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Artur Szyman chooses Robe for ‘Polish Idol’
For the recent edition of ‘Polish Idol’, held at Studio 1600 of the Polsat complex in Warsaw, LD Artur Szyman selected 96 x Robe Spikies and 80 x LEDWash 800s among other lights. The headroom at 9.5 metres was relatively low so a spherical and curved layout was adopted to maximise the space.
Eighty-two of the Spikies were positioned on ladders either side of the oval shaped upstage LED screen. The other 14 were stationed around the back of the stage. The LEDWashes were dotted around the studio on different roof trusses and were used for lighting the set and audience, for texturing and illuminating the main screen surround as well as back-lighting the judges.
The Idol series’ lighting equipment was supplied by Polish rental company ATM. Artur Szyman worked alongside an FOH team for the ‘Polish Idol’ project, including assistant LD Michal Wlodkowski; moving light and main console operator Robert Iwanski; white light, LED tape, moving prop programmer and pyro firer Michal Dobek. He commissioned Piotr Szablinski to produce bespoke playback video which was stored on a D3 media server operated by Marcin Staszewski.
WI Creations supports World Aquatic Championships’ opening ceremony
An opening ceremony in downtown Budapest marked the start of the 17th FINA World Aquatic Championships, with 14 days of aquatic sports following the event directed by Olivier Feracci from French event production specialist ECA2 and Hungarian film director Csaba Kael, CEO of Mupa Budapest.
WI Creations was contacted by Guillaume Duflot from EC2A, responsible for delivering full technical production for the event, and asked to provide rigging and structures involving a number of bespoke black-steel elements. The WI project was led by Koen Peeters, and on-site crew chiefed by Stano Kusik.
The panoramic setting for the show included a custom-built floating stage, moored on the Danube, with Budapest’s Chain Bridge on stage left. A second floating setup containing the curved tower structures and pyro was built at a nearby shipyard and finally tugged into place in two sections.
The whole scene was overlooked by the Baroque Buda Castle perched on the top of the hill opposite. The building was lit, video mapped and played an important part in the show which also featured some water fountain artistry. A cast of several hundred were onstage performing through the two hour show.
WI designed and constructed four curved steel towers, two at eight metres high and two at 16 metres high and two ‘double-level’ trussing portals, running on a hoist/sleeve block system, each 14 metres high with a 12 metre span. These pieces had to maintain the overall aesthetics and the curved towers also had to stand in temporary water-filled basins feeding the water jets. The curves were out-rigged with lights, sound kit and pyro plus 2D and 3D water jets.
The trussing portals were designed to be lowered quickly if necessary, to respond to fluctuations in the wind speed on site. All of these WI structures had to be built safely on floating barges. The Red Bull Air Race 2017 World Championship was taking place during the construction period, so no structures above 8 metres in height were allowed anywhere near the race route. For that reason the opening ceremony structural build had to be scheduled in two phases.
The towers and portals were initially built to a height of 8 metres and once the Red Bull Air Race was completed, continued up to their full height. The first build phase - up to 8 metres - took place on the quayside, after which the structures were lifted onto the barges. They and the various kit that destined to be rigged on them was stored in the barges until after the Air Race when the barges were towed out to their final ‘event positions’ and anchored.
The towers were then lifted onto the bases, complete with an amount of pre-installed production kit, a careful move involving cranes - also on floating barges - assisting with the final manoeuvring of the metalwork into place. Each truss level of the portals was also pre-assembled on the quayside, then lifted onto the barges and then, in phase two of the installation process, the top sections were lifted into their final positions.
The WI base crew of four was reinforced by another two which enabled two teams of three to operate for day and night shifts during the crucial phases of the installation. Once the structures were assembled, one crew person remained on standby and one of their responsibilities was to make the call to lower the portals in case of bad weather. This only had to happen once, during the programming period.
For the get-out, the crew was again bolstered to six and the overall build period was around ten days (including a break for the RB event). The event’s lighting designer was Frédéric “Aldo” Fayard from Concept K in Paris and PRG France supplied sound, lighting and video. The water fountains were designed by Crystal Group from Paris.
(Photos: Julien Panie)
Elation expands Fuze series
Elation has expanded its Fuze series with the addition of the new Fuze PAR Z175, a full-color LED PAR light designed for use in all types of stage wash applications from theatre, TV studio and HoW environments to touring and special events.
The Fuze PAR Z175 houses a 175 W RGBW COB LED engine for a wide palette of color choice with single source color mixing that gives fully premixed looks and a flat field of light. It can project 15,026 Lux @ 6.6 ft (2 m) when used full on at an 8° beam angle. Max power consumption is at 200 W.
