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Heythrop Park Resort upgraded by CPL
CPL (Central Presentations Ltd) has completed a technical upgrade - staging, lighting, audio and AV - to the conference theatre at Heythrop Park Resort where the west Midlands based company is also the house onsite technical support provider.
Heythrop Park Resort currently has two hotels, an 18 hole golf course, a health club & spa and conference facilities including a ballroom with capacity for 300-400 guests (in banqueting or theatre style respectively), the Conference Theatre which can hold 400 delegates and the Enstone Room for up to 200.
The latest plans have seen the addition of a marquee which can be configured as a 650 seater banqueting hall or an 800 capacity theatre space which will further expand the available resources to host a diverse selection of conferences and events. Specifications and packages have all been fine-tuned and co-ordinated by Simon Haydon and Richard Burrow from CPL in close collaboration with Heythrop resort director Paul Russell.
A D&B Y8 line array with subs was chosen, powered by the new D&B D20 amps, with an Allen & Heath 24 channel digital console. Also integral to the audio package is a Shure UR4 mic system. The stage itself has been completely renovated. It has new boards and carpet, a new set of steps for access plus a new lectern. There is now a 5 metre wide edgeless projection screen, suspended on discreet steel wires. It is fed by a 20K Panasonic projector. Behind this is a smart grey drape, and on the reverse of the screen, strips of LED tape have been applied to light the drape.
There is also a selection of day-to-day AV and conference kit available on site for the various different clients, and ‘extras’ packages can be arranged for the Theatre, as well as the other conferences spaces including the Enstone Suite, the Ballroom and the Marquee. New lighting fixtures include a number of Arri L7 LED fresnels and ETC Source Four Studio HD profiles. CPL’s team will be providing site-wide technical support and project management at Heythrop.
(Photos: Samuel Thomas)
Stormzy on tour with Ayrton fixtures
For grime artist Stormzy’s 2017 tour - that visited academy venues across the UK and Ireland through, before culminating in two shows at the London O2 Brixton Academy - Lighting Designer Steve Bewley opted for an Ayrton-laden specification for each incarnation of Stormzy’s show.
“There were 38 MagicPanel-R units and ten MagicBurst on my list,” Bewley explains. “The UK and Ireland shows were all of a decent size, Brixton Academy has a capacity of nearly 5,000 and then we had various festival variations and a special rig for Glastonbury. Altogether, there were six different designs but the Ayrton fixture choices were always central to the show.
“For the academy shows, we stripped out the house rigs to make it entirely Stormzy’s show in each venue. Our rig was composed of straight truss with the MagicPanel-R fixtures deployed in uniform lines across the mid and back trusses to give a great linear effect, and again across the floor. When we reached Brixton for the two showcase nights that were filmed, it was important that the rig delivered for camera as well as the audience.
“We increased the number of MagicPanel-R units and loaded them onto six moving trusses arranged in a horseshoe shape and split into three sections downstage and upstage; two further satellite trusses moved up and down behind that and more filled in across the front of the stage and downstage left and right at floor level.
“We also had seven rotating screens as backdrops with seven more above arranged at a differing heights. Everything could be independently manoeuvred on Kinesys system to create multiple moving layers.” Bewley also added ten MagicBurst fixtures to an upstage moving truss.
HSL supports Horse of the Year Show
HSL supplied lighting, trussing and rigging equipment to the two main arenas at the 2017 Horse of the Year Show (HOYS) for event producer and artistic director Nadia Raibin and her company, The Production Team. The brief to HSL included providing theatrical lighting for a number of equestrian-based entertainment and display acts as well as lighting for the main international show-jumping competitions, working hunter and driving classes.
On site, the HSL crew collaborated with event technical director Ben Fox and lighting director and operator Mark Strange. Simon Stuart project managed for HSL. HSL’s team was led by Andy Skirrow and Charlotte Stevens together with Nick Bryan.
In addition to all the standard competition events taking place in the main Genting Area, there were a number of dramatic moments where lighting was used to ramp up the excitement and anticipation, plus displays like Atkinson’s Action Horses which were theatrically lit. These were interspersed with craziness from the Prince Philip Cup Pony Club teams and special moments like the winners laps and awards presentations.
The Genting Arena was a 67 metre long by 30 metre wide space filled with special soft fibre material spread across the arena floor, which hosted all the main competitions over five days of horse-centric sport, fun and entertainment. Mark Strange and Ben Fox, together with Simon Stuart this year, were all involved in specifying the lights for which Stuart specifically recommended the VariLite 4K beam washes.
