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Fusion FS20 von GLP beleuchten Austragungsort der International Swimming League in Budapest

19/04/2021

Corona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im Einsatz

15/04/2021

Robe illuminates “De Vooravond”

09/03/2021

Corona: Jean Michel Jarre virtual show controlled with ChamSys

09/03/2021

Corona: Crt Birsa uses ChamSys console for 40 Fingers livestream

09/03/2021

CSM uses IP-rated Elation gear for Daytona 500

08/03/2021

Mónica Naranjo concert lit with Robe

05/03/2021

Chauvet fixtures selected for “Land of Light”

02/02/2021

Martin Audio MLA sound system specified for ‘Return’ convention

28/01/2021

Corona: JDC Line von GLP setzen optischen Rahmen beim 13. Deutschen Nachhaltigkeitspreis

27/01/2021

Corona: Wes Youngblood lights Smith & Myers drive-in show with Chauvet

26/01/2021

„Big Performance - Wer ist der Star im Star?“ mit Hybrid-Strobes von GLP

21/01/2021

Robe moving lights illuminate tallest building in Africa

19/01/2021

Corona: CPL provides LED screen for Volkswagen event

19/01/2021

Corona: Evan Antal lights Le Getaway with Chauvet

18/01/2021

Corona: Elation IP-rated lighting for eight-week Drive-In Concert Series

14/01/2021

Martin Audio chosen for Schlosshofkonzert 2020

14/01/2021

GLP unterstützt „Burgleuchten“ auf Schloss Burg

12/01/2021

National Kaohsiung Center for the Arts brings Ayrton Khamsin-S to “Turandot” revival

12/01/2021

„Written on Skin“ mit Zactrack-Smart-System an der Oper Köln

11/01/2021

TSL supplies rig for “Magic Mike Live” Australia

08/01/2021

Corona: FischerAppelt schafft digitale „Experience“ für Volkswagen

06/01/2021

Corona: Fredrik Jonsson selects Astera for Malmö Opera’s “Funny Girl”

06/01/2021

Corona: Elation lights chosen for Southern California’s “Concerts in Your Car”

05/01/2021

GFK-Abdeckungen von Fibrelite sichern britischen Atomkraftwerk-Rückbau

04/01/2021

Fusion FS20 von GLP beleuchten Austragungsort der International Swimming League in Budapest

Für die Beleuchtung eines ISL (International Swimming League)- Events in Budapest hat Produktionsdesigner Frédéric „Aldo“ Fayard (Concept K) erstmalig Fusion-by-GLP-FS20-Sticks eingesetzt. Das aufgrund von Corona-Beschränkungen zuschauerfrei ausgetragene Event wurde unter anderem auf CBS in den USA und BeIN Sport übertragen.

 

Für das Setdesign und die szenografische Gestaltung tat sich Frédéric Fayard mit Antoine D’Halluin, Projektleiter bei PRG, zusammen. Das Setdesign umfasste die Beleuchtung, die Bildregie, Video-Elemente und die Integration der LED-Screens sowie das Studio für die englischsprachigen Kommentatoren und zudem die gesamte technische und sportliche Ausstattung.

 

Ein Auswahlkriterium für den IP-65-klassifizierten und mit zwanzig Leuchtquellen pro Meter ausgestatteten Fusion FS20 bestand in der Möglichkeit, die Sticks miteinander zu verbinden. „Dadurch konnten wir einen durchgehenden horizontalen Lichtstreifen am Beckenrand kreieren und gleichzeitig einen beachtlichen Output erzeugen“, erklärt Fayard. „Wir entschieden uns für die am breitesten abstrahlende Optik (60°), die noch bei keinem anderen Dienstleister verfügbar war.“

 

Das Design verlangte die Beleuchtung beider Seiten des 25 m langen Beckens, deshalb wurden links und rechts jeweils 24 FS20 horizontal etwa 20 cm vom Beckenüberlauf entfernt installiert. „Das Ganze war in einem Winkel von etwa 20° nach oben ausgerichtet“, so Fayard. Die Fusion FS20 erfüllten dabei mehrere Aufgaben und kamen bei der rhythmischen Gestaltung des Show-Intros via Timecode, bei den Zieleinläufen der einzelnen Wettkämpfe und schließlich als Hintergrund und Dekoration in allen Kameraeinstellungen zum Einsatz.

 

Was die Programmierung angeht, entschied sich Fayard für den 92-Kanal-Pixel-Modus. „Wenn man an einem Projekt arbeitet, das anderthalb Monate lang an Ort und Stelle bleiben soll, will man es bis an seine Grenzen bringen“, sagt der LD. „Wir mussten unbedingt die LEDs einzeln nutzen, also Effekte erzeugen, als hätten wir eine einzelne Leiste mit 240 LEDs. Aber ich wollte auch Zugriff auf die Strobe-Funktion für alle LED-Bars haben und in der Lage sein, in einigen dynamischeren Momenten Bar-für-Bar-Effekte zu erzeugen, wie zum Beispiel bei der Feier von Weltrekorden - deshalb brauchten wir den 92-Kanal-Modus.“

 

Außerdem nutzte Fayard GLPs Impression X4 L in einer Doppelrolle: als generellen Gegenpart für den Einzug aller Schwimmer sowie für Effekte bei Finishes und nach Werbepausen. Da er auch hier eine Vielzahl von Lichtquellen benötigte, nutzte er zwei Linien von X4 L: die erste mit zwanzig Stück und die zweite mit sechzehn Stück. Drei weitere X4 L kamen backstage zum Einsatz. Der Designer spezifizierte darüber hinaus neun Impression X4 Bar 20.

 

(Fotos: Set & Lighting Design PRG & Concept K for ISL 2020/Theo Broche Cannone)

 

www.glp.de

 

Corona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im Einsatz

Corona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im Einsatz

Die Singer/Songwriterin LEA hat an den „Picknick-Konzerten“, einer coronakonform umgesetzten Veranstaltungsreihe der Landstreicher Konzerte GmbH, teilgenommen. Lichtdesigner Maximilian Gräf von PE Lichtdesign nutzte dabei zwanzig KNV Line von GLP. Gräf, der seit Februar 2017 als Licht- und Bühnendesigner für LEA tätig ist, musste pandemiebedingt für die „Picknick-Konzerte“ auf ein älteres Design zurückgreifen.

