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All-weather Elation lighting for Alabama’s Hangout Music Festival

19/07/2018

Robe Pointes and MegaPointes for “Don’t Let Daddy Know”

18/07/2018

Adlib supplies lighting and sound equipment for Ray LaMontagne’s acoustic tour

18/07/2018

Painting with Light designs lighting and video for “Team UP” musical

18/07/2018

AEK Basketball Club selects Matrox Monarch HD encoder

17/07/2018

Joshua Koffman outfits Andy Grammer tour rig with Elation lights

16/07/2018

World Team Table Tennis Championships with Elation Fuze Wash 575

13/07/2018

Børns on tour with Robe MegaPointes

13/07/2018

MDG at “Grand Finale” with Hofesh Shechter Company

10/07/2018

Elation Proteus beim Ultra Music Festival im Einsatz

09/07/2018

Martin Kames inszeniert Jubiläumstour von David Hasselhoff

09/07/2018

Niemeier beim Berliner Halbmarathon im Einsatz

02/07/2018

PRG XL Video supplies MDG ATMe haze generators for “Hamilton: An American Musical”

02/07/2018

Robe equipment selected for Jacob Dinesen's arena shows

28/06/2018

GVP and Elation provide lighting for “Ring of Honor” wrestling

28/06/2018

L-Acoustics gear used for Broadway musical “Mean Girls”

28/06/2018

Crambo stattet Rennstrecke Barcelona-Catalunya mit Absen-LED-Panels aus

28/06/2018

CPL supplies Roe LED screens to Hay Festival

28/06/2018

Wikinger-Roadshow nutzt Technologie von AV Stumpfl

26/06/2018

Gahrens + Battermann unterstützt ADC-Festival als technischer Generaldienstleister

26/06/2018

Loop Light kreiert 3D-Mapping für Jubiläumsfeier

26/06/2018

Ayrton Ghibli lights ‘Amadeus’ in Seoul

25/06/2018

Drums'n'Percussion Festival mit Equipment von Martin, Claypaky, ImageCue und MA Lighting

22/06/2018

Aventem auf Manga-Convention DoKomi im Einsatz

22/06/2018

Layher-Traggerüst unterstützt Treppenbau an luxemburgischem Bahnhof

22/06/2018

All-weather Elation lighting for Alabama’s Hangout Music Festival

All-weather Elation lighting for Alabama’s Hangout Music Festival
All-weather Elation lighting for Alabama’s Hangout Music Festival

Alabama’s southern Gulf Coast was the scene of the Hangout Music Festival held May 18-20, where artists performed beneath a Bandit Lites-supplied lighting package that included all-weather Elation IP65-rated lighting.

 

Nearly 40,000 music fans gathered in Gulf Shores for Hangout 2018, an annual 3-day music festival that Bandit Lites of Nashville has provided lighting for since 2014. Both the Surf Stage and Beach Stage featured weatherproof Elation lighting with a headlining performance by The Chainsmokers on the Hangout Stage also dressed in Elation gear.  

 

Bandit Lites’ Dizzy Gosnell designed the festival lighting packages for the Hangout Stage, Surf Stage and Beach Stage. Some headline acts brought additional lighting packages or scenic and set pieces with them.

 

On the Surf Stage, Gosnell created a three-truss rig that mimicked the rolling waves of the nearby surf. To emphasize the shape of the system both day and night, he outlined the truss with 26 Elation SixBar 1000 IP color-changing LED battens along with 13 LED-based Cuepix Blinder WW2 white light blinders, all aimed at the crowd and used as audience lighting.

 

On the Beach Stage, an all Elation lighting package consisting of 45 SixPar 100 IP LED Par lights, 8 SixPar 100 LED Pars, 8 SixBar 1000 IP LED battens and 14 IP65-rated  Paladin blinder/strobe/wash lights worked from 6 eight-foot-tall ladder trusses.

 

In addition to the three stages, Bandit also supplied packages for some of the artists, including Logic and The Chainsmokers. On The Chainsmokers' set, Elation Paladin hybrids were mounted onto four truss towers, two either side of the rear riser, with all the heads pointed downstage.

 

The hybrid fixtures were used as blinders, strobes and eye candy, and also served as safety lighting in the event of an evacuation. The Paladins were mounted inside Bandit’s GoGo truss with wheels on the back so they could be deployed and struck during changeovers.

 

www.elationlighting.com

Robe Pointes and MegaPointes for “Don’t Let Daddy Know”

Robe Pointes and MegaPointes for “Don’t Let Daddy Know”
Robe Pointes and MegaPointes for “Don’t Let Daddy Know”

The 2018 Amsterdam edition of EDM party “Don’t Let Daddy Know” (DLDK), produced by Dutch7, returned to the Ziggo Dome for two nights, for the first time with creative lighting designed by Bas Knappers from Netherlands based creative practice Live Legends.

 

Live Legends has previously provided programming and operating teams for the event and in the design ‘hot seat’ Knappers specified 122 x Robe Pointes and 40 x MegaPointes as part of a large lighting rig, supplied by Rent-All together with video and sound.

 

The fixtures were positioned on a series of trusses above and to the sides of the stage and the venue as well as on four large moving objects flown above the audience - each with 9 x Pointes on-board - plus six static structures over the audience.

 

The lighting control set up was GrandMA2 and Bas Knappers took on all the operating as well, apart from three guest LD slots by Rob Lister (Axwell Λ Ingrosso), Carly Eijlander (Nicky Romero) and Koen van Elderen for Steve Angello.

 

All the lighting elements were undertaken by Live Legends with 4Light co-ordnating the overall lighting production. KBK Video created and ran the video content, MG Services provided audio and Pixelscreen dealt with video. Lasers were provided by Laser Image and staging from Coreworks. Eventions BV supplied all the staging and automation and Pyrotech took care of the SFX.

 

(Photos: Eldrid de Boer, E&A Events)

 

www.robe.cz

 

 

Robe Pointes and MegaPointes for “Don’t Let Daddy Know”Robe Pointes and MegaPointes for “Don’t Let Daddy Know”

Adlib supplies lighting and sound equipment for Ray LaMontagne’s acoustic tour

Adlib supplies lighting and sound equipment for Ray LaMontagne’s acoustic tour

Liverpool UK based rental and production specialist Adlib supplied lighting and sound equipment and crew to the recent “Just Passing Through” acoustic tour by American singer/songwriter Ray LaMontagne.