HSL installed hundreds of metres of pre-rigged trusses which were used for all the lighting positions. A massive effort went into prepping these trusses at HSL, complete with wiring looms that dropped on top in the right places. It was critical that this part of the set-up was completed swiftly, so the arena floor - delivered in a fleet of artics - could be laid immediately afterwards. A four metre diameter circular truss was also installed in the middle of the space, just below the house video scoreboard.
The main moving lights were a combination of Philips VariLite 4K beam washes and Robe BMFL Spots distributed along the length of the trusses, with Philips SL Hydrus 350 hybrids rigged onto the circle truss. The Genting trusses were rigged on double-braked 1 tonne Litec Exe-Rise hoists. Four Robert Juliat Cyrano follow-spots were positioned around the corners of the arena.
Follow spots were used to pick up riders as they entered and exited the ring, and were on hand for the awards presentations, winner laps of honour and some of the display shows. The show was programmed and operated from a ChamSys console with all the dimmer racks and hot racks stored up above in the NEC roof catwalks.
The “Top Spec” Arena 2 was lit with PAR 64s on 6-lamp bars rigged on individual trusses flown in a U shape. A series of 400 W MBI floods were supplied for the collecting ring area. A long truss was hung above the main entranceway, populated with Philips LED Spot 300s projecting Horse of The Year Show custom gobos, combined with SL 350 LED washes providing the event’s signature purple wash. Hazers and smoke machines were used as well. Andy Skirrow and Charlotte Stevens worked with 12 local crew on the in and out.
Robert Juliat followspots used at Cap Roig Festival
Robert Juliat added some French flavour to the Spanish music festival at Cap Roig, Girona this summer. Produced by Clipper’s Live, Cap Roig Festival is a summer music festival that takes place in a natural setting overlooking the Mediterranean. Local rental company ABS Entertainment Service supplied two Robert Juliat Merlin 2500 W and two Robert Juliat Aramis 2500 W followspots as front of house support for the duration of the two-week event.
The festival originated in 1927 when it began as an art and architectural and music show. This, the 6th edition of the festival in its present form, ran from 7th July to 22nd August 2017 in a site spread over 17 hectares of gardens, complete with castle. The line-up of singers and bands included Anastacia, Passenger, Silvia Pérez Cruz, Norah Jones, Wilco, Woody Allen, Els Amics de les Arts and The Pretenders.
(Photos: Iker Gartzia)
‘Take Me Out Mzanzi’ lit by Robe
The latest series of ‘Take Me Out Mzanzi’ - aired on M-Net’s Mzanzi Magic network in South Africa market - was recorded over six weeks at Sasani Studios in Johannesburg, featuring a lighting scheme designed by Rob Grobler, with equipment supplied by rental specialist Gearhouse South Africa.
Produced by Rapid Blue, the show has a style book and a specific look that has to be followed, explains Grobler, who chose over 130 Robe fixtures to assist him in achieving this task on the lighting side.
The lighting plot featured Robe’s DL range of LED moving lights, with 12 x DLS Profiles, 24 x DLX Spots and 24 x DLF Washes. These were joined by 14 x ColorSpot 700E ATs, 36 x LEDForce LED PARs and 24 x CityScape 48s.
The set was designed by Michael Gill and built for the show by Sets Drapes Screens (SDS), from the Gearhouse Group of Companies, following the guidelines of UK broadcaster ITV (Independent Television).
The fixtures were positioned all over the trussing. The 20 x DLX Spot and 10 x DLS Profile units lighting the panel members either individually or as a group - depending on the state at the time - were grouped close together (so much so that they had to be individually powered up to avoid bumping into one another). Rob Grobler used a GrandMA2 console for control.
(Photos: Duncan Riley)
Relevant Audio Visual choose Elation fixtures for Global Leadership Summit
With a commitment to develop and mentor leaders worldwide, the Global Leadership Summit is a live HD broadcast that is simulcast to more than 600 satellite locations around the globe. On August 10th and 11th, Relevant Audio Visual (RAV) provided production for a Global Leadership Summit satellite site in Wichita, Kansas, the third largest satellite site in the country, and turned to lighting from Elation Professional.