The Fuze PAR Z175 offers an 8° to 35° zoom for more precise beam control, electronic strobe and variable dimming curve modes. Sixty-four color presets and 14 color macros are included, as well as a gel frame and barn doors. Dual adjustable yokes allow for precise positioning when mounting on the floor.
Kinesys stages demo day in Canada
Automation specialist Kinesys staged its first product awareness demonstration in Canada - on July 8th for one day only - to make people aware that Kinesys products are available for immediate rental in Canada from Drifter Rigging.
The Demo Day was a collaboration between David Bond, who runs Kinesys’ US operation, and Mark “Drifter” Desloges from Drifter Rigging, a new rental operation recently established in Toronto, with a selection of Kinesys kit. It was held in a warehouse facility at 100 Carson St. Unit A Etobicoke.
The objectives of the day included introducing people to Kinesys as a brand and highlighting the range of rigging and automation solutions available generally with particular attention to the latest Kinesys technologies available, the Apex system. There was a ‘live’ demo of the Apex system in action, where attendees were able to get close up and technical with it while David Bond and Mark Desloges were be on hand to answer all queries.
Hughie’s Event Production Services invest in DAS Audio
Hughie’s Event Production Services recently took delivery of an assortment of loudspeakers from the Aero Series 2 and UX Series product lines of Valencia, Spain-based DAS Audio. The purchase includes twenty-four Aero 20A compact, powered line array systems, eight UX-218 high power, dual 18-inch transducer subwoofers, and twelve Aero 12 compact line array enclosures to augment their existing set of twelve cabinets.
“We plan on using our DAS cabinets on most of our events - both indoor and, especially, outdoor,” Brian Lackritz, General Manager of Hughie’s Event Production Services, states. “While the enclosures are not fully waterproof, these loudspeakers do offer a weather resistance option that our other systems do not. That’s particularly important in Northeast Ohio where we are routinely impacted by lake effect weather, given our proximity to Lake Erie. Our work involves providing sound reinforcement support for local, regional, and national acts, and this new equipment will be central to those efforts.”
Adlib installs new audio system at London’s O2 Forum
Academy Music Group (AMG) has once again enlisted Liverpool based Adlib to design and deliver a new touring specification, audio system for its recent venue acquisition, O2 Forum Kentish Town in North London. The 2,300 capacity venue is one of the most popular live music destinations in the capital.
Adlib selected an L-Acoustics K2 loudspeaker system, DiGiCo consoles and Adlib’s latest proprietary MP5 wedges and side fills for the monitor system. Adlib’s MD Andy Dockerty and John Hughes led the initial requirement discussions with Academy Music Group’s Divisional Managers Helen McGee and Steve Hoyland with newly appointed General Manager Eral Hassan and Technical Manager John Pinner who have joined O2 Forum Kentish Town this year from London venues The Garage and O2 Shepherd’s Bush Empire respectively.
The Adlib project team was headed by Roger Kirby, Rob Crossland and senior systems technician Tony Szabo. They designed and spec’d the system, and fine-tuned once the installation was complete in a close collaboration with the onsite technical team.
To ensure the new L-Acoustics system was fully optimised, Adlib recommended that the main PA points were upgraded and relocated to a new position. They worked with Academy Music Group’s appointed structural engineers, MJC Consulting on this element, so the new K2 PA arrays could be hung in the best positions each side.
This precision was needed to cover the spacious balcony area and the wide areas offstage at the front. Additional low frequency support is offered by six SB28s a side, ground-stacked in two 3-way wheeled dollies which position them at the ideal height in relation to the audience.
Three L-Acoustics Arcs boxes a side on the inside edges of the sub stacks cover the nearfield and stalls areas immediately in front of the stage. All the L-Acoustics speakers are powered by LA8 amplifiers. A pair of Lake LM44 signal processors have been introduced at front of house (FOH) to act as a front-end system input matrix, offering flexibility for house and visiting consoles.
Adlib selected their own MP wedge system for monitors. The latest MP5 version 15 inch monitor has improved drivers. Twenty MP5s are available at O2 Forum Kentish Town, all driven by Linea Research 44M20 4-channel amps, of which seven deal with the MP5s and another powers an Adlib AA215DS 2400 W drum sub.
A set of full range Adlib side fills were supplied comprising of an FD3P mid/high box, with AA215HL sub woofers. All the Adlib products onstage are driven via the presets on the Linea Research amplifiers. Two DiGiCo SD10 consoles have been supplied with D2 stage boxes, deployed at FOH and monitors. A new VDC multicore system with 48 input lines and 16 stage returns is also part of the package, and AES signal lines to follow.