 

The production team was led by production manager Mark Jones. Adlib provided an L-Acoustics K2 sound system with system tech Mike Thorpe and the lighting rig was looked after by Adlib’s Kevin Byatt. The K2 was driven by L-Acoustics 12XT amps.

 

The venues were a mix of theatres and Apollo style rooms, with some of the theatre venues having three balconies. The average setup featured 10 or 12 x K2 elements flown left and right, with two KS28 subs a side on the ground, together with some Kara and Arcs which were used as front and side fillers primarily for the stalls downstairs.

 

Each day they used Soundvision plus all the tools in the L-Acoustics Network Manager software to analyse and tweak the system for the space and optimise the design. Ray LaMontagne’s FOH engineer Ryan Pickett specified an Avid Profile console, while monitor engineer Rob Elliot used a DiGiCo SD12. LaMontagne was joined onstage only by Wilco bassist Jon Stirratt, and both artists utilised Sennheiser IEMs.

 

A couple of Summit DCL200 compressors were used as well, one across LaMontagne’s acoustic guitar and vocal and the other for Siratt’s backing vocals and fender Mustang bass guitar. He chose a Smart C2 stereo compressor for the mix bus which provided the final stage of levelling on the mix. He also used the Rupert Neve 5045 primary source enhancers on the lead and background vocals, plus a Mercury M7 reverb pedal on both of the lead vocals.

 

The lighting design was comprised of three layers with a downstage portal acting as a proscenium to help draw the audience in and towards the two performers in the centre, particularly when they were playing large rooms with their own large architectural prosceniums. Their own proscenium was a hand-painted muslin drop giving an illusion of depth with a cut-out portal.

 

Upstage of that was a hand painted cloud/sun ray scrim, and the third layer was a muslin backdrop painted with clouds giving the impression of a recent sunset over the ocean. All of this was drawn by scenic artist Valerie Light based on art direction from Jeremy and Ray LaMontagne himself. The fabrics and surfaces were sourced from Rose Brand and hand painted by Cobalt Studios and Infinite Scenic.

 

While the set remained physically static throughout the show, the lighting transformed the look of the space from song to song. Moving light fixtures - 4 x Robe BMFL Spots and 4 x Martin MAC Quantum Washes - were concealed behind the portal and downstage legs and used to project custom gobo patterns onto the scrim and backdrop. Other fixtures on the rig were: 8 x MAC Aura LED washes, a Claypaky Mythos2 and two GLP X4 Bar 20s.

 

www.adlib.co.uk

 

 

Adlib supplies lighting and sound equipment for Ray LaMontagne’s acoustic tourAdlib supplies lighting and sound equipment for Ray LaMontagne’s acoustic tour

Painting with Light designs lighting and video for “Team UP” musical

Painting with Light designs lighting and video for “Team UP” musical
Painting with Light designs lighting and video for “Team UP” musical

Belgian TV and stage entertainment producers Studio 100 asked Painting with Light to design lighting and video, including content creation, for their 2018 Ketnet (Children’s TV channel) musical “Team UP” which played to sold out crowds in four major cities around Belgium.

 

Directed by Tijl Dauwe, the production starred musical actress Goele De Raedt and Ketnet-wrapper Sander Gillis in the lead roles, accompanied by a cast of 12-15 year old new actors and singers who auditioned via TV series "Ketnet Musical", a reality style competition devised to source potential new singing, dancing and acting talent.

 

Painting with Light’s Paco Mispelters delivered a tourable lighting design. He took Studio 100’s double-decker set design as a starting point. This featured a complete first level balcony and a gymnasium style climbing frame structure upstage, as well as a 10 metre diameter stage revolve further downstage, which was used to play out specific scenes and to move props and additional set assets on and off stage.

 

A series of trusses were installed at each venue and used in conjunction with house fly bars. As the set was immediately beneath some of the fly bars, meaning that they could not come in low, ladder trusses were hung beneath selected bars allowing strategic positioning of fixtures that could light the side wings of the set.

 

Mispelters chose 15 x VariLite VL3500 Washes as his general back and stage washes. For hard edged sources, he used 24 x Claypaky Alpha Spot 1500 profiles. For physically lower level lighting, Mispelters used 32 x URC LED PAR zooms, a proprietary product from lighting supplier Phlippo Productions, and there were 12 x Robert Juliat 2K Profiles for main key lighting.

 

To light the set pillars, he chose the Briteq Beamspot1-DMX FC, a narrow LED source with interchangeable frost filters. Thirty-two of these were used to pick out the 16 pillars, one fixture positioned at the top and one halfway down the pillar, both down-lighting. Mispelters also positioned 12 x Chauvet Épix Strip Tours, a 1-metre LED batten with 50 x individually mappable LEDs in a row and a 125º viewing angle. He removed the standard frost filter on the front to attain more intensity.

 

Lighting was operated on the road by Arjan Grootenhuis using a GrandMA2 light console, complete with an NPU in the system to assist with the channel management. This was ramped up in particular by the Épix Strips, adding 600 channels alone to the mix.

 

Painting with Light’s team also designed the show’s video, which featured a 3 metre x 2 metre high LED screen that flew in and out throughout the performance. A Christie Pandora’s Box media server was supplied by Painting with Light for the playback video, with content produced by Arthur Claesen and programmed onto the server by Pommeline Claesen.

 

“Team UP” production rehearsals at the Plopsaland Theatre in De Panne preceded the show’s premier, which was also shot for a DVD, and then played multiple shows in Hasselt, Ostend, Ghent and Antwerp.

 

(Photos: Studio 100)

 

www.paintingwithlight.com

 

 

Painting with Light designs lighting and video for “Team UP” musicalPainting with Light designs lighting and video for “Team UP” musical

AEK Basketball Club selects Matrox Monarch HD encoder

AEK Basketball Club selects Matrox Monarch HD encoder
AEK Basketball Club selects Matrox Monarch HD encoder

The International Basketball Federation (FIBA) has made it compulsory for its member teams to transmit certain parts of international games (such as coach and player interviews, and peripheral actions) over the internet, allowing more fans to watch. AEK Basketball Club (AEK BC), one of Greece’s biggest teams, grabbed this opportunity readily.

