werner specified multi-environmental Elation Proteus Hybrid moving heads and WW Profile IP ellipsoidals for the project as part of a larger lighting package supplied by 4Wall.
The Proteus fixtures operated in two main areas of the attraction. At the entrance, Proteus beams were used to project aerial patterns across a reflective lake, as well as onto the tree canopy. Farther into the attraction, in an immersive area called Dance of Lights, the fixtures were incorporated into 12 two-minute time-coded light and music shows. Scattered about the area, the Proteus lights fulfilled a number of duties from illuminating trees and the canopy to projecting beams of light through haze.
Populating several areas of the attraction with gobo breakups or custom gobos of whimsical forest characters were WW Profile IP warm-white ellipsoidal spots. The 130 W ellipsoidals with framing shutters also served other purposes, for example lighting the tree canopy and illuminating the pathway. NightGarden’s inaugural season ran from November 23 until January 11.
(Photos: Sharon Sipple)
The Overtones on tour with Electro-Voice X-Line Advance and Dynacord TGX
Vocal harmony group The Overtones sold out concert halls across the UK when they set out on a 26-date tour at the end of 2018, accompanied by long-term front of house engineer Mark Clements.
Technical production specialist Merlin PA Hire supplied an Electro-Voice X-Line Advance X2 line array system driven by one of the first Dynacord TGX-20 amplifier set-ups to hit the road. In choosing to use the Dynacord TGX amps, Merlin PA’s Neal Allen also adopted a fully Omneo workflow for the tour, combining Dante audio transport with OCA control.
Depending on each venue’s size and load bearing capacity, Allen specified a configuration to suit with a mixture of EV X2-212/90 and X2-212/120 elements, plus XLE181 in-fills and front-fills and X12-128 subwoofers. Five Dynacord TGX-20 amps per-side were housed in the rack.
Robe fixtures used for 'Varoffer' performance
Urban dance impresario Fredrik ‘Benke’ Rydman's 'Varoffer' performance at the Stockholm Kulturhuset Stadsteater in Sweden featured two different pieces: the first a 40 minute ‘solo’ performance by Rydman dancing with an industrial robot to a specially composed new soundtrack by Johan Liljedahl and Carl-Johan Rasmusson; and the second comprising 20 synchronised street dancers moving to Stravinsky’s ‘Rite of Spring’ in 5000 litres of water with a massive mirror suspended above the stage bouncing their images back into the audience to appreciate their symmetry and formation skills.
Lit by Palle Palme, Robe BMFL Blades, LEDWash 1200s and ColorSpot 700E ATs together with other luminaires all played a vital part in this show. Palme has worked with Rydman since 2003 when he was in the Bounce Streetdance Company including for their global hit 'One Flew Over the Cuckoo’s Nest' which toured worldwide.
Palme joined the 'Varoffer' creative team around nine months in advance, and the initial discussions with Rydman involved an in-depth outline about how the show should look. They established a workshop complete with scenery and lighting fixtures several months before the opening which allowed them to experiment with various products and techniques.
Both acts of the piece played in specific areas on the stage - Rydman and the Robot performed in an area approximately 8 metres in diameter, while the Rite of Spring dancers occupied a space around 12 metres on a custom 5 cm deep carpet filled with a 3 cm draft of water on which they slided and glided.
Palme used two of the 11 BMFL Blades as low side and front light, with five BMFL Blades on LX bar 0 also for front lighting, and four of the fixtures on the over-stage trussing. The 24 x LEDWash 1200s were also dotted around on the overhead trusses, while the older ColorSpot 700E ATs - among the theatre’s original purchase of Robe fixtures - were hanging in side-stage positions.
For the first act with Rydman and the Robot all the Robe units were used sparsely, primarily one BMFL Blade at a time for back-light, catching Rydman and the Robot in the path of the cross beam, fading in and out in rhythmic harmony with the music and the movement.
For the second act more lighting came into play, and Palle Palme had to be strategic in where these sources were positioned because anything overhead reflected and refracted off the mirror above the ‘pool’ of water. He utilized the lighting budget to have 20 special low-rise side-lighting towers built, accommodating a total of 120 x static profiles which allowed him to hit the dancers in the pool in a variety of different coloured whites without catching the water in the light.