For the 1400-capacity room at the Century II Convention Center in Wichita, where the event was held, RAV took the stage renderings they received from the Global Leadership Summit and translated them to the space, adding in a lighting package of 22 fully rotational ACL 360 Bar color-changing LED battens; 12 Platinum Beam 5R Extreme moving head beam effects; 12 Platinum Spot 5R Pro color and pattern moving heads; and 12 of Elation’s new Paladin strobe/blinder/wash lights.
This was RAV’s first year working with the Global Leadership Summit. They production managed the two-day leadership training, including design and load in, and used the Elation lighting to create pre-session lighting looks and complementary visuals during the presentations themselves.
“There was rear projection onto the screen, which allowed us to put lighting effects in front of the screen,” says Brandon Deibler, Creative Director and Project Designer at RAV. The visuals included a curtain of lighting effects from ACL 360 Bars that Deibler raked front to back on pipe with some on the floor. The fixtures projected through haze to create an immersive, layered effect that complemented the room.
On deck behind the screen and on the lip of the stage were Platinum Beam 5R Extreme lights used to project narrow beams upwards while Platinum Spot 5R Pro fixtures textured the walls of the venue. The Paladin strobe/blinder/wash lights gave life to the room by reflecting colored light off of the ceiling. RAV also used the Paladins as a dynamic house lighting fixture, forgoing the venue’s fluorescent lights. Control of the lighting system was from a full-size Hog 4 lighting console.
Tube UK supplies sound system for Manchester Diwali 2017
Audio specialist Tube UK supplied a sound system for “A Blessing”, a public performance produced by outdoor arts experts Walk the Plank as part of Manchester’s Dashehra Diwali Mela 2017 celebrations, staged in and around Albert Square in the City Centre.
The show - complete with audio, lighting and choreographed pyro - was narrated by Rama, the seventh avatar of the Hindu god Vishnu. The story was structured and directed by Walk the Plank’s Nick Clarke with words and scripting by Louise Wallwein, with Tube’s Adam Taylor designing the sound.
Tube positioned two ground stacks of D&B V-Series PA speakers either side of the Buffalo stage on the Town Hall side of the site, which in addition to amplifying his mic also served as the main show PA for all the crescendos and big moments.
Either side of the Tiger stage was a stack of D&B Y-Series speakers that ensured the Tiger’s microphone and sounds - like roaring - and other content could be amplified and heard. The mics chosen were Sennheiser 5212s fitted with DPA 4066 capsules.
A QLab system was utilised for all the playback audio, sound effects and music tracks plus the narration, running via Dante into a Yamaha QL5 console on which Adam Taylor mixed the show. He was joined by Jamie Taylor-Sharman as systems engineer, who fine-tuned the system.
(Photos: John Redfern)
Antycip Simulation delivers VR rooms to automotive supplier Hutchinson
Antycip Simulation has delivered two immersive VR rooms for Hutchinson’s Innovation & Research Centre. In order to develop its prototyping activity, Hutchinson called upon Antycip Simulation to deliver a four-sided immersive CAVE (Cave Automatic Virtual Environment) to allow the manufacturer to work in a virtual environment and manipulate 3D objects.
Equipped with a joystick and 3D glasses, the operator can enter the virtual space due to infrared tracking cameras, walk around a 3D model, move it around and interact with it to study it from all angles.
In response to the brief from Hutchinson, Antycip Simulation recommended and installed four 3-Chip DLP Christie Mirage WU12K-M projectors. Boasting a WUXGA resolution (1920 x 1200 pixels) at 120 Hz, the projectors display virtual images in the CAVE from the back of the screens.
Three projectors are installed behind the front and side screens, while the fourth projector - rigged on a platform - projects on the floor using a mirror precisely angled by Antycip Simulation in order to negate shadowing.
The second room designed by Antycip Simulation within Hutchinson’s HQ is used for 3D demos. It is fitted with a four metre long by two metre high UHD 4K video wall powered by a Christie Mirage 4K25 120 Hz projector (4096 × 2160 pixels).
The glass screen is interactive, allowing users to zoom in and rotate 3D models by touching the surface of the screen. This room is also equipped with infrared tracking cameras detecting the joystick movements when objects are manipulated on the screen. The venue can seat up to 20 people for 3D presentations.