 

AEK BC wanted to make the star of the game, coach, and other player interviews and press conferences from all games available to worldwide fans in real time, as well as highlights of the games soon after. The club decided to look out for an encoder that would allow them to stream live as well as record high quality content in any venue.

 

The Matrox Monarch HD, a portable H.264 hardware encoder, was chosen for streaming and recording. Monarch HD provides the content to a server that uploads live to the FIBA website for fans from around the world to watch. Simultaneously, higher quality files are recorded to an SD card for creating video assets (such as highlights) to complement the live stream.

 

www.matrox.com

Joshua Koffman outfits Andy Grammer tour rig with Elation lights

Joshua Koffman outfits Andy Grammer tour rig with Elation lights
Joshua Koffman outfits Andy Grammer tour rig with Elation lights

American singer Andy Grammer spread his music across North America this spring on his “The Good Parts” tour, a club outing of mostly sold out shows in support of his latest release. Lighting design and programming was by Joshua Koffman of Interrobang, Inc., who used a combination of Elation ACL 360 Bar moving battens and Platinum Beam 5R moving head beams to light the show. Lighting vendor for the tour was RK Diversified Entertainment of Claremont, California.

 

Koffmandecided on a ground-supported rig that adapted to changes in stage width and height based on five interconnected vertical truss towers. The set up included an upstage wall of 25 Elation ACL 360 Bar fixtures with Platinum Beam 5Rs working from atop five sticks of truss.

 

“We had the ACL Bars on front of truss towers,” Koffman explains. “They created the main visual change between each song using color, position, and movement. Because they are a linear fixture, we could have them, say, vertical for one song, then horizontal for another. We experimented with them in different shapes.”

 

Koffman teamed the continuous rotation ACL Bar batten effects with beams from the Platinum 5R Beam fixtures, which he had located at the top of each truss tower. Koffman says the beam lights were used several times during the show as accents on choruses, etc., and were also used during the song "Civil War" as a silhouette backlight for the three singers.

 

(Photos: Amanda Johnson)

 

www.elationlighting.com

 

 

Joshua Koffman outfits Andy Grammer tour rig with Elation lightsJoshua Koffman outfits Andy Grammer tour rig with Elation lights

World Team Table Tennis Championships with Elation Fuze Wash 575

World Team Table Tennis Championships with Elation Fuze Wash 575
World Team Table Tennis Championships with Elation Fuze Wash 575

Lighting and sound rental company Tylösound AB served as the official technical supplier to the 2018 World Team Table Tennis Championships and used Elation Professional’s Fuze Wash 575 cool-white LED PAR moving head luminaires to meet the illumination requirements. The tournament was held April 29-May 6 in Halmstad, Sweden, and attracted a worldwide viewer audience of 400 million.

 

The event featured eight days of live TV and was streamed live. Light levels onto three center courts - and every area of each court - were monitored. “We required a measurement of at least 1600 lux on each 9 x 20 meter court,” states Paul Aladin, owner of Tylösound AB, supplier of lighting, sound, smoke and LED screens for the event.” Working with Elation, Aladin initially based his calculations on the use of 48 Fuze Wash 575 fixtures per court. “We found however that we got measurements of 1600-2000 lux using only 32 fixtures per court so we were able to use fewer fixtures than originally planned.”

 

Thirty-two Fuze Wash 575 fixtures were rigged above each of three table tennis courts at a trim height of 12 to 13 meters - 96 fixtures total with 8 held as spares. The Fuze fixture was used for more than court lighting however. The daylight white moving heads worked with color-changing moving heads during player introductions and music breaks, as well as a pre-event ceremony. On the tournament’s last day, while center court was lit for the finals match, special seating was brought in on the other two courts and spotlighted using the Fuze fixtures (which were suggested to Tylösound by Swedish lighting company Bellalite).

 

www.elationlighting.com

 

 

World Team Table Tennis Championships with Elation Fuze Wash 575World Team Table Tennis Championships with Elation Fuze Wash 575

Børns on tour with Robe MegaPointes

Børns on tour with Robe MegaPointes
Børns on tour with Robe MegaPointes

For American singer/songwriter Børns’ current ‘Blue Madonna’ tour, lighting designer Matthieu Larivee decided to put 15 x Robe MegaPointes at the heart of the lighting design. The founder and artistic director of Lüz Studio in Montreal also designed set and lighting for Børns’ first tour, ‘Dopamine’.

 

The visual starting point for the ‘Blue Madonna’ design was a dynamic backdrop to provide the basic canvas. Before starting, Larivee scanned all the venues on the itinerary and identified the largest and smallest to give him a scalability ratio. After meeting Børns and his management to receive a brief, he produced the first ideas.

 

Projection was out due to the size differential of the venues, so Larivee decided on a backdrop with a collage of over 1000 acrylic tropical leaves, handcrafted by theatrical artisans in Montreal. The leaves are applied organically to camp netting with gaps in some places to allow back light through, and they are painted gray so they can catch, reflect and absorb all the different color variants produced by the lighting.

 

The 15 MegaPointes - being provided by lighting vendor Upstaging - are the only profile fixtures on the rig and are prominent throughout the set. Four are rigged on the downstage truss and used for projection onto the leaves - including a custom gobo designed especially for the tour - with five on the upstage truss for back-lighting and effects, and four on the sides.

 

The lighting - which includes other fixtures for side and rear illumination and units on the floor beaming onto the backdrop and the artist - is controlled via a GrandMA2 console which was programmed by Matthieu Larivee and Jean-Sebastien Guilmette and operated on the road by lighting director Mason Ford.

 

(Photos: Steven Carlson)

 

www.robe.cz

 

 

Børns on tour with Robe MegaPointesBørns on tour with Robe MegaPointes

MDG at “Grand Finale” with Hofesh Shechter Company

MDG at “Grand Finale” with Hofesh Shechter Company
MDG at “Grand Finale” with Hofesh Shechter Company

Hofesh Shechter Company celebrated its 10th anniversary and kicked off the first day of Brighton Festival in May 2018 with a performance of “Grand Finale”, the latest original dance work from award-winning choreographer Hofesh Shechter.