Palle Palme utilised the theatre's own ETC Cobalt lighting console, worked alongside house programmer Pekka Hellsten, and was also assisted by the venue’s head of lighting Anders Tuvesson.
(Photos: Håkan Larsson)
Work Pro’s LightShark lighting console on tour with 'Someone Like You - The Adele Songbook'
PA and lighting company Black Cat Audio is currently deploying Work Pro’s LightShark DMX-based hardware lighting console on the international theatre show 'Someone Like You - The Adele Songbook'. Conceived and produced by Chameleon Music Marketing, the show features Katie Markham leading a six-piece band through Adele’s hits plus more.
Northamptonshire-based Black Cat Audio has been providing lighting and sound services to the show since its inception. “At the end of last year, we redesigned the show and decided to invest in some new equipment including the LightShark,” says Black Cat Audio’s Technical Director Adey Osbourne.
Although some of the venues the show is visiting have their own lighting rigs, Osbourne decided to tour with a dedicated rig that consists of four Chauvet 375 moving heads, four 4 Uking 105W LED washers, eight QTX LED par cans, two moving head UKing 100 moving head spots, four Evolution par bars, eight other LED slimline par cans and 10 generic par cans.
“The LightShark controls everything, from the position and movement of the lights to the colour changes and Gobo’s,” he explains. "All this can be done from either the console or from a tablet or iPhone, which means our lighting engineer Karl Thompson is free to walk around the theatre and actually see what is happening rather than being stuck in one position.”
Grammy-Debüts mit Sennheiser und Neumann
Bei der Live-Übertragung der 61. Grammy-Verleihung in Los Angeles feierten Travis Scott, Brandi Carlile und Shawn Mendes ihre Grammy-Debüts mit Mikrofontechnik von Sennheiser und Neumann.
Travis Scott rappte seine Songs mit einem Sennheiser-Handsender der Serie Digital 6000 mit Mikrofonkapsel MD 9235. Shawn Mendes nutzte bei seinen Performances einen Sennheiser-Handsender SKM 2000 mit dynamischer Supernierenkapsel MMD 945.
Brandi Carlile trat gegen Ende der Preisverleihung mit einem goldfarbenen Kondensatormikrofon KMS 105 von Neumann auf. Ein Vintage-Modell von Sennheiser, das MD 409, nahm den Gitarrenverstärker ab. Carliles Bandkollegen Phil und Tim Hanseroth sangen mit Evolution-E-935-Mikrofonen von Sennheiser.
(Fotos: Kevin Winter/Getty Images)
Chauvet fixtures used at launch of BMW Mini dealership
When the new BMW Mini Dejonckheere opened its doors, it called on Belgian design firm Présence to help it treat customers to an event that included an EDM afterparty. Along with enjoying the evening’s festivities, the 1,700 guests in attendance saw the permanent features of the showroom itself, which like the party, were accented by a lighting design.
Created by Présence, working with designer Dieter Ducoulombier and project manager Ozzy Vandevoorde from its technical partner Solico, the lighting design was anchored by a collection of Chauvet Professional Well Fit, Rogue and Épix fixtures.
The Well Fit uplighting fixture was a key part of the lighting design. Approximately 300 of the battery-powered RGBA fixtures were positioned at points throughout the showroom, at a see-though party tent, and on the patio roof, where they uplighted concrete pillars.
The 12 Rogue RH1 Hybrid fixtures were positioned in the facility’s outdoor domes. Pointed upward, they created aerial effects, their columns of light forming a “corridor” that led up to the reception tent.
In the Boiler Room, where the afterparty took place, 24 Rogue R1 Spot and 24 Rogue R2 Wash fixtures, as well as four risers outlined with Épix Strip IP units were deployed.
Prolyte Verto Truss used at Los Angeles Auto Show and Volvo product launch
Prolyte’s Verto Truss system was used by Creative Technologies (CT) at three separate booths during the 2018 Los Angeles Auto Show in December 2018. CT installed 3,200 linear feet of black, powder-coated Verto truss to create booths for the new Genesis, Hyundai, and Kia automobiles.