 

„Das Design zum neuen Album ‘Treppenhaus’ existiert nur auf dem Reißbrett“, berichtet er. „Als es dann an die ‘Picknick-Konzerte’ ging, habe ich mir sowohl die alten Aufzeichnung des ‘Zwischen meinen Zeilen’-Designs, als auch die Entwürfe für das geplante ‘Treppenhaus’-Set vorgenommen und versucht, aus beidem etwas Neues zu kreieren. Ich habe also Dollys und Lampenpositionen aus dem alten Set übernommen und modifiziert.“ Der Designer platzierte die GLP-LED-Module an vier Gassendollys, vier Backdollys sowie auf der Riserkante vor den Musikern und gewann dadurch in erster Linie Tiefe auf der Bühne.

 

Die „Picknick-Konzerte“ bedeuteten für LEA und Gräf ein straffes Programm. „Insgesamt haben wir dreizehn Shows an sieben Tagen gespielt, in der Regel zwei Shows pro Tag - eine nachmittags, eine abends. Ganz schön sportlich, zumal wir coronabedingt ohne Lichtsystemtechniker unterwegs waren. Da hieß es: Kabelbäume vorbereiten und schnell sein“, sagt Gräf. Die Lichttechnik wurde von Groh-P.A. Veranstaltungstechnik geliefert.

 

(Fotos: Calvin Müller)

 

www.glp.de

 

Corona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im EinsatzCorona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im Einsatz

Robe illuminates “De Vooravond”

“De Vooravond” is a new talk-show broadcast on the Netherlands’ first national TV channel NPO 1, presented by Renze Klamer and Fidan Ekiz covering a mix of politics, sport, music, and culture, often with some live performance spots.

 

The current and second series is being lit by LD Jeroen van Geffen using Robe moving lights including T1 Profiles, Esprites and Spikies. Van Geffen works for production company Chain which is part of the Rentall group’s operations specializing in broadcast lighting and audio.

 

He initially lit the first pilot for this series - which takes inspiration from the “De Wereld Draait Door” (The World Moves On) ‘magazine’ programme that ran for fifteen years - at the end of 2020. The second series, which is being recorded at the NEP Westergas Studio Amsterdam, started in the new year.

 

Set designer Ronald van den Bersselaar of BEEO built a U-shape set with screens along the sides measuring 7 metres wide and 4 metres high - the full height of the space. There are three letters along the back. An “O” on the left, the “V” which is split into two parts along the back and the “R” on the right. The O and R are projected with Esprites fitted with custom Rosco gobos, and the two parts of the V are shaped utilizing Esprite framing shutters.

 

With the height of the LED screens and the ceiling, there was no chance of any drop-down arms or other rigging aids. The round table at which presenters and guests sit is also on a revolve so it can turn 45 degrees. The show’s cold-open and intro are presented with the table at a 45-degree position and following a ‘news of the day’ video clip, the desk then turns - with all the guests onboard - to the left, ending up at the 12 o’clock position as the broadcast starts. “Basically, I needed lights that would turn with the table”, explains van Geffen, who would usually light a desk area like this with static luminaires like fresnels, but to deal with the movement, he would have needed three times the number of conventional fixtures, so instead decided to use 16 units of the Robe T1 Profiles.

 

Thirteen Robe Esprites on the show essentially replace the MMX Spots that were used for several years on “De Wereld Draait Door”. Four of the Esprites are used for the set dressing and the rest are rigged above the performance area. “De Vooravond” also features 20 x Robe Spikies. These are used for the small band/artists space in one corner of the studio. The Robe luminaires plus other lights on the show are all being run via a GrandMA3 console.

 

(Photos: Nathan Reinds/Natalia van der Zalm)

 

www.robe.cz

 

Corona: Jean Michel Jarre virtual show controlled with ChamSys

Corona: Jean Michel Jarre virtual show controlled with ChamSys
Corona: Jean Michel Jarre virtual show controlled with ChamSys

Electronic music pioneer Jean Michel Jarre’s virtual reality show on New Year’s Eve, entitled “Welcome To The Other Side”, garnered 900,000 views on YouTube within a week of its release and, according to Sony Music International, over 75 million views on all outlets (Facebook, VRC, Weibo, Tik Tok). Jarre’s creation swirls high-tech sights and sounds around a reimagined (and virtual) nine-centuries-old Notre Dame cathedral.

 

During its 55-minute run time, conceived to celebrate the arrival of 2021 in the French capital, animated geometric forms rise and fall within the historic church’s nave, keyboard instruments melt with color, and light patterns run up stone columns to play off stained glass windows. The lightshow was created by Jvan Morandi of Placing Shadows using his ChamSys MagicQ MQ80 console.

 

Run along triggered timelines within the Unity game engine, the lightshow is divided into two parts: interior stage element and architecture sequences created via the ChamSys but then run directly by the Unity engine, a series of exterior architectural sequences, involving lights and lasers as well as camera moves played back via the lighting desk thought ArtNet and software.

 

“We programmed the cues with a ChamSys MQ80 in my studio”, notes Morandi. “All the cue lists come from ChamSys and were translated into a set of Unity animation triggers on a timeline. When I say ‘translated’, I mean that Victor Pukhov used the visualized lighting cues to create shader animation that then got triggered by Unity custom scripts by Antony Vitillo.”

 

During the show, Jarre played live from TV Studio Gabriel in Paris. He was lit only by a video projector and portrayed in vivid colors and shapes coming directly from the same video content that was UV mapped on the inside of the virtual cathedral. Lending another touch to the show was the virtual rendition of Notre Dame’s interior. The 3D model and the game engine programming were optimized by Lapo Germasi and Victor Pukhov of Manifattura Italiana Design. “Once we received the interior of the cathedral, we worked with our studio software and the game engine to find the right looks”, explains Morandi.

 

When designing the stage set in the middle of the church, Morandi envisioned a “modern version of Stonehenge”. He viewed the circular stage as a reflection of the shape of the big stained-glass window at the front of the cathedral. The stage columns that animated the scene were video mapped and received streamed content from a cue list on Vimeo.

 

“The stage lights are actually not real light but volumetric shaders that were animated by Victor Pukhov to mimic my ChamSys programmed lighting cues”, says Morandi. “Vincent Masson created the 3D animations. He used our 2D content as starting point and created the 3D versions of it.”

 

Louis Caracciolo from VRroom was the VR Producer. Antony Vitillo of NTW looked after the scripting and game engine functionalities. Jonathan Klahr worked on the 2D video content mapped onto the interior walls. Stephan and Jeroen from LaserImage of Amsterdam programmed the initial laser sequences. Georgy Molotsdov, Maud Clavier and David Montagne (Global TV broadcast) filmed the show all in VR. Exemplifying the scope of the project, one camera director was in Moscow (Georgy Molotsdov), while another was in Paris (Maud Clavier). Each of them controlled up to eight remote VR cameras and drones.