 

Signature to any Shechter production is the ‘Hofesh Haze’ that remains consistent throughout the performances. To achieve this look, head of production at Hofesh Shechter, Adam Hooper, chose MDG haze and fog generators which are hired locally at each venue, or brought along by the company if there is no local availability.

 

In “Grand Finale” the set in Tom Scutt’s design consists of seven rolling towers manipulated by the dancers, and the architecture of Tom Visser’s lighting design, with beams of monochromatic light that cut through the haze and change with each repositioning of the towers.

 

“The lighting positions are very specific and structured,” explains Hooper. “Focusing can take up to eight hours because Hofesh insists on running through the show at every new venue, and his attention to detail means we frequently tweak the lighting levels by as little as 0.5% during technical rehearsals. This is why the ‘Hofesh Haze’ is a very important addition to the aesthetic. We need it to look the same at all times, with no little puffs or clouds or gaps across the stage or auditorium.”

 

Show operator Andre Gubanov uses the MDG Atmosphere APS haze generator or the Max3000 fog generator, depending what is available at the venue, and fills the stage and the auditorium with an even haze before the audience arrives. “We close the tabs before the audience come in, so when they are opened the haze remains evenly distributed across the stage and auditorium and doesn’t roll in either direction,” says Gubanov.

 

For the performance at the Brighton Dome, two MDG machines were located one each side of the stage, accompanied by nine DMX fans rigged 2 m above the lighting grid and another four on stage at each corner to drive the haze down and keep it consistent around the dancers. Gubanov controls the fanspeed remotely from the console and the hazer output manually from the wings.

 

Upper photo shows Andre Gubanov and Adam Hooper.

 

www.mdgfog.com

 

 

Elation Proteus beim Ultra Music Festival im Einsatz

Elation Proteus beim Ultra Music Festival im Einsatz
Elation Proteus beim Ultra Music Festival im Einsatz

Das Ultra Music Festival im Bayfront Park in Miami wurde in diesem Jahr zwanzig Jahre alt. Zu diesem Anlass säumten unter anderem eine Reihe IP65-zertifizierter Proteus Beam von Elation Professional die Spitze der Hauptbühne mit großformatigen Lichteffekten.

 

Produktion und Lichtdesign für die Hauptbühne wurden von The Activity, eine in Las Vegas ansässige Produktions- und Designfirma unter der Leitung von Patrick Dierson, übernommen, die zum neunten Mal am Festival mitwirkten. The Activity arbeiteten direkt mit Ultras Creative Director Richard Milstein sowie AG Production Services zusammen, die alle Licht- und Videoelemente für das diesjährige Ultra lieferten. 

 

„Während der Aufführungen sollten es einfach feststehende Beams sein, die sich über die Skyline des Stadtzentrums von Miami erstrecken“, sagt Patrick Dierson über die den Proteus-Scheinwerfern zugewiesenen Aufgaben. „Während der kurzen Setwechsel wollte ich Sky-Tracking-Bewegungen erzeugen, um eine gewisse visuelle Spannung aufrechtzuerhalten. Als wir im vollen Show-Modus waren, begannen viele der Gast-Lichtdesigner, sie in ihre Auftritte zu integrieren, was die Geräte zu einem viel größeren Element für die Auftritte werden ließ.“

 

Zwanzig Proteus Beam befanden sich auf der von Mountain Productions gebauten Hauptbühne - zehn Geräte pro Seite - und strahlten 2-Grad-Beams aus, die meilenweit zu sehen waren. Eine weitere Elation-Leuchte auf der diesjährigen Hauptbühne war der Colour Chorus 72, Dierson baute 112 dieser LED-Battens in das Bühnendesign von Richard Milstein ein.

 

(Fotos: Elation Professional)

 

www.lmp.de

Martin Kames inszeniert Jubiläumstour von David Hasselhoff

Martin Kames inszeniert Jubiläumstour von David Hasselhoff
Martin Kames inszeniert Jubiläumstour von David Hasselhoff

David Hasselhoff hat auf seiner „30 Years Looking For Freedom"-Tour ein Lichtrig verwendet, das Elation Professional Chorus Line 8 und Lumina Matrix umfasste. Audio, Video und Licht für die Tour, die vom 11. April bis 4. Mai 2018 stattfand, wurde von der österreichischen Verleih- und Produktionsfirma MartinKames.com mit einem Lichtdesign des Firmeninhabers Martin Kames gestaltet.

 

Hasselhoff hatte laut Kames die Idee, eine Reihe von Stufen auf der Bühne einzusetzen, die der Designer mit Chorus-Line-8-LED-Pixelbars auskleidete. „Wir haben speziell angefertigte Montagerahmen unter jedem Riser platziert, sodass sie die LED-Bars noch drehen konnten“, erklärt Kames.

 

„Das gab uns die Möglichkeit, eine Vielzahl von Effekten zu kreieren. Der beliebteste Look war der berühmte ’Knight Rider’-Kitt-Scanner-Effekt, den wir mit der Chorus-Line-Treppe simuliert haben. Wir haben ein Pixelmapping-Raster auf unserem Lichtpult verwendet, um Effekte mit den Stufen zu erzeugen, zum Beispiel eine Regenbogenwelle über den Stufen.“

 

Kames' Design umfasste auch eine Fülle von Videos. Drei LED-Screens - insgesamt 50 Quadratmeter 4-mm-LED-Wand - zeigten Archivmaterial aus Hasselhoffs Leben und Karriere sowie die Live-Bilder. „Sie wollten eine große LED-Leinwand hinter der Band, aber ich habe David und seinen musikalischen Leiter Marcus Barone davon überzeugt, dass mehrere Leinwände mit Beleuchtung zwischen den einzelnen Leinwänden interessanter und moderner sein würden", so Kames.

 

Vertikale Säulen aus Lumina-Matrix-LED-4 x 4-Panels wurden auf jeder Seite der Bühne und zwischen den LED-Bildschirmen platziert. Alle Video- und Live-Schnitte wurden vom Lichtpult, das von Kames selbst gesteuert wurde, in die Lichtshow programmiert.