Content-wise, the Christie projectors integrated by Antycip Simulation in the CAVE environment are fed by HP Z Station work stations controlled by a master computer, while CAO-DAO 3D software is used. The 4K Christie projector in the video wall room is coupled with a working station using Nvidia Quadro P6000 cards capable of delivering fluid 3D images.
Robe Deutschland HQ inaugurated
Robe Deutschland officially celebrated the opening of its new HQ in Ismaning near Munich in an event which also showcased Robe’s new MegaPointe moving light to assembled guests and media. The event enabled guests to tour the new office, warehouse and Light Lab facilities, then experience a lightshow designed, programmed and operated by top Swiss LD Ronald Huber, illustrating the features and functionality of the new MegaPointe, together with other versatile fixtures from Robe’s current ranges.
The show was staged in a nearby venue hired to ensure there was enough space to feature the MegaPointe. The lightshow was enjoyed by many individuals - lighting/visual designers and other creatives, programmers, technicians - and those from a diversity of organisations - venues, TV studios, theatres, rental companies - most of whom stayed for several hours and enjoyed the networking and environment. Guests could also see products close-up and engage in a number of full demonstrations including the DL Series, the Viva CMY and the RoboSpot series of follow-spotting products.
(Photos: Michael Herrmann)
CPL provides video production package for Camper Calling festival
CPL returned to the leafy environs of Ragley Hall in Warwickshire to provide a video production package for the Main Stage at the 2017 Camper Calling festival, a new event staged by Jazz Events, part of the Jazz Publishing Group. Main Stage headliners included Cast, The Lightning Seeds and the Flying Swordfish, and CPL was working for Urban Audio, with a team on site led by Simon Haydon.
Fifty panels of Roe 3.4 mm LED screen was installed onstage, flown off a mid-stage truss and configured as a 4 metre wide by 3.5 high main screen, flanked by two columns left and right which were half a metre wide and 3.5 metres deep.
Visuals were run from a D3 4x4 pro media server. Artists were able to submit their own footage to be played out during their set or if they didn’t have any specific material, they could supply artwork, a logo or visuals to Haydon, who would then produce a video montage that would run ‘live’ during their performance.
Three camera channels were provided for the IMAG mix which was created by Simon Haydon using a Panasonic AV-HS400 PPU. Video was also utilised to ensure that Camper Calling branding was regularly reinforced on the screen.
To maximise interactivity and communication for the festival population, visitors could Tweet a photo of themselves together with the hashtag #campercalling, which was received via a 4G mobile connection on a laptop by Haydon. He edited these as necessary and output to the screens. For the get-in/get-out, Simon Haydon was joined by CPL’s Lee Gruszeckyj and Jack Sykes as crew, and Haydon himself was the show technician.
(Photos: Jazz Events)
Ghost Rockers on tour with lighting design by Painting with Light’s Paco Mispelters
The band at the heart of Belgian TV series ‘Ghost Rockers’ - produced by Studio 100 and syndicated throughout Europe - hit the road for a series of gigs around Belgium this autumn, with a lighting design by Belgian design studio Painting with Light’s Paco Mispelters.
One of Mispelters’ starting points was the practical consideration of different sized venues on the tour, so from the outset, the look and the lighting rig had to be scalable. With no set as such, apart from some low stairs and a couple of risers, Mispelters also needed to create additional structural elements, and therefore used 48 active Showtec Sunstrips upstage plus a bit of imaginative programming.
The Sunstrips were rigged in ten continuous and broken columns, and to four vertical trusses at the back. Behind this - far upstage - the band’s scenic logo was rigged and illuminated with its own set of LED PARs. The Pepper’s Ghost effect was created by an area of LED floor on which the ghosted character (from the theatre) appeared, and this image was bounced to the audience via a screen immediately above centre stage, angled at 45 degrees.
The male Pepper’s Ghost character appeared twice, one time as a youngster during the search for his long lost partner - also a virtual character - and once during a sequence when he was physically aged via the projection content. Overhead, four motion controlled trusses provided more contrast in architecture and definition of the performance space.
Mispelters chose Robe Spiider LED wash beams as his primary wash fixtures, with eight Spiiders positioned at the back on the vertical trusses and the other eight on the overheads. He built on these base washes and looks utilising 21 Robe Pointe multi-purpose moving lights, six deployed on the floor in front of the stairs and four more upstage of the risers that assisted the set’s 3D appearance. The other 11 Pointes were on the overhead rig in two layers, a line of seven and a line of four fixtures.