In addition to the LA Auto Show, CT also relied on Prolyte’s Verto truss for a Volvo product launch at the new U.S. plant in the Carolinas. CT built a stage inside the warehousing facilities to release a new car model for Volvo’s worldwide management team. CT purchased the trusses from A.C. Lighting, the North American distributor for Prolyte.
Ayrton MagicBlade-R key light on Haywyre tour
American musician, music producer, composer and DJ, Martin Vogt - known by his stage name of Haywyre - hit the road this February with his 'Discovery + Form' tour to mark the release of his latest series of EPs.
Kicking off at The Crocodile in Seattle on 22 February, the tour ran for 17 dates culminating on March 22 at the U Street Music Hall in Washington DC. The venues throughout the tour varied in size from the 350-capacity Catalyst Atrium in Santa Cruz to the 800-seat EchoPlex in Los Angeles.
To maintain the visual integrity of the production between venues, lighting designer, Taylor (Brotay) Copp chose Ayrton MagicBlade-R fixtures, supplied by Hivemind Lux LLC, as his key lights. "We mounted the MagicBlade-Rs on to black poles on either side of the stage," says Eric Bindman, Haywyre’s tour manager. "We could up- or down-scale this arrangement to suit each venue, and because it requires no overhead truss, we could fit into the smallest room."
Copp used the MagicBlade-Rs to frame the artist, alternating dramatic cross light with dynamic and static configurations, running chases and video content through the linear faces of the fixtures as well as mixing up the style with position and alignment.
TSL designs rigging and lighting solution for BAFTAS
The BAFTAS 2019 welcomed film stars and royalty to London’s Royal Albert Hall in February. The red carpet was flanked by a rigging and lighting solution designed and delivered by TSL Lighting.
TSL’s Neil Harvey worked alongside colleagues Ali Morris and Rory Mackay to realise the project, working to a brief from event designer and producer Lucy Smail of WD&P. The red-carpet arrival area required the construction of 12 TSL custom-designed truss towers, a 40m-long ground support truss structure and a four leg self-climbing structure.
Harvey’s lighting rig consisted mainly of Arri 2 kW tungsten compact fresnels, SGM P5s, Aquabeams, Martin Rush Pars and Martin VDO Sceptron 10 battens.
Robe fixtures illuminate Transmission Festival
At the 2017 Transmission Festival at the O2 Arena, Prague, Czech Republic, lighting designer Bas Kemper used 24 of Robe’s then just-launched MegaPointe multifunctional moving lights. When he returned to light the 2018 edition of the festival, 60 MegaPointes were prominent on the spec, along with 18 x BMFL Blades, and 20 x LEDBeam 150s, all delivered, together with the rest of the lighting production for this event, by Slovakian rental company Ministry Rental Services in collaboration with RentAll.
Bas Kemper also designed the set, working closely with the Dutch VJ Vision Impossible collective on the video design and content production, with additional scenic video deco banners made by Bedrich Vlach of Czech company Promo Production.
Kemper had 30 x MegaPointes rigged over the stage, divided into blocks of three, with the other 30 deployed on the deck, also grouped in threes. The lighting design involved mirroring left and right and also, the set, lasers, video, lights and SFX were mirrored 90% top and bottom, hence the 30 x MegaPointes at the top and 30 x MegaPointes lower down, with a similar set up for the 10 LEDBeam 150s top and bottom.
The 16 x BMFL Blades lit the set and stage elements, with two fixtures providing front/top key light for the DJs. The video set pieces in the room comprised five large apex-ended video screens flown above the stage and audience area, plus six columns of video hanging out of the roof down the long sides of the auditorium.
While the MegaPointes were at the core of the lightshow for this one, Bas Kemper also had a bunch of other lights including beamers and other hybrid fixtures, all pulled from Ministry’s rental stock. Lighting was operated by Zis Ankone and Martijn Deenen utilizing a GrandMA2 platform.
The lasers were delivered by Rudo Tucek and his team from Ministry. Ministry also supplied most of the event’s LED screen. The overall technical production was coordinated by United Music Productions.
(Photos: Petr Klapper/Pavel Kral)