 

(Fotos: Elation Professional)

 

www.lmp.de

Niemeier beim Berliner Halbmarathon im Einsatz

Niemeier beim Berliner Halbmarathon im Einsatz

Am 8. April 2018 startete in Berlin die 38. Auflage des größten deutschen Halbmarathonlaufs. Die Niemeier Event Tools GmbH sorgte mit Equipment und Lösungen aus dem eigenen Portfolio für einen reibungslosen Ablauf aller Wettkämpfe, an denen insgesamt mehr als 36.000 gemeldete Athleten vor rund 250.000 Zuschauern teilnahmen.

 

Im Einzelnen wurden für das Absperren 2.600 Meter Metallgitter Anti-Climb sowie 6.600 Meter Metall- und Leitgitter verwendet. Auf der Strecke verteilt waren außerdem 130 Eingangsschleusen sowie diverse Leitkegel. Darüber hinaus kamen aus dem Niemeier-Mietpark auch Kabelbrücken und professionelle Zeltheizgeräte zum Einsatz.

 

www.niemeier-event-tools.de

PRG XL Video supplies MDG ATMe haze generators for “Hamilton: An American Musical”

PRG XL Video supplies MDG ATMe haze generators for “Hamilton: An American Musical”
PRG XL Video supplies MDG ATMe haze generators for “Hamilton: An American Musical”

The London production of “Hamilton: An American Musical” won seven Olivier Awards, including that of Best Lighting Design, at the awards ceremony in April 2018 at London’s Royal Albert Hall. PRG XL Video had supplied three of its MDG ATMe haze machines to this production when it opened in December 2017 at the newly refurbished Victoria Palace Theatre in London’s West End.

 

Lighting designer Howell Binkley and his associate LD, Ryan O’Gara, use the ATMe units constantly throughout the show. “There is no real scenery for this show,” says Binkley, “so the lighting has to create the different spaces required. We just wanted a very fine haze in the air - we don’t like to see clouds of ‘smoke’ appearing from the wings.”

 

“We use two of the ATMe generators in upstage and downstage positions on the stage right fly floor, and keep the third as a back-up,” Binkley continues. “They are the only haze machines in the whole show and were brought in by our production electrician Peter Lambert who changed the spec without telling us!”

 

(Photos: Matthew Murphy)

 

www.mdgfog.com

 

 

PRG XL Video supplies MDG ATMe haze generators for “Hamilton: An American Musical”PRG XL Video supplies MDG ATMe haze generators for “Hamilton: An American Musical”

Robe equipment selected for Jacob Dinesen's arena shows

Robe equipment selected for Jacob Dinesen\'s arena shows
Robe equipment selected for Jacob Dinesen\'s arena shows

Danish singer/guitarist Jacob Dinesen played two arena shows to kick off his 2018 summer tour, one in his home region of Aabenraa and one in Copenhagen, with Robe MegaPointes and Spiiders prominent on the rig. Lighting for these two shows was a completely new design, also programmed and operated by LD Niller Bjerregaard.

 

Bjerregaard had only just joined the Dinesen production team for these shows after being recommended by FOH sound engineer Mads Mikkelsen. The two also work for Danish band Volbeat, in fact four of the crew are involved on the production of both artists. Bjerregaard took on the Dinesen project with a skeleton design already in place created by Jacob Beckman. He discussed this with the band and their production manager Jonathan Koch and added in some of his own ideas.

 

Some of the 30 x MegaPointes and 20 x Spiiders at the centre of the rig were already specified by Jacob Beckman, however when Niller Bjerregaard took over the project, he added some extra fixtures. The initial idea had been to have PAR cans on the ladders, but this was changed to the Spiiders. They also moved some of the trussing around and added more LED products.

 

The Spiiders were purchased new for the tour by rental company Vigso, while the MegaPointes were supplied as a dry hire from Nordic Rentals. The MegaPointes were positioned on the four roof trusses - three of which were straight with the back one curved to accommodate a wide backdrop and add structural dynamics to the picture. Eight of the Spiiders were on the trusses with another 12 on six upstage vertical ladders which flanked a portrait LED screen in the centre.

 

Also on the ladders were Elidy LED panels. Bjerregaard also had a few other moving lights, some LED strobe/flood fixtures for blinding and bumping and a bunch of 2-lite Moles. He operated these shows in Aabenraa Arena and Copenhagen Forum using his own ChamSys MQ500 Stadium console. On these two Jacob Dinesen shows, he worked alongside lighting crew chief Martin Jepsen and Niels Stenger from Vigso.

 

(Photos: Louise Stickland)

 

www.robe.cz

 

 

Robe equipment selected for Jacob Dinesen\'s arena showsRobe equipment selected for Jacob Dinesen\'s arena shows

GVP and Elation provide lighting for “Ring of Honor” wrestling

GVP and Elation provide lighting for “Ring of Honor” wrestling

Event production house GVP Media, Inc. of Houston is responsible for lighting “Ring of Honor” (ROH) events, a pro wrestling touring circuit that incorporates wrestling with mixed martial arts. The company has been working with ROH for the past 3 ½ years, providing lighting, LED video displays, and rigging for a growing list of events across the U.S.

 

For an ROH event in February 2018 at Center Stage theater in Atlanta, GVP turned to its inventory of Elation hybrid moving heads (Platinum HFX and Platinum FLX) to add beams to the entrance stage where wrestlers make their appearance. The rig also included two luminaires that GVP added to their inventory after last year’s LDI show, the ZCL 360i single beam moving effect and one of Elation’s newest color-changing batten fixtures, the Chorus Line 16.

 

Lighting design for the Atlanta ROH event was by GVP’s James Poole and Master Electrician was Kristen Conroy.

 

www.elationlighting.com

 

 

GVP and Elation provide lighting for “Ring of Honor” wrestlingGVP and Elation provide lighting for “Ring of Honor” wrestling

L-Acoustics gear used for Broadway musical “Mean Girls”

L-Acoustics gear used for Broadway musical “Mean Girls”

“Mean Girls”, the stage adaptation of Tina Fey’s 2004 film of the same name, received twelve nominations for June’s 72nd Annual Tony Awards, including Best Musical. Also up for a Tony Award at Radio City Music Hall this year was Brian Ronan, who, with the assistance of his associate, Cody Spencer, served as the sound designer for “Mean Girls”.