As the main band keys and profiles, Mispelters chose Claypaky Alpha Wash 1500s, three on the front truss and two further upstage, overhead for drums and keyboards. Ten single-cell blinders on the rear towers provided additional accenting, and the trusses were all toned with LED PARs fitted inside. The six Chauvet Geyser vertical-jet smoke machines with inbuilt LEDs were another special - four on the floor and two on the rig, and adjacent to the ones on the floor were four flame jets. All of these were controlled via the GrandMA2 light console.
The rig was completed with some conventionals - fresnels in cold and warm shades of white - as a general stage wash. The lighting kit was supplied by Belgian rental company Phlippo Showlights, and the control, including a Christie Pandora’s Box media server, by Painting with Light. For this production, Paco Mispelters was assisted by design associate Carlo Zaenen, video programmer Katleen Selleslagh and programmer and operator Arjan Grootenhuis, who was out on the road as lighting director with the tour.
(Photos: Frank Lambrechts of Picturesk)
Venuetech new Elation distributor for Middle East
Elation Professional announces that Venutech Audiovisual & Lighting Systems has been appointed the exclusive distributor for Elation Professional products in the Middle East. Venuetech has been a provider of professional products and services to the entertainment industry in the Middle East since 2003. Headed by Nour Assafiri, Venuetech’s team of industry professionals is focused on all aspects of the audio, video and lighting market, from sales to technical support.
Venuetech has just wrapped up a successful Prolight + Sound Middle East show at the Dubai International Convention Center, where they represented Elation products for the first time. Supporting the Venuetech team at their stand was Elation Sales and Marketing Director, Eric Loader, as well as Elation Key Account Manager, Frederik Afif.
Claypaky K-Eye wins PLASA award
The Claypaky K-Eye HCR has won the 2017 PLASA Award for Innovation. The award is assigned by a jury made up of expert professionals in the field, who analyse the various products. The jury gave the following motivation for the award: “A new approach to accurate colour rendering starting at chip level rather than manipulating existing sources.”
ZerOS RigSync wins PLASA Innovation Award
Eaton’s Zero 88 lighting control brand won a PLASA (Professional Lighting & Sound Association) 2017 ‘Award for Innovation’ for the ‘RigSync’ feature, a feature available with the latest version of its ZerOS console software.
This is the second PLASA Innovation Award that Cwmbran, Wales based Zero 88 has won in two years, adding to 2015’s recognition of the new FLX lighting console. The Award was presented at the end of the second day of the 2017 PLASA trade show at Olympia in London.
The judges commented, “RigSync opens up lighting creativity opportunities for non-technical people in an entry-level environment”. The PLASA Awards for Innovation aim to recognize and reward new product ideas, and are independently judged by a task-force of industry specialists.
Photo shows Zero 88 team at PLASA 2017, left to right: David Catterall (General Manager), Tyler Hopkins (International Sales), Jon Hole (Product Manager, Entertainment), Edward Smith (Product Support) and Mandy Bullock-Williams (Sales Executive, Lighting Systems).
Kinesys expands with three new employees
Automation and motion control specialist and manufacturer Kinesys announces three new appointments expanding the team based at the company’s HQ in Hampton, Middlesex, UK. This is a result of a busy year to date, and a surge in business following the launch of a new range of motion control hoists - Apex - in April, plus an expansion of the brand’s worldwide dealer network. The new posts are in three key areas: digital marketing, software development and workshop technical.
Charlie Felicien joins as Digital Marketing & Communications Assistant. He will be working closely with MD Dave Weatherhead and David Bond who heads up Kinesys USA to develop global brand strategies for the entertainment automation manufacturer. Felicien’s work will include creating content - videos, images, graphics, etc. - for marketing campaigns, developing artwork and updating the company’s new interactive website - due for launch later in the year - as well as energising and maximising engagement via social media channels.
Software Application Engineer Alessandro Manicone’s core duties will include coding, and he will also be assisting with some general software support.
Matthew Daglish comes on-board as Workshop Technician, where his key role will be product assembly and testing.
Photo shows (L-R): Alessandro Manicone, Charlie Felicien and Matthew Daglish.