 

Filming of this live VR gig was completely in VR within the VRchat platform, an accomplishment that would have been unimaginable not that long ago, but one that will become commonplace not that far into the future, according to Morandi. “Once we have tested and solved various technological issues, I see tours in the future travelling with a VR/AR component in the crew”, says Morandi. “Each show will be attended by real audience as well as VR/AR audiences. It will be just another way to enjoy entertainment.”

 

 

(Photos: ChamSys)

 

www.chamsysusa.com

 

Corona: Jean Michel Jarre virtual show controlled with ChamSysCorona: Jean Michel Jarre virtual show controlled with ChamSys

Corona: Crt Birsa uses ChamSys console for 40 Fingers livestream

Corona: Crt Birsa uses ChamSys console for 40 Fingers livestream

Crt Birsa lit a one-hour livestream at Trieste, Italy’s (due to Corona restrictions empty) Politeama Rossetti theatre for the Trieste-based guitar quartet 40 Fingers. 

 

Covering the stage with a pattern of gobos and beams, his 15-universe, 110-fixture show enveloped the four artists in a panorama that reflected their performance. Powering his preprogrammed show was a ChamSys MagicQ MQ80 console and PC Wing. “The show was designed in WYSWIG and run on my MQ80 with the Wing for backup”, says Birsa.

 

“Because there was no audience, and the show was made just for the camera, I could do a lot of looks that I would normally stay away from out of fear of blinding people in the seats”, Birsa continues. “I am fortunate that Vigna PR believed my crazy ideas and helped bring them to life for this show and that the Event Lighting crew did such a great job setting up the rig.”

 

(Photos: Simone Di Luca)

 

www.chamsysusa.com

 

Corona: Crt Birsa uses ChamSys console for 40 Fingers livestreamCorona: Crt Birsa uses ChamSys console for 40 Fingers livestream

CSM uses IP-rated Elation gear for Daytona 500

CSM uses IP-rated Elation gear for Daytona 500

CSM Production of Charlotte, North Carolina, was again called on to provide pre- and post-race production for Nascar’s Daytona 500, and for this year’s race they turned to an IP-rated package of Elation lighting gear. Delayed for six hours due to storms, the 2021 edition of The Great American Race was a rain-soaked affair.

 

CSM handled all pre-race events including a concert by country artist Luke Combs, driver intros and the National Anthem, as well as Victory Lane celebrations after the race. Luke Combs played to the live crowd and a global audience on Fox with safety protocols requiring fans to remain in the grandstand seats. Ashley Tobin Rutherford, Sr. Coordinator of Technical Production at CSM Production, designed the lighting for the Luke Combs stage.

 

For the concert CSM constructed a main stage of truss grid bolted on a 53-ft long flatbed trailer on which four 2x7 vertical LED screens and a center 6x11 screen hung, along with twelve lighting pipes. Here, 12 Elation Cuepix 16 IP 4x4 matrix LED blinder and effect panels (acquired by CSM specifically for the event), 12 Elation SixPar 200 IP par lights and LED battens complemented the screen backdrop.

 

Flanking the main stage were truss grids bolted onto two landscape trailers that held PA and additional lighting for the concert, including 6 Elation ACL 360 Matrix moving head effect panels, 8 Elation Platinum Wash LED Zoom moving heads and 12 Elation Cuepix Strip Tri fixtures working with 4 Antari M-7 RGBA foggers. All control data ran through a Netron EN12 node from Obsidian Control Systems. Combs got Nascar fans warmed up for the race, performing five songs with his newest song aired live on TV. After the concert, the PA trailers and center stage were cleared away, leaving just the LED backdrop for driver intros with custom content mapped to the screens and lights.

 

Post-race at Victory Lane, 12 Elation Proteus Hybrid IP-rated arc source moving heads (rented from Music Matters of Atlanta),16 Elation Pixel Bar 60IP and 2 Pixel Bar 30IP battens worked with 4 Antari M-7 RGBA foggers to add energy to race winner Michael McDowell’s victory celebration. Eight Proteus Hybrids on truss towers provided front wash during the trophy presentation and photos, hit the front stretch of seats for burnouts, and provided the light show for a song played throughout the speedway. Four additional Hybrid units and foggers on stage added movement and cryo effect shots during burnouts, the lightshow, and driver car exits in the Winner’s Circle. The Pixel Bar fixtures outlined the existing signage.

 

CSM supplied all of the Elation gear, except for the Proteus Hybrids, and worked with Elation rep firm The Healy Group for all things Elation.

 

(Photos: CSM/Elation)

 

www.elationlighting.com

 

CSM uses IP-rated Elation gear for Daytona 500CSM uses IP-rated Elation gear for Daytona 500

Mónica Naranjo concert lit with Robe

At the end of 2020, Spanish singer Mónica Naranjo launched a re-issue of her third studio album “Minage”, which paid tribute to Italian artist Mina. She also played a special concert in front of a live audience - with COVID rules in place - at the Palau de Les Arts in Valencia, Spain.

 

Lighting designer CaCo García, who has been working with the artist and her management team for around two years, chose to use 66 Robe moving lights to be at the centre of this show, which he helped deliver working closely with video director Alberto Arias. García discussed the moods and ambience that Mónica Naranjo wanted to evoke throughout her performance and then designed lighting together with the set and staging concept that included two large upstage LED screens and several lighting structures. The look had to work equally well live and for cameras as the show was recorded for streaming.

 

García used 42 x LEDBeam 150s, 12 x Pointes, and 12 x LEDWash 300s. Thirty-six of the LEDBeam 150s were rigged in three 3 x 4 matrix grids on three upstage structures, two flanking the screens and one centrally in between, where they were used for dramatic back light and silhouetting. These luminaires were a vital part of the scenography and set architecture and also ‘doubled’ as a light wall. The other twelve fixtures were distributed between the front truss for full stage washes and on low boom stands in the downstage corners for front and cross stage washing, with two on the front lip of the stage as footlights and to colour and texture the floor.

 

The 12 x Pointes were on the front and rear trusses and the deck. They helped create multiple looks and effects, anything from throwing beams of light out into the audience to projecting gobos and prisms over the artist. The LEDWash 300+s provided additional low level cross stage washing, and those on the front truss were used for additional ‘TV lights’ and also to highlight the cloth backdrop. Joining the Robe lights on the rig were two Robe Haze 500 FT Pro hazers. 

 

CaCo García programmed the show himself. Lighting equipment was supplied by rental company USE Sonido. It is also intended to take the show on tour to different venues as and when public performances start again in Spain this year.

 

(Photos: David Arnal/DAM)

 

www.robe.cz

 

Chauvet fixtures selected for “Land of Light”

Chauvet fixtures selected for “Land of Light”

Last holiday season’s “Land of Light”, a two-kilometer long walk-through exhibit across UK’s Wiltshire estate, was created by Zeal Live and featured Chauvet Professional and Illuminarc fixtures.