 

Following its premiere at Washington D.C.’s National Theatre in October 2017, the production officially opened this April at the August Wilson Theatre on 52nd Street in NYC with a full complement of L-Acoustics loudspeakers.

 

With all audio gear supplied by Masque Sound, Ronan and his team specified and installed a number of LA8-powered distributed arrays across the theatre’s proscenium arch. Twin arrays of 12 Kara each are supplemented with three additional hangs of DV-Dosc. “Mean Girls” marks the first appearance of L-Acoustics’ Kiva II on Broadway, with identical arrays of seven enclosures flown on either side of the stage, just outside the proscenium.

 

In addition to the L-Acoustics systems, “Mean Girls” is also using a DiGiCo SD10 monitor console backstage for the band, paired with a DiGiCo SD7T out in the audience seating for house sound. Sennheiser RF is also referred to by the sound designer as “a staple.”

 

Upper photo shows “Mean Girls” Associate Sound Designer Cody Spencer (left) and Sound Designer Brian Ronan. (Photos: Joan Marcus/L-Acoustics)

 

www.l-acoustics.com

 

 

L-Acoustics gear used for Broadway musical “Mean Girls”L-Acoustics gear used for Broadway musical “Mean Girls”

Crambo stattet Rennstrecke Barcelona-Catalunya mit Absen-LED-Panels aus

Crambo stattet Rennstrecke Barcelona-Catalunya mit Absen-LED-Panels aus
Crambo stattet Rennstrecke Barcelona-Catalunya mit Absen-LED-Panels aus

Kurz nachdem Absens spanische Vertriebsgesellschaft Crambo die Ausschreibung als offizieller Lieferant für LED-Bildschirme an der Rennstrecke Barcelona-Catalunya gewonnen hatte, erfolgte die Lieferung und Montage von 700 m² Absen-X5-LED-Panels im Vorfeld der MotoGP- und Formel-1-Grand-Prix-Saison.

 

Absens X5-Panels, wetterfeste HD-LED-Anzeigen für Außenaufstellungen mit einem Pixel Pitch von 5,2 mm, wurden in Form von 10 x 5,62-m-Anzeigen rund um die Rennstrecke und am Siegerpodest aufgestellt. Crambo zeichnete für die Integration der neuen LED-Infrastruktur in die Rennstrecke verantwortlich.

 

„Da die Sonne zu den Rennzeiten direkt auf die Bildschirme scheint, sind LED die einzige denkbare Lösung zum Übertragen von Bildern und Videos“, so Juan Carlos Acerete, Projektmanager von Crambo. Am Rande der Rennstrecke wurden Konferenz- und Innenbereiche mit einer Kombination aus Absen-A3- und -M2.9-LED-Panels ausgestattet, um Video- und Bildübertragungen zu ermöglichen. M2.9-LED-Anzeigen sind in Bereichen anzutreffen, in denen das Publikum nahe am Bildschirm steht.

 

Vor der Montage wurde ein System mit Glasfaserkabeln unter der Oberfläche der Rennstrecke verlegt. Dies versetzte die Arena in die Lage, Videos in der höchstmöglichen Qualität an über 20 Fernsehbildschirme sowie weitere rund um die Rennstrecke und in den Innenbereichen verteilte Displays in verschiedenen Größen zu übertragen. Die Montage der Bildschirme durch Crambo erfolgte innerhalb von drei Tagen.

 

www.absen-europe.com

 

 

Crambo stattet Rennstrecke Barcelona-Catalunya mit Absen-LED-Panels ausCrambo stattet Rennstrecke Barcelona-Catalunya mit Absen-LED-Panels aus

CPL supplies Roe LED screens to Hay Festival

CPL supplies Roe LED screens to Hay Festival
CPL supplies Roe LED screens to Hay Festival

CPL supplied their new Roe 3.4 mm LED screens and all associated processing and vision control for two major stages at the 2018 Hay Festival of Literature & Arts, an annual 10-day literature event staged in Hay-on-Wye, Powys, Wales.

 

It was the first time the west-Midlands based visual and technical production specialist had worked on the event, for which they were approached directly by the event organisers. It was also the first time that the event had gone to LED for video display, having worked with projection festival-wide for several years.

 

There are eight major live stages - offering over 5000 seats - and CPL was the video supplier for the two largest areas, the 1716 capacity Tata Tent and the Oxfam Moot stage which accommodated 921 people.

 

The project was managed for CPL by George Oakey from the office/warehouse end, and on-site by Stuart Dowdell, a regular CPL freelancer and a seasoned Hay Festival video tech having worked on it for the last six years.

 

The Roe 3.4 mm HD screen was specified and designed to enable everyone in the rooms to see a range of PowerPoint and Keynote presentations, VT playbacks, live camera feeds, pre-show rolls plus sponsor loops and stings as well as information related to the specific event or debate taking place onstage.

 

Both stages had three screens, a central upstage surface flanked by two side LEDs. In the Tata Tent, the main screen measured 5 metres wide by 2.5 metre high, supported by two 2.5 x 1.5 metre wide side screens. The Oxfam stage featured a 3.5 metre wide central screen with two slightly smaller satellite screens.

 

The side screens in the Tata Tent replaced the 65 inch plasmas of previous years. The various video feeds (stage laptops, control laptops, visualizer feeds, OB cameras, etc.) were routed via one of CPL’s Blackmagic SDI matrixes.

 

The OB trucks - the BBC broadcasts many elements of the festival across multiple channels - could then create their own mix. Presentations on both Tata and Oxfam stages - as hubs of the festival action - were recorded by the BBC, some for immediate and some for later broadcast. The matrix fed a Roland switcher operated by an assistant stage manager in each case, who could control any video feed and route it to any screen.

 

Two CPL Brompton M2 Processors were used per venue, one handling the main screen and one for the two side screens, and these were also fed programme and aux feeds from the Roland via the matrix. The screens on both stages aired pre-show rolls with images and information on Hay and sponsor information related to the upcoming event during the audience walk-in.