LMG Touring supplies Elation ACL 360i beam effect lights for Paramore tour
Lighting designer Butch Allen created the visual design for American rock band Paramore’s “Tour Two” U.S. tour using a bevy of Elation Professional’s ACL 360i beam effect lights. Supplied by LMG Touring for the fall leg of the band’s U.S. tour, which wrapped up on October 17th, 72 of the single-beam moving effects formed the aerial lighting focal point throughout the show. The ACL 360i effects lined three concentric truss circles over the band - 12 on the inner, 24 on the middle and 36 on the outer - and were framed by rows of strip lights.
LMG Touring, a full service touring provider that operates offices across the U.S., stocks a wide range of Elation products, including over 200 ACL 360i fixtures, and supplied both the lighting and video package for Paramore. In order to speed load in and load out on the tour, LMG had the ACL fixtures mounted on custom pipe brackets, in groups, to easily go on and off of the circle trusses.
(Photos: Craig Mitchell/LMG Touring)
Robe supports The Stage Debut Awards
Robe lined up on the red carpet to welcome guests at the inaugural The Stage Debut Awards in central London, organised by The Stage. The awards were instigated to recognise the best breakthrough actors and rising star creatives in theatre, with Robe sponsoring the award for ‘Best Designer’ which was won by Rosie Elnile for her set for ’The Convert’, staged at The Gate Theatre.
The nine 2017 winners - eight judged by a panel of experts and one selected by public vote - received their awards in a ceremony at 8 Northumberland Avenue in central London, with Robe’s theatre project specialist Dave Whitehouse handing over the Best Designer award to Rosie Elnile.
The other nominations for the ‘Best Designer’ category were Joshua Gadsby for Dreamplay at the Vaults, London; Simon Spencer for The Tempest at the Royal Shakespeare Company, Stratford-upon-Avon; and Jessica Staton for Extra Yarn at the Orange Tree Theatre, London.
Photo shows (L-R) Robe UK’s Dave Whitehouse, winner of the Best Designer Award Rosie Elnile and Caro Newling from Neal Street Productions. (Photo by Alex Brenner)
Carlo Ratti to present ISE Opening Address
Integrated Systems Europe has announced that Carlo Ratti, the leading architect, engineer, inventor, and professor at the Massachusetts Institute of Technology (MIT) will present the ISE Opening Address on 5 February 2018. Ratti’s speech will follow shortly after the conclusion of the Smart Building Conference during which Ratti will participate in the one-day conference’s closing roundtable discussion.
At MIT, Ratti directs the Senseable City Lab, a research group that explores how new technologies are changing the way we understand, design and ultimately live in cities. He is also a founding partner of the international design and innovation office Carlo Ratti Associati (CRA). Drawing on Ratti’s research at MIT, CRA merges design and urban planning with digital technologies, so as to contribute to the creation of “an architecture that senses and responds”.
Significant achievements of the office include the masterplan for a creative hub in the City of Guadalajara, the Future Food District at Expo Milano 2015, the renovation of the Agnelli Foundation HQ in Turin and the Digital Water Pavilion at Expo Zaragoza 2008, with the latter named among the ‘Best Inventions of the Year’ by ‘Time’ magazine.
Product design projects range from experimental furniture for Cassina to light installations for Artemide and responsive seating systems with Vitra. Projects from Ratti’s studio have also been exhibited in cultural venues including the Venice Biennale, New York’s MoMA and the Istanbul Design Biennial.
(Photo: Daniele Ratti)
Zero Density Reality technology powers winner of IBC awards
At NAB 2016, a chance meeting between virtual studio company Zero Density and Groupe Média TFO, a public media organisation created by the government of Ontario, Canada, helped the latter win two awards at IBC 2017.
Groupe Média TFO (GMTFO) was recognised in Amsterdam for its excellence in the industry, winning the Innovation Award for Content Creation as well as the Judge’s Prize for its Laboratoire d’univers virtuels (LUV/Virtual World Laboratory), which is powered by Zero Density’s Reality technology.
A meeting between Zero Density and TFO in Las Vegas resulted in Zero Density being asked to bring its Reality virtual studio and Augmented Reality Platform - which builds on Unreal Engine and transforms it for the requirements of broadcast - to Canada for comparative tests with competing solutions and to take part in a proof-of-concept that GMTFO was planning. Based on its performance Groupe Média TFO selected Zero Density’s Reality.
Nashville’s Plaza Mariachi lit by Elation
Plaza Mariachi is a Latin culture destination in Nashville, Tennessee. Formerly a supermarket, the 60,000-square-foot space was converted to the themed, multi-use facility it is today with art, music, entertainment, food and retail all under one roof.