 

Through the use of colors, shadows, light angles and lasers, “Land of Light” transported visitors through the seasons of the year, as well as fantastical imaginary landscapes, and Christmas scenes, including visions of Santa, all whilst while maintaining safe, social distancing in an outdoor environment.

 

“The entire route was networked together, with effects and color changing throughout. There were very few completely static areas”, says Steve Hough, Managing Director of Zeal Live. The 41 Ovation E-910FC IP color-changing ellipsoidal fixtures in the event rig were discretely positioned within the garden.

 

For the “Summer Storm” section, ten Ovations were rigged behind several lime trees. “We used the natural white light from these fixtures to create patterns across the path. Then we reacted to the sounds of thunder and lightning by changing the Ovation’s light to cold white and strobing”, Hough explains.

 

During the event’s dramatic “Autumn Scenes”, the largest number of Ovation E-910FC IP fixtures were used to wash the north end of the mansion as well as the butchery and peacock gardens in an array of colors.

 

The Zeal Live team lit the passageways connecting the different sections with 35 Iluminarc Colorist 18QA POD ground fixtures. When the “Land of Light” journey took visitors to a more mystical part of the exhibit, a collection of six Vesuvio II foggers, hidden in custom-design enclosures, were used.

 

(Photos: Chauvet)

 

www.chauvetprofessional.com

 

Chauvet fixtures selected for “Land of Light”Chauvet fixtures selected for “Land of Light”

Martin Audio MLA sound system specified for ‘Return’ convention

Martin Audio MLA sound system specified for ‘Return’ convention
Martin Audio MLA sound system specified for ‘Return’ convention

Thousands gathered on Washington’s National Mall in the fall of 2020 for a 12-hour-long event dubbed ‘The Day of Return’, a national and global day of prayer and repentance. A number speakers could be heard both inside and beyond the fenced-in ticketed area. MHA Audio provided Martin Audio’s MLA sound system.

 

The main hang consisted of 11 MLA elements plus an MLD Downfill per side, with 18 MLX subwoofers arranged in a broadside cardioid array. “We were only covering 150 ft because it was a small compound, but we also had to cover the crowds outside the compound”, explains MHA Audio president Mike Scarfe. Therefore they added two delay masts, each consisting of 12 MLA Compact elements, to cover over 250 ft of the Mall. A broadcast link was also provided, as the event went out to 80 nations by satellite.

 

Social distancing was firmly in place - around 1200 people in an area generally designated for 5,000. The audience could enter in pairs and each row was spaced 12 ft apart, with 8 ft between the seats. Demarcations were set with rows of bike rack fencing.

 

MHA Audio’s duty crew comprised Dave Rittenhouse as FOH engineer and MLA tech. Other key personnel included Brad Bryan (monitor engineer), Keith Suffecool and Paul Vallette (audio assistants) with Jim Dugan and Atticus Miranda (RF techs).

 

www.martin-audio.com

 

Corona: JDC Line von GLP setzen optischen Rahmen beim 13. Deutschen Nachhaltigkeitspreis

Der Deutsche Nachhaltigkeitspreis wird seit dreizehn Jahren von der Stiftung Deutscher Nachhaltigkeitspreis vergeben, in Zusammenarbeit mit der Bundesregierung sowie mehren öffentlichen und zivilgesellschaftlichen Institutionen. In mehreren Kategorien werden herausragende Nachhaltigkeitsleistungen in Wirtschaft, Kommunen und Forschung prämiert. Am 3. und 4. Dezember 2020 wurden die diesjährigen Preise im Düsseldorfer Maritim Hotel verliehen.

 

Dabei wurde erstmalig ein Preis in der Kategorie „Design“ verliehen. Die Preisverleihung und der begleitende Kongress wurden pandemiebedingt live gestreamt. Zahlreiche Preisträger wurden live zugeschaltet, ebenso wie die meisten Laudatoren. Vor Ort waren einige wenige Gäste in das Rahmenprogramm eingebunden. Auf technischer Seite kamen zwölf der neuen GLP JDC Line zum Einsatz.

 

Für die Veranstaltungstechnik, das Streaming und die Aufzeichnung war die BTL Veranstaltungstechnik GmbH aus Düsseldorf verantwortlich. Flo Erdmann war im Auftrag von BTL für das Lichtdesign zuständig und gemeinsam mit Julian Siewertsen, dem technischen Leiter Licht von BTL, mit der Umsetzung vor Ort betraut. Das Set bestand aus einer Softedge-Tandemprojektion, die in ihrer Form in asynchrone Flächen unterteilt war und in der Höhe variierte. Die ca. dreißig Stühle im großen Saal des Hotels wurden von beleuchteten Rücksetzern umrahmt.

 

Was die technische Umsetzung der Veranstaltung betrifft, lag der Fokus auf den Erfordernissen der Sendefähigkeit für den Livestream. „Hierzu haben wir uns im Vorfeld eng mit der Kameratechnik und der Regie abgestimmt“, berichtet Flo Erdmann. „Das Thema Nachhaltigkeit war bei dieser Veranstaltung natürlich auch maßgeblich für die Auswahl der Scheinwerfer. Erfreulicherweise hat uns Andreas Brandt von GLP zwölf der JDC Line 500 zum Testen zur Verfügung gestellt.“ Die Geräte kamen an vier Rollstativen zu je drei Geräten vertikal montiert zum Einsatz. „Wir gaben damit den Auftritten von Milky Chance und Joy Denalane einen optischen Rahmen auf der Bühne und kreierten als Kameradeckung abwechslungsreiche Bilder“, erläutert Julian Siewertsen.

 

(Fotos: BTL/GLP/Christian Köster/Dariusz Misztal/Julian Siewertsen)

 

www.glp.de

 

Corona: Wes Youngblood lights Smith & Myers drive-in show with Chauvet

Corona: Wes Youngblood lights Smith & Myers drive-in show with Chauvet
Corona: Wes Youngblood lights Smith & Myers drive-in show with Chauvet

Lighting designer Wes Youngblood lit a drive-in show for Smith & Myers, an acoustic side project by Shinedown frontman Brent Smith and guitarist Zach Myers, at the Malco Summer Theatre in Memphis, Tennessee.

 

“The promoter and I spoke at great lengths about steps we could take to create a fully encapsulating experience in a setting where the stage is relatively small and the audience is very spread out in cars”, says Youngblood, the owner of Skunk Werkz Productions. “We had delay towers for audio scattered around the parking lot, and had IMAG on three screens to bring the show closer to people.