 

If the presenter utilised PowerPoint or Keynote in their addresses, that was shown on the main screen, with live camera IMAG relay going to the sides. If it was a talk or an interview with no video presentation, then all the screens showed live camera relays.

 

(Photos: Hay Festival 2018)

 

www.cplav.com

 

 

CPL supplies Roe LED screens to Hay FestivalCPL supplies Roe LED screens to Hay Festival

Wikinger-Roadshow nutzt Technologie von AV Stumpfl

Wikinger-Roadshow nutzt Technologie von AV Stumpfl
Wikinger-Roadshow nutzt Technologie von AV Stumpfl

Waterford, die älteste Stadt Irlands, begab sich während der Osterzeit in Form des International Viking Festivals und der dazugehörigen Roadshow auf eine Reise zu ihren eigenen Wurzeln. Das drei Tage umfassende Event im Osten Irlands erinnerte an die vor 1.100 Jahren erfolgte Eroberung von York durch König Reginald von Waterford.

 

Highlight des Events war eine nächtliche Wikinger-Roadshow, die zwei 45-minütige Theatervorstellungen beinhaltete, welche am letzten Tag auf dem Apple Market im Zentrum der historischen Altstadt aufgeführt wurden.

 

Das für diese Veranstaltung ausgewählte Stück von Creative Director Craig Morrison wurde für eine Live-Tour in zwölf der bedeutendsten Wikingerstätten konzipiert und bildete den Abschluss des durch den Stadtrat und das Museum organisierten Festivals.

 

Morrison versammelte Schauspieler, Musiker, Tänzer und Filmemacher aus mehreren europäischen Ländern, um unter Verwendung von moderner Projektionstechnologie das Thema des Wikingererbes in Szene zu setzen.

 

Die Umsetzung des Festivals und der Roadshow fiel der Event- und Festivalmanagementfirma EveryEvent zu, als Technik- und Produktionsserviceprovider fungierte Corporate Audio Visual Services (CAVS).

 

Die CAVS-Techniker John Parsons und Eoin “Chip” Devit entschieden sich für zwei Barco-HD-20k-Flex- und drei Barco-RLM-W12-Projektoren. Ihr Kollege und Toningenieur Trevor Roycroft verwendete fünfzehn L-Acoustic Kiva II, acht SB15M, vier LA8 und ein Midas Pro 1 für das Audio-Setup. Die Equipmentwahl von Lichttechniker Nigel Lombard fiel auf sechs Robe BMFI, acht Robe Robin Spiider, sechs S4 Profile und zehn CP62-Par-Cans für die Lichtausstattung.

 

Um alle Komponenten zusammenzuführen, entschied sich CAVS für zwei AV-Stumpfl-Wings-Engine-Stage-Medienserver, welche die komplette Steuerung und Ausführung der allgemeinen Produktion ermöglichten. CAVS-Production-Manager Eoin Sheridan übernahm im Rahmen des Waterford-Projektes die Aufgabe des technischen Leiters.

 

www.avstumpfl.com

 

 

Wikinger-Roadshow nutzt Technologie von AV StumpflWikinger-Roadshow nutzt Technologie von AV Stumpfl

Gahrens + Battermann unterstützt ADC-Festival als technischer Generaldienstleister

Gahrens + Battermann unterstützt ADC-Festival als technischer Generaldienstleister
Gahrens + Battermann unterstützt ADC-Festival als technischer Generaldienstleister

Unter dem Motto „Fütter deine Kreativität“ verlieh der Art Directors Club für Deutschland (ADC) e.V. auch in diesem Jahr wieder ADC-Nägel für die erfolgreichsten Kommunikationsideen aus der europäischen Kreativbranche. Rund um die Preisverleihung fand vom 16. bis 29. April 2018 eine Vielzahl von Begleitveranstaltungen statt, die Gahrens + Battermann (G+B) erneut mit Know-how und Equipment unterstützte.

 

Neben der Awards-Show, wurden auch die vorangegangene Jurytagung, die Aftershowparty und eine begleitende Ausstellung mit professionellem Technik-Equipment ausgestattet. Während die Jurytagung im Volksparkstadion stattfand, wurden der Kongress und die Awards-Show in der alten Fabrik Kampnagel inszeniert.

 

Die Ausstellung mit Rahmenprogramm und Führungen fand im Museum der Arbeit statt. Für die dort benötigte Präsentationsfläche stellte das rund vierzigköpfige G+B-Team um Projektleiter Tobias Czurgel die Beschallungsanlage sowie ein 84"-Display zur Verfügung.

 

Der technische Blickfang des Kongresses war eine 5,5 x 3 m große Absen-A3-LED-Wand, die den Kongress visuell unterstützte. Die Lautsprecher L-Acoustics Kiva sorgten während des Kongresses und in der Lounge für den Sound.

 

Das Programm der Awards-Show spielte sich vor einer 14 x 3,7 m großen Absen-X5-LED-Wand ab. Für die Bilder sorgte eine professionelle Bildregie mit drei Kamerazügen. Für die Awards-Show und die Party entschied sich das G+B-Team für die Kara-Serie von L-Acoustics. Auf der Party kamen zudem kopfbewegte Scheinwerfer und eine zwei Meter große Spiegelkugel über der Tanzfläche zum Einsatz.

 

Darüber hinaus stand Gahrens + Battermann dem ADC auch bei der Erstellung des Lichtkonzeptes zur Seite. Bei der Umsetzung der Produktionsnetzwerke und des frei verfügbaren WLAN in allen Locations nahm G+B ebenfalls eine unterstützende Funktion ein.

 

www.gb-mediensysteme.de

 

 

Gahrens + Battermann unterstützt ADC-Festival als technischer GeneraldienstleisterGahrens + Battermann unterstützt ADC-Festival als technischer Generaldienstleister

Loop Light kreiert 3D-Mapping für Jubiläumsfeier

Loop Light kreiert 3D-Mapping für Jubiläumsfeier
Loop Light kreiert 3D-Mapping für Jubiläumsfeier

Anlässlich der 150-Jahr-Feierlichkeiten der Hypothekarbank Lenzburg AG auf Schloss Lenzburg im Kanton Aargau in der Schweiz wurde die Loop Light GmbH mit der Entwicklung und Ausarbeitung eines 3D-Mappings beauftragt.