Decorated as an outdoor Mexican town square, with traditional marketplace “streets” and ornate storefronts, independent lighting design company Ardee Design Group (ADG) of Nashville was contacted to relight the space and chose to use Elation Professional dynamic ellipsoidal, Par and moving lights to do it.
The facades have been lit using Elation’s WW Profile warm-white ellipsoidal spot fixture. “We used the WW Profiles to project natural light onto the facades and textured the buildings with leaf breakup patterns and dichroic filters to have the facades come to life,” says Richard Davis, President and Senior Designer at ADG.
Also used to light the storefront facades, as well as several fountains, are Elation SixPar 100 and SixPar 200 LED color changers with barndoor kits, the 200 version used to light larger facades. “The SixPars add festivity to the space,” Davis comments. “We can theme the entire plaza for a certain occasion, for example Cinco de Mayo, Halloween or Christmas, and can go from white light to festive color at the push of a button.”
While guests browse the storefronts, live music fills a common area with food court and performance stage. Each night sees a variety of entertainment from Latin bands to big screen viewing parties to special events. An LED video wall is installed on stage, with accompanying lighting rig of Elation Platinum Spot LED II and Rayzor Q12 LED moving head luminaires.
An Elation-distributed HedgeHog 4 lighting console controls the lighting on stage. Networked into a master ETC Paradigm controller, the HedgeHog console was structured on an Ethernet network, which enables it to be moved anywhere in the venue.
Granger Community Church upgrades to Lawo AoIP system
Granger Community Church has selected Lawo audio consoles and AoIP network solution to upgrade the audio system at their main worship center in Granger, Indiana. The facility regularly hosts 3,000 people on a given weekend with full band, singers, worship leaders and audio playback elements and broadcast feeds all handled by the main audio system with separate consoles for FOH and monitors interconnected and able to share all I/O between them.
The newly installed system features a 48-fader Lawo mc²56 console handling front of house and broadcast mix duties, with a 40-fader Lawo mc²36 console for monitors. Both consoles can independently access and control all sources over an IP-network created by fiber connections to a Lawo Nova37 router.
Several Lawo stageboxes are also connected to the Nova37 IP router, including two Compact I/O’s and a Dallis frame, as well as an A-Digital8 located in the main audio rack for handling discreet AES digital signals.
The mc²56 is capable of a maximum of 888 fully configured DSP channels with 144 summing buses and 8,192 x 8,192 mono-channel matrix capacity. The mc²36 console handles monitor mix duties and includes up to 192 DSP channels with its own internal 512 x 512 router and all the same features and functionality offered on the mc²56.
Lawo’s modular Dallis stagebox frame provides 72 inputs and 48 outputs for stage I/O and each compact I/O offers 32 mic/line inputs, 32 line outputs, 8 AES3 I/O (stereo pairs) and 8 GPIO. One is located on the drum riser and one is in the broadcast booth.
Colours Of Ostrava illuminated by Robe
Robe moving lights made a contribution at the 2017 Colours Of Ostrava (COO) festival with nearly 100 fixtures utilized to light the ArcelorMittal Stage in a production design created by Kamil Kruzik. The lights were supplied by OneAVteam, the largest audio visual rental group in Central Europe. Three companies cooperated on this project: AV Media, RentalPro and Yventech.
The annual four day international multi-genre Festival is staged on the site of the former ironworks at Dolní Vítkovice, Ostrava, Czech Republic, includes some 20 performance stages with over 350 live music acts, plus discussions, debates, theatre productions, films and workshops, and is enjoyed by around 50,000 people.
Colours of Ostrava’s technical production is delivered by Smart Productions, a company run by Josef “Pepa” Źenišek who has been Technical Director of the festival since 2011. He and his team co-ordinate all the technical elements site wide, which will often include an overnight de-rig and re-rig on the main stages to accommodate requirements from the headliners.
RentalPro has been involved in supplying lighting, sound and video to the ArcelorMittal Stage for the last seven years, and this year received a brief from Smart Productions who had scanned all the band riders and compiled a list of requirements.
The kit was chosen for maximum features and effects, with the list comprising 26 x BMFL Blades, 38 x Pointes and 34 x Spiiders. Eighteen of the BMFL Blades were rigged on six upstage trussing towers - with five columns of LED screen positioned in between - and three BMFL Blades per tower. Four more were on top of four floor-standing vertical trussing towers, also at the back of stage. The remaining four BMFL Blades were positioned at the FOH tower and used as follow spots.