 

“From a lighting standpoint, I relied on a concept from my electronic jam band and metal time - that is to have some light on the crowd, some on the stage and some on the band, then keep flipping them”, he continues. “So, we didn’t rely on your typical blinder looks. In a perfect world, this show would be like what Candace Brightman and Paul Hoffman designed for the Grateful Dead ‘Fare Thee Well’. At the end of the day, though, we created the kind of audience experience we were after.”

 

Helping Youngblood accomplish this were his rig’s 14 Rogue R1X Wash, eight Rogue R2X Wash and 10 Rogue R2X Spot fixtures supplied from his own Skunk Werkz Productions inventory. “I just rotated out my Chauvet Rogue R1 Washes for the new Rogue R1X Washes and replaced some static Colorado fixtures with the new R2X Washes”, he says. “This was the first time since COVID-19 hit that they had made it out of the shop for use in a show.”

 

Youngblood flew 14 R1X Wash (in White Mode) and 10 x R2X Spots upstage on his 3’ x 10’ front truss and 12’ x 18’ back truss. He also had eight R2X Wash units (White Mode) downstage on front truss and back truss. “All my key lighting was the R2Xs in White Mode. I purchased the R2X wash to replace some Colorado VW pars”, says the LD who ran his drive-in rig with a ChamSys MagicQ MQ80.

 

www.chauvetprofessional.com

 

Corona: Wes Youngblood lights Smith & Myers drive-in show with ChauvetCorona: Wes Youngblood lights Smith & Myers drive-in show with Chauvet

„Big Performance - Wer ist der Star im Star?“ mit Hybrid-Strobes von GLP

Für die RTL-Unterhaltungsshows „Big Performance - Wer ist der Star im Star?“, in der Prominente mit Hilfe von Maskenbildnern in die Haut anderer Sängerinnen und Sänger schlüpfen, haben Lichtdesigner David Kreileman und Associate Designer/Technischer Leiter Tim Franken 156 JDC1-Hybrid-Strobes von GLP spezifiziert.

 

Die besondere Anforderung in der Entwicklung des Lichtdesigns bestand darin, den Moment des Wechsels von Playback auf Live-Gesang auch optisch darzustellen. „Nach einigen Überlegungen und direktem Austausch mit dem Setdesigner Florian Wieder entstand die Idee, das Bühnendesign durch teiltransparente LED-Wände zu gestalten“, berichtet Tim Franken. „Als technischer Dienstleister stand uns hierbei Alexander Klaus von Entertainment Technology Concepts zur Seite. Hinter den teiltransparenten LED-Panels setzen wir dann doppelreihig die JDC1 von GLP ein.“

 

Die vier Shows wurden von Brainpool in den eigenen Studios in Köln-Mühlheim produziert. Neben David Kreileman und Tim Franken bestand die Crew aus WYSIWYG-Designer und Operator Udo Rath, Showlicht-Operator Sebastian Huwig, Oberbeleuchter Christian Peters, Weißlicht-Operator Adam Balke, Video-Operator Ingo Rath sowie Serverspezialistin Wiebke Wilde. Technischer Dienstleister war Cape Cross.

 

(Fotos: Sebastian Huwig/dK Design)

 

www.glp.de

 

Robe moving lights illuminate tallest building in Africa

The tallest building in Africa - The Leonardo, a 234-metre mixed-use property development in Sandton, Johannesburg - was lit up for the South African launch of the new Microsoft Xbox Series X console - standing out against the night sky highlighted in green by Robe BMFL moving lights, with the Xbox logo emblazoned onto the top of floors of the tower.

 

The lighting, crew and technical production were delivered by event technical specialists MSTARR working for event producers Penquin. The launch lighting scheme was designed by Greg Angelo and MSTARR’s Gareth Chambers. MSTARR Productions has recently been taken over by Chambers and his business partners - Zweli Ngcobo and company CFO Landy Yeatman - and undergone complete restructuring. This was their first major brand experience event.

 

To illuminate The Leonardo, 18 x Robe BMFLs - six BMFL WashBeams and 12 x BMFL Blades - were installed in three different locations. Gaining the required permissions to do this involved getting the agreement of three separate buildings and their management and security companies - the Benmore Shopping Centre roof parking, the Sandton Gautrain station parking lot, and the Radisson Hotel which also had fixtures positioned on its actual roof.

 

Two BMFL WashBeams and four BMFL Blades were deployed in each location, an operation that included manually carrying the kit up staircases in some cases to reach to the respective rooftop positions. Each set of luminaires was controlled locally by a GrandMA Dot2 console.

 

Three of the BMFL Blades were fitted with custom Xbox gobos for projecting onto the building, with local power utilized at the Radisson and the fixtures in the two parking lots running off generators. The set up was completed the day before the event and was also tested that evening. The Leonardo’s permanent LED architectural lighting scheme was also turned green for the event.

 

(Photos: Cameron Becker/Anriette Van Wyk/Kief Kreativ)

 

www.robe.cz

 

Corona: CPL provides LED screen for Volkswagen event

Corona: CPL provides LED screen for Volkswagen event

Event producers Second Sight asked AV rental and technical specialist CPL to provide a 5 metre wide by 3 metre high Roe Black Onyx 3 mm pitch LED screen for a key live stream presentation by Volkswagen UK for their retail dealership members and investors.

 

This annual event was presented from Stage B at Millennium Studios in Bedford, UK. Normally it would be a big show at a prominent event venue with a full stage set and multiple presenters, but this time - with the pandemic - everything was changed as they shifted to a digital format. They retained the basic format but scaled up and added production values and extra resources including the LED wall.

 

Second Sight’s Guy Shayler asked CPL to provide the LED - complete with a Barco S3 switcher to split the signal - which joined the camera/PPU/graphics and media server package supplied by Second Sight. The broadcast platforms and associated infrastructure were coordinated by Bizzabo as the selected supplier for digital event delivery at Volkswagen UK.

 

Initial ideas for the new style Investor’s Meeting design - which featured multiple presenters and several relevant vehicles in the studio - were initiated by creative design agency Collider and further embellished with a virtual set extension by the Second Sight team. The set included some painted scenic panels, and the LED wall provided an additional fully dynamic background utilised throughout the event for playback video and infographics.

 

The event was presented in a classic “Top Gear” ‘magazine’ style with two or three cars in the studio shots, many different topics and cutaways to the screen, returning to a prominent ‘anchor’ studio visual. To maintain distancing and ensure that all the COVID protocols were met, with multiple presenters the anchor look soon became very wide creating a substantial amount of space to be filled, for which Second Sight built a 3D graphic. This completed the virtual set extension.