 

In Zusammenarbeit mit der Hypothekarbank Lenzburg AG, dem Magier Magrée, der Megatron Veranstaltungstechnik AG, dem Schloss Lenzburg sowie der Projektleitung Jenny Ackeret von Raum360° zeichnete Loop Light für die Entwicklung von Inhalten für das 3D-Mapping und dessen Umsetzung vor Ort verantwortlich.

 

Als Grundlage diente eine von Loop Light erstellte 3D-Simulation des Rittersaales, auf deren Basis moderne wie auch klassische Bildwelten erschaffen wurden. Höhepunkt war die Vorstellung und Taufe der Hypi-Rose, einer eigenen Züchtung im Auftrag der Hypothekarbank Lenzburg AG, die zusammen mit dem Illusionisten Magrée innerhalb der 3D-Projektion vorgestellt wurde.

 

www.looplight.de

Ayrton Ghibli lights ‘Amadeus’ in Seoul

Ayrton Ghibli lights ‘Amadeus’ in Seoul
Ayrton Ghibli lights ‘Amadeus’ in Seoul

Tongsuh Technology Co., Ltd, Ayrton’s exclusive distributor for Korea, recently sold 12 Ayrton Ghibli LED spot luminaires to Art Won+ Stage Lighting Co., Ltd for its production of Peter Schaffer’s ‘Amadeus’, which ran for two months at the Gwanglim Church BBCH Art Hall in Seoul.

 

For ‘Amadeus’, the units were positioned around the theatre’s apron stage, around the front, sides and balcony, and used as a proscenium set arch for front lighting. The production’s lighting design was created by You Sub Won, Principal Lighting Designer & CEO of Art Won+ Stage Lighting.

 

Upper photo shows Tongsuh Technology Co., Ltd sales team with CEO Hyun Shin. (Photos: Tongsuh Technology Co., Ltd/Art Won+ Stage Lighting)

 

www.ayrton.eu

Drums'n'Percussion Festival mit Equipment von Martin, Claypaky, ImageCue und MA Lighting

Drums\'n\'Percussion Festival mit Equipment von Martin, Claypaky, ImageCue und MA Lighting
Drums\'n\'Percussion Festival mit Equipment von Martin, Claypaky, ImageCue und MA Lighting

Für die Lichttechnik während des viertägigen Drums'n'Percussion-Festivals 2018 in Paderborn kamen zahlreiche Produkte von Lightpower zum Einsatz. So waren 16 x Martin by Harman MAC Quantum, 8 x Claypaky A.leda B-Eye K10, 10 x Martin by Harman VDO Fatron 20, 1 x ImageCue, 1 x Dot2 XLF, 1 x Dot2 B-Wing, 1 x Dot2 F-Wing und 1 x Dot2 Node4 (1K) vor Ort und wurden von Projektmanager Herbert Löser (AFV Medienproduktion Weihrauch) und den beiden Lichttechnikern Julian Mielemeier (LeanPro) und Fabian Cornelsen (Theater Paderborn) installiert.

 

Die Martin MAC Quantum waren für die Projektionen auf die Rückwand der Szenenfläche und das Spitzenlicht für das Publikum zuständig, während die Claypaky A.leda K10 die Ausleuchtung der Szenenfläche übernahmen und die Martin VDO Fatron 20 als Effektlicht und zur Eingrenzung der Spielfläche eingesetzt wurden.

 

(Fotos: Jan Braun/Lightpower)

 

www.lightpower.de

 

 

Drums\'n\'Percussion Festival mit Equipment von Martin, Claypaky, ImageCue und MA LightingDrums\'n\'Percussion Festival mit Equipment von Martin, Claypaky, ImageCue und MA Lighting

Aventem auf Manga-Convention DoKomi im Einsatz

Aventem auf Manga-Convention DoKomi im Einsatz

Am Pfingstwochenende fand auf der Messe Düsseldorf zum zehnten Mal die DoKomi statt, die mit rund 45.000 Besuchern größte Manga- und Anime-Convention Deutschlands. Aventem realisierte bei dem Event in der Messehalle 12 eine große Showfläche, auf der unter anderem eine Charakterversteigerung, der Vorentscheid zur Deutschen Cosplay-Meisterschaft, Abendpartys und mehrere Konzerte stattfanden.

 

Aventem betreute die Bereiche Ton, Licht, Bühnenbau sowie die komplette Vorplanung für die sogenannte „Black Stage“. Als Projektleiter zeichnete Frank Matheisl verantwortlich.

 

www.aventem.de

Layher-Traggerüst unterstützt Treppenbau an luxemburgischem Bahnhof

Layher-Traggerüst unterstützt Treppenbau an luxemburgischem Bahnhof
Layher-Traggerüst unterstützt Treppenbau an luxemburgischem Bahnhof

Unter dem Motto „Mobilität“ entstand in Luxemburg der Bahnhof Kirchberg-Pfaffenthal, auch „Gare Pont Rouge“ genannt. Der Gesamtkomplex besteht aus einer Bergstation auf dem Kirchberg-Plateau sowie einem Pendlerbahnhof für die Straßenbahn, verbunden durch eine Seilbahn.

 

Um den Pendlerbahnhof auch von der weiter talwärts liegenden Straße aus zugänglich zu machen, wurden mehrere Treppenanlagen gebaut. Dazu war eine flexible Schalungsunterstützung erforderlich. Mit dem Allround Traggerüst TG 60 von Layher konnte die Firma Paschal die Lasten von bis zu 42 kN/m im Bereich der Brüstungen und Außenwände sicher abtragen und notwendige Geometrieanpassungen umsetzen.

 

Die dem Treppenlauf folgenden Höhensprünge ließen sich über die verschiedenen Rahmenhöhen in Kombination mit der Ausspindelhöhe lösen. Mit Allround-Konsolen konnten die Monteure die Arbeitsplattform am Rand der Schalung ohne Stellen weiterer Traggerüsttürme verbreitern. Allround-Riegel und -Diagonalen ermöglichten die Kopplung der Türme im System.

 

(Fotos: Paschal)

 

www.layher.com