Fifteen of the Pointes were on the front truss, with nine - in three groups of three, ACL style - on three small sections of truss positioned between the six vertical towers at the back. Another six were deployed on the floor, with the other eight in pairs mid-way up the four floor-mounted vertical towers. Eighteen Spiiders were rigged on the six upstage verticals, matched with the 18 x BMFL Blades on the same trusses, while another 16 were in pairs taking the top and bottom positions of the floor-based towers (with the pair of Pointes in between). The final two were on the FOH Tower for illuminating the audience.
ArcelorMittal Lights were run via a Road Hog and a GrandMA2 light console - LDs had the choice - and Kamil was assisted by programmer Jan Hons Šuškleb. Robe fixtures were used on other stages including the Main with BMFL Blades and BMFL Wash XFs, ColorStrobes and Pointes; and the Electro stage featured PixelPatts, Pointes and LEDBeam 100s. Around the site, large quantities of CitySkape Extreme LED washes were used to illuminate the industrial structures and buildings.
(Photos: Matyas Theuer/Zdenko Hanout)
Elation and SLD Mediatec create pre-game show for German ice hockey team
The Thomas Sabo Ice Tigers are located in Nuremberg, Germany, and play in the country's premier ice hockey league, the Deutsche Eishockey Liga. Elation dealer and entertainment technology solutions provider SLD Mediatec GmbH, also based in Nuremberg, has partnered with the team for the past seven years.
For the 2017/2018 season, SLD Mediatec’s head of lighting and rigging, Sebastian Groß, wanted to create something special for the multisensory show that accompanies player introductions and chose 8 Platinum 1200 Wash, 4 Platinum FLX and 12 Platinum Beam 5R Extreme for the job.
For the pre-game light show the Ice Tigers’ logo is illuminated in white light while the rink is awash in colors representing the team’s corporate design. Splayed beams of light represent the players on the ice.
A multisensory video presents the concept “The ice rink belongs to the Ice Tigers” as the player introduction sequence presents each individual player. The lights work with smoke and haze effects and the entire introduction show is accompanied by music.
“With the hybrid FLX fixtures we have the option to use it as a beam light for sweeps of beams on the ice or as a spot,” says SLD Mediatec’s Daniel Danzer. “We can use the frost as well if we want to use it more as a wash light to get more color saturation on the ice.”
(Photos: Steffen Riese)
Prolyte Group adds partner to distribution network in North America
Prolyte Group has added a new distribution partner to its global partner network. ProVision Staging LLC have become distribution partner for Prolyte in North America, serving the Hawaii and California regions. Based on their experience in selling trussing and stage solutions, they aim to become a full-fledged Prolyte distributor.
Blumano launches Stage DB
Blumano Ltd has launched Stage DB, a new multi-lingual software tool for co-ordinating and collating the necessary machinery/equipment documentation to meet production health and safety requirements. Stage DB has been developed for Blumano by Lluis Diaz-Guerra, also one of three directors of the company which launched in 2014.
Any tour or event needs to produce a fully organised bundle of documentation including all the mandatory certificates and reports mandated by the H&S work regulations. This is often required in different languages, all of which also have to be available for inspection by local authorities. Stage DB is designed to make the job quicker, logical, more cost-effective and easier once the raw data is entered into the system.
The project manager can create the project with start/end dates; the person overseeing the kit being loaded onto the truck can go online and drag & drop the relevant equipment serial numbers into the project file. From there, all the requisite documentation - the ‘project bundle’ - is pulled from the information for the countries they are visiting and compiled in a series of PDF files.
Stage DB enables to group items together by technical common specifications, and Group Values can be chosen and applied across each group of machinery. Inbuilt templates allow dates for ‘last’ and ‘next’ test examinations to be inserted, and Stage DB flags upcoming expiry dates and does not allow these pieces of kit to be allocated to a project if they are due to expire within the stipulated project timeframe.
Currently the software can produce the documentation in four languages - English, French, Spanish and Italian, with German and Dutch available soon (other languages will be added). The programme outputs the completed ‘project bundles’ as PDFs and also generates a series of links that can be sent to the client, who can also access the relevant documentation directly from cloud storage as and when needed. Documentation can be individually personalised with company logos.