 

(Photos: Richard “Dickie” Burrows)

 

www.cpl.tech

 

Corona: CPL provides LED screen for Volkswagen eventCorona: CPL provides LED screen for Volkswagen event

Corona: Evan Antal lights Le Getaway with Chauvet

Corona: Evan Antal lights Le Getaway with Chauvet
Corona: Evan Antal lights Le Getaway with Chauvet

Smaller crowds equal smaller lighting budgets. Like virtually every designer working a socially distant show, Evan Antal faced this reality when he met with his client to draw up plans to light Le Getaway, a one-day October outdoor event featuring Lespecial and Eggy in the Camp Getaway Berkshire resort.

 

Antal turned Le Getaway’s small (24’ x 20’) mobile stage into a panorama of colors, gobo patterns and fast-moving beams. Helping him accomplish this feat were six Chauvet Professional Maverick MK1 Spot and six Maverick MK1 Hybrid fixtures supplied by High Peaks Event Production.

 

He flew his spot fixtures on upstage truss and arranged the hybrid units on the stage deck. At times it seemed as his spots were projecting two beams simultaneously, because their light caught the gobo wheel slowly rolling between two different gobos.

 

(Photos: Cbvideomarketing/Chris Beikirch)

 

www.chauvetprofessional.com

 

Corona: Elation IP-rated lighting for eight-week Drive-In Concert Series

An all-weather Elation rig was utilized for last fall’s Drive-In Concert Series at the Westland Mall in Columbus, Ohio. Production and promotions company Prime Social Group, based in Columbus, ran eight weeks of safe live music experiences in the now familiar car pod layout.

 

Lighting vendor for the Drive-In Concert Series at the Westland Mall was White Light AV, an audiovisual company and Elation dealer based in Mundelein, Illinois. White Light owner Nathan Klein delivered a lighting rig that included Elation’s 50,000-lumen Proteus Maximus LED profile as well as Paladin hybrid strobe/blinder/wash lights, ZW37 II LED moving head beam/wash effects, and DTW Blinder 700 IPs. Klein worked together with Elation Sales Rep Erich Meitzner who served as lighting director on the project. The lighting tech was Jeremy Aguirre.

 

The IP65-rated Paladin LED multi-effects delivered strobe flashes but also served as color-matching washlights. The Proteus Maximus units provided backlight and aerial looks.

 

(Photos: Eric Cunningham)

 

www.elationlighting.com

 

Martin Audio chosen for Schlosshofkonzert 2020

Martin Audio chosen for Schlosshofkonzert 2020
Martin Audio chosen for Schlosshofkonzert 2020

Martin Audio’s German rental partner, Kotsch-Showtechnik from Nessetal near Gotha, supplied a sound reinforcement solution for the reproduction of classical music at the Schlosshofkonzert 2020.

 

In order to meet the COVID-19 requirements, the Gotha Thuringia Philharmonic Orchestra moved for three evenings into the courtyard of the Friedenstein Castle in the City. Here, taking into account the rules of distance, a baroque evening, an operetta gala and a concert with violin and grand piano were able to take place in front of an audience of 400.

 

Torsten Kotsch, owner of Kotsch Showtechnik, implemented the sound and lighting design with his team, choosing self-powered products from Martin Audio. The MLA Compact was used as the main PA, with the area in front of the stage covered with DD12 speakers, and CDD-Live8 speakers were used as stage monitors.

 

The main PA was rigged continuously in the Castle courtyard for a week. Due to the structural requirements in the castle, the FOH position had to be set a good 40 metres from the stage. In addition, reflective surfaces on and around the courtyard did not make mixing any easier. Here Torsten Kotsch used a special function of the MLA Compact to minimise reflections.

 

(Photos: Dr. Bernd Seydel)

 

www.martin-audio.com

 

Martin Audio chosen for Schlosshofkonzert 2020Martin Audio chosen for Schlosshofkonzert 2020

GLP unterstützt „Burgleuchten“ auf Schloss Burg

GLP unterstützt „Burgleuchten“ auf Schloss Burg

Nach einer Planungszeit von fast einem Jahr war Schloss Burg bei Wermelskirchen im Bergischen Land Ende letzten Jahres erstmals Schauplatz des „Burgleuchtens“.

 

„Im Laufe des Jahres haben wir mehrmals umplanen müssen und irgendwann das gesamte Konzept über den Haufen geworfen“, erklärt Uli Hoppert von Siren, dem Technischen Dienstleister des Events, die von der Corona-Pandemie erschwerte Situation. „Von der ursprünglichen Idee, die Burg nicht nur mit einer Lichtinstallation, sondern auch mit realen Darstellern zu beleben, haben wir uns bereits mit Beginn der Corona-Krise verabschiedet.“

 

„Auch die anstehenden Renovierungsmaßnahmen haben uns immer wieder einen Strich durch die Rechnung gemacht. Mittelalterlichen Burgen sind einfach nicht für einen modernen Eventbetrieb geplant worden“, so Hoppert weiter. „Mit Ausnahme der Wehrgänge und einiger Innenräume waren ausschließlich Lampen mit IP65 gefragt, da die Geräte immerhin rund sechs Wochen von Aufbaubeginn bis zum Ende des Abbaus dem Wetter trotzen mussten. Weiterhin gab es große Bereiche außerhalb der Burg, wo die gesamte Technik mehrere Wochen praktisch ungeschützt vor Diebstahl und Vandalismus untergebracht werden musste.“

 

Innerhalb der Mauern fiel die Auswahl auf insgesamt acht Fusion Supernova von GLP, die im Brunnenhof und auf der Nordterrasse zum Einsatz kamen. Weitere acht Supernova setzten den Eyecatcher der Burg, den vierzig Meter hohen Bergfried, und den davorliegenden Pranger in den Abendstunden weithin sichtbar in Szene. „Der Bergfried ruht auf einem Felsvorsatz, der zunächst zu erklettern war, um die Lampen an den vorgesehen Einsatzort zu bringen“, berichtet Hoppert.

 

Flankiert wurden die Flächenstrahler rund um den Bergfried durch GLP-Impression-E350-Movinglights auf den Ecken des Gemäuers. Auch an anderer Stelle kamen die Impression E350 für Spezialaufgaben zum Einsatz, unter anderem für das Wappen des Burgherren. Eigens von der Gobocompany in Nettetal angefertigt, wurde der Bergische Löwe als vierfarbiges Gobo auf ein gegenüberliegendes Dach projiziert - auf etwa fünfzehn Metern Distanz und einem Format von rund sechs mal sechs Metern.

 

Sechs Fusion MBL 20 brachten die weißen Giebelteile einiger Gebäude im Innenhof der Burg zum Leuchten, wobei als Kontrast zur restlichen Inszenierung bewusst auf Farbe verzichtet wurde. Neben S350 kamen zahlreiche weitere Scheinwerfer von GLP zum Einsatz, darunter Impression FR1, Impression X4 Atom sowie Impression X4 S aus dem Bestand von Siren.

 

Julian de Windt und Reinold Melles zeichneten für die DMX-Infrastruktur und die Programmierung verantwortlich, Thomas Raatz „fürs kritische Auge auf die Farben“, wie Uli Hoppert sagt. Florian Thomas und die Firma Tractive Power waren für rund siebzehn Kilometer Signal- und Netzkabel in der Burg zuständig.

 

(Fotos: Stefan Blumenrath/Kristina Stubbe)

 

www.glp.de

 

GLP unterstützt „Burgleuchten“ auf Schloss BurgGLP unterstützt „Burgleuchten“ auf Schloss Burg

National Kaohsiung Center for the Arts brings Ayrton Khamsin-S to “Turandot” revival

When Taiwan’s National Kaohsiung Center for the Arts (Weiwuying) hosted a revival of the German/Taiwanese co-production of Puccini’s “Turandot” in 2020, Chien-hao Kuo, lighting designer and head of lighting, chose to replace all the discharge moving lights of the original design with LED fixtures.

 

He selected 26 Ayrton Khamsin-S profiles which were supplied to the venue from its rental stock by Hispot Workshop of Taipei, Taiwan. “Because opera singers perform without amplified sound, I was focused on methods of reducing the background noise in the theatre”, Kuo explains. “Moving lights with discharge sources are notorious for having fans, the noise of which causes disturbance in this kind of performance.” An LED source was therefore the way to go.

 

Ayrton Khamsin-S played a pivotal role at the heart of Kuo’s design by creating leading image effects and using the gobo flow to match the media content. “I kept the fixtures busy in colour changing, gobo rotating and graphic animation”, he says.

 

The original co-production between the National Kaohsiung Center for the Arts (Weiwuying) and Deutsche Operam Rhein premiered in Theater Duisburg, Germany, in December 2015, before receiving its Asian premiere at the Weiwuying Opera House in April 2019. The lighting design was a joint creation between Volker Weinhart for Germany and Chien-hao Kuo for Taiwan.

 

(Photos: National Kaohsiung Center for the Arts, Weiwuying/Tat Keng TEY)

 

www.ayrton.eu

 

„Written on Skin“ mit Zactrack-Smart-System an der Oper Köln

Für die Premiere von George Benjamins „Written on Skin“ an der Oper Köln kam Ende letzten Jahres unter anderem das Plug-and-play-automatisierte Smart-Verfolgersystem von Zactrack zum Einsatz.

 

„Unsere Bühne war eine sehr unregelmäßige Fläche, die eine Wüstenlandschaft darstellte, mit Hügeln und Vertiefungen und auch Treppen“, erklärt Nicol Hungsberg, Lichtdesigner der Produktion und Beleuchtungsinspektor der Oper Köln. „Das Tracking der Darsteller auf dieser unregelmäßigen Fläche hat funktioniert, da das System immer drei Dimensionen trackt.“

 

„Aufgrund der niedrigen Deckenhöhe in unserem Ausweichquartier im Staatenhaus und der damit einhergehenden flachen Beleuchtungswinkel war es außerdem kaum möglich, mit Verfolgern zu arbeiten. Als Alternative setzen wir auf Moving Lights direkt über der Bühne“, so Hungsberg weiter. Das Smart-System ermöglichte es, die fünf Darsteller parallel zu tracken, ohne Verfolger einzusetzen.

 

(Fotos: Paul Leclaire)

 

www.lightpower.de

 

TSL supplies rig for “Magic Mike Live” Australia

TSL supplies rig for “Magic Mike Live” Australia

Channing Tatum’s dance show “Magic Mike Live” opened in Sydney, Australia, on 17 December, 2020. It features a dynamic all-new lighting design created by Philip Gladwell, using a rig supplied by TSL Lighting.

 

In contrast to its runs in London, Las Vegas and Berlin, the Australian production takes place in a specially designed Spiegeltent, named The Arcadia. For the Sydney dates, the ‘circus-like’ Arcadia has been constructed in the city’s Entertainment Quarter in Moore Park.

 

Gladwell, who has designed all versions of “Magic Mike Live” around the world, worked with TSL Lighting to specify the sizeable lighting rig. The team is using a number of products for the first time on the Australian version of the show, including High End SolaFrame and Coemar LEDko fixtures.

 

Elsewhere in the rig, the team is using Robe Spiiders, which form a ceiling piece over centre of the room/main stage. This rig can ‘slice’ in half to allow scenic items to fly in and out and is pixel mapped. The other main fixtures include Robe MegaPointes, which cut through the rest of the rig for effects, GLP X4 Bar 10s, and Martin Rush Par units.

 

The dancers are tracked using a BlackTrax system for followspots and the show is controlled via an ETC Eos Ti, with Programmer Liam Jones at the helm. The show is predominantly run on timecode, to cope with the large number of complex cues. “Magic Mike Live” Australia is scheduled for a six-month run in Sydney, before moving to Melbourne in June 2021.

 

(Photos: Ubora Photography/Magic Mike Live)

 

www.tsllighting.com

 

TSL supplies rig for “Magic Mike Live” AustraliaTSL supplies rig for “Magic Mike Live” Australia

Corona: FischerAppelt schafft digitale „Experience“ für Volkswagen

Corona: FischerAppelt schafft digitale „Experience“ für Volkswagen

Zur Einführung des ID.3 von Volkswagen im vergangenen Jahr hat die Agenturgruppe FischerAppelt eine digitale Trainingsplattform entwickelt. Was ursprünglich als Back2Back-Format für 11.000 europäische VerkäuferInnen konzipiert wurde, wandelte FischerAppelt in Kooperation mit der Explizit Werbeagentur GmbH sowie Fork Unstable Media aufgrund der aktuellen Corona-Situation in ein digitales, hybrides Event um.

 

Auf der „Digital ID.3 Experience“-Plattform erlebten die Trainingsteilnehmenden den ID.3 erstmalig digital. Fünf konzeptionelle Bausteine bildeten die Basis für die Workshops, durch die der Moderator Chris Brow aus dem „ID. Experience Studio“ in Wolfsburg führte. Experten präsentierten in einem Talk-Format aktuelle Informationen zur Marke.

 

Nach einem Opening Broadcast wurde die Plattform für alle Märkte freigeschaltet, und die Teilnehmenden konnten die Lerninhalte (Text, Video, Bewegtbild, Audio/Podcasts, Downloads) on demand durchlaufen. Gamification-Ansätze sollten gleichzeitig einen Spaßfaktor liefern und Lernfortschritte überprüfen. Insgesamt dauerte die digitale „Experience“ sechs Stunden.

 

Parallel zur „Digital ID.3 Experience“-Plattform wurden die neuen ID.3-Modelle dezentral an die Märkte distribuiert, um im Nachgang das Erlernte weiter zu intensivieren. Für Europa nahmen rund 11.000 HändlerInnen an der virtuellen Schulung teil.

 

(Foto: FischerAppelt, Live Marketing)

 

www.live.fischerappelt.de

 

Corona: Fredrik Jonsson selects Astera for Malmö Opera’s “Funny Girl”

Corona: Fredrik Jonsson selects Astera for Malmö Opera’s “Funny Girl”
Corona: Fredrik Jonsson selects Astera for Malmö Opera’s “Funny Girl”

Sweden’s Malmö Opera presented a production of musical classic “Funny Girl” as part of the autumn/winter 2020 repertory programme which continued to run despite the pandemic. Audience figures were reduced to 50 (in a 1232 seat auditorium) plus a livestream which could be enjoyed by all who had bought a ticket for each performance.

 

Planned two years earlier and fully sold out many months in advance, Malmö Opera decided to go ahead in delivering all their seasonal main house productions as the budgets were already allocated and spent. Swedish lighting designer Fredrik Jonsson was delighted to be back working on a live show and helping to create the aesthetic for this production.

 

Malmö Opera has a quantity of Astera fixtures in its lighting inventory which are used for multiple situations and solutions across their range of productions, and Fredrik Jonsson used the Astera AX3 LightDrops to highlight important details on the “Funny Girl” sets designed by Martin Chocholousek.

 

Ten AX3s were hidden behind custom golden shell casings that emulated classic 1930’s Ziegfeld Follies era footlights in line with period setting of the piece. The AX3s were attached magnetically to metallic plates behind the plastic shell shapes, slightly angled up to authentically simulate footlights coming from the orchestra pit area.

 

Jonsson added some AX3s inside the two large ventilation funnels of the battleship set to highlight the interior of the funnel ends and give these more prominence. AX3s positioned in the bottom of the ventilation tubes allowed him to achieve a highlight in the bend at the top of the funnel which faced the audience.

 

More AX3s were utilised on a chandelier that sat on the floor for the first scene at Nicky Arnstein’s mansion. The furniture and chandelier were covered in white ‘dust sheets’. These were removed after a while by the chorus, and the chandelier lit up as they launched into “Sadie, Sadie”, the musical number that follows. All these AX3s were controlled through the Operas’ main GrandMA lighting console.

 

(Photos: Malin Arnesson/Malmö Opera och Musikteater AB)

 

www.astera-led.com

 

Corona: Fredrik Jonsson selects Astera for Malmö Opera’s “Funny Girl”Corona: Fredrik Jonsson selects Astera for Malmö Opera’s “Funny Girl”

Corona: Elation lights chosen for Southern California’s “Concerts in Your Car”

Drive-in concerts have become the necessary norm under the pandemic and Southern California’s moderate climate makes it possible for these events to take place late into the year. Enhanced by a complement of Elation Professional lights, “Concerts in Your Car”, presented by CBF Productions at two SoCal locations, are some of the most popular in that region.

 

“Concerts in Your Car” debuted June 26, 2020, at the Ventura County Fairgrounds north of Los Angeles and branched out to a second site, the Del Mar Fairgrounds near San Diego, in September. Victor Ortiz, owner of audio-visual company Darvik Productions of Ventura, worked together on the project with CBF Productions founder and CEO Vincenzo Giammanco.

 

“It all started back in April when our first spring festival of the year was cancelled”, recounts Ortiz, who says that he and Giammanco do about a dozen events together in a year. “We started wondering what the year was going to look like and had heard that Europe was starting to do some drive-in shows. We started to brainstorm what a drive-in venue here would look like, how to build it, etc. By the end of April we knew we’d have to pivot and the idea for ‘Concerts in Your Car’ was born.”

 

“Concerts in Your Car” at the Ventura County Fairgrounds featured a package of Elation Professional luminaires in a setup that was replicated for the Del Mar site. A typical week at the Del Mar site, which debuted September 25 and has a capacity of 700 vehicles, sees movies on a big screen, hosts local bands or theatre plays, and then stages bigger acts on the weekend. Sundays are reserved for church services or private events.

 

Shows are held on a four-sided stage with a 14-ft high by 26-ft wide video screen gracing each side. Ortiz and Darvik’s role included coming up with a stage, video and lighting design that could cater to a large, open fairgrounds space. “It's a very flat ground that required a high stage so we came up with an 8-ft high, 360-degree stage design that lets cars in the back rows see as well”, says Ortiz, who also oversaw the build as production manager.

 

The designer says that because they wanted to avoid followspot towers that would obstruct vehicles, bands of Elation Seven Batten 72s were placed all around the stage that act as footlights/key lights. On each side of the stage are Cuepix 16 IP matrix LED panels with all-weather protection that serve as blinders and houselights. Spread throughout the rig as backlight, and mounted in a center circle truss for stage lighting, are Seven Par 7 IP par wash luminaires, which are also used as truss warmers to set the entire structure aglow.

 

Concluding the Elation package, Protron 3K Color LED strobes work from the circle truss for special effects while SixPar 100 color-changing Par lights highlight branding on the structure’s skin. Other automated lights also make up the lighting package and some acts do bring in a supplemental floor package. Atmospheric haze and mid-air projection canopy is provided by Antari M-11 foggers.

 

Darvik Productions supplied all the lighting for both “Concert in Your Car” sites and worked with Elation’s Raul Fonseca on the Elation portion of the rig.

 

(Photos: Brittany Berggren - www.brittanyberggren.com)

 

www.elationlighting.com

 

GFK-Abdeckungen von Fibrelite sichern britischen Atomkraftwerk-Rückbau

Magnox Ltd, das verantwortliche Unternehmen für den Rückbau von zwölf Atomanlagen in Großbritannien, hat sich an Fibrelite, einen Hersteller von Glasfiberabdeckungen, auf der Suche nach einer Lösung für Schwachpunkte an existierenden Abdeckungen gewandt.

 

Bei den Schwachpunkten handelte es sich um bestehende Abdeckungen aus Beton und Gusseisen, welche längerfristig Stabilitätsprobleme an bestehenden Anlagen verursacht hatten. Diese Probleme wurden ursächlich durch Korrosion, Materialabnutzung und durch ihr hohes Gewicht hervorgerufen.

 

Magnox ersetzte die bestehenden Produkte nun durch GFK-Abdeckungen von Fibrelite. Das Fibrelite-Technikteam erarbeitete spezielle Lösungen für verschiedene Schachttiefen, Lastsituationen und Verschlussmechanismen.

 

www.fibrelite.com