(Photos: Caitlin Mogridge/Academy Music Group)
Robe fixtures used for Garden Beats Festival
Lighting for the second Garden Beats Festival - organised by Sunshine Nation and staged in the pastoral green environs of Fort Canning Park in Singapore - was designed by Craig Burridge. He included a mix of Robe products on his plot including 24 x Linees, six ColorStrobes and six LEDBlinder 148 LTs. Lighting vendor for the one day event was locally based CSP Productions Pte Ltd.
The 9 x 8 metre stage was fitted beneath a 10 x 9 metre ground-supported roof structure with 10 metres of headroom - and this had to be squeezed in between a selection of heritage trees which grace the park, allowing the organisers to maximise the audience space. The stage and DJ booth was clad in wood pieces and other natural materials which took the light well, and the view through the stage to the back was of one specific heritage tree.
Burridge wanted to use a full LED rig, so there were just two conventional source beam lights dedicated to the mirror ball. Twelve of the 24 x Linees were rigged onto four 3 metre high vertical truss towers, with the other 12 on the front and mid over stage trusses. In each case they were outrigged from the trusses to maximise the effect of their continuous pan/tilt rotation.
The stage was illuminated with LEDPARs from the trusses which were focussed directly downwards, leaving latitude for the Linees to work as effects. The ColorStrobes and LEDBlinder 148s were also positioned on the front and mid trusses. Craig Burridge programmed and ran lighting for all the artists himself, assisted by JoAnne Yee.
(Photos: Colossal Photos)
Elation illuminates King of Kings World Grand Prix
Elation dealer Eventica Grup SRL of Moldova has been a staging and technical contractor of King of Kings (KOK) kickboxing tournaments for years. For past events, Eventica has turned to Elation Platinum SBX hybrid fixtures. For the King of Kings World Grand Prix 46 tournament held April 1st in Moldova, Eventica added Elation’s new Fuze Wash Z350 to the line up along with other Elation gear. Lighting design was by Max Cojocari.
The fighter entrance stage, key in the build up to a match, is a large space where anywhere from 18 fighters to a single fighter make their appearance. “We needed to fill the space with dynamic lighting, whether it was for all the fighters together or for just one fighter,” states Serghei Buchin of Eventica Grup, who divided their set of 16 Fuze fixtures in half with 8 units located behind the fighters and 8 placed on the front rig.
Eventica Grup SRL provided production and technical support for the World Grand Prix. Buchin again turned to the Platinum SBX with 16 units rigged at the fighters’ entrance stage and used for variable beam effects to highlight fighter introductions and energize the room.
Stacked horizontally on each side of the stage’s central KOK logo screen were Elation SixBar 1000 LED color-changing battens. The one-meter long multi-purpose LED battens, 12 each side of the stage, were positioned to mimic the angle of the KOK logo and used as backdrop lighting effects to broaden the color scheme across the stage.
As the event was also televised, a variable white light option was needed which Elation Opti Tri White II Par lights stepped in to fill. The lighting rig included other intelligent lights as well and was controlled via a Road Hog 4 with lighting design completed on Capture Atlas lighting design software.
MDG haze generators used in ‘42nd Street’ at Theatre Royal
Two of MDG’s ATMe haze generators have been chosen for the current musical production of ‘42nd Street’ at London’s Theatre Royal, Drury Lane. The lighting rig for the show was supplied by White Light Ltd. The ATMe generators were located up on the fly-floor. They are positioned stage left and right, with two DMX fans directing the haze downwards and moving it about.
(Photos: Brinkhoff & Moegenburg)
Tube UK supports 2017 Manchester Day celebrations
Manchester audio specialists Tube UK delivered ten audio systems to five carnival floats plus five music/compere stages around the city centre for the City’s 2017 Manchester Day celebrations. The event was commissioned by Manchester City Council and produced by Walk the Plank.
A Tube team crew of nine, led by Melvyn Coote, managed this project in one day, with six vans of sound kit. On the day, they started at 7 a.m. with building the float systems. The stages loaded in at 8 a.m. and all were running by midday. The parade ran between 1 and 3 p.m. and the stages were all active between 1 and 6 p.m., followed by an immediate de-rig.
Four of the five floats used battery powered sound systems. Three of the floats utilised four Tannoy V8 speakers and four compact D&B E12 subs each and the fourth, slightly bigger, featured four D&B Q7s and 4 x E12 subs. Graham Massey’s float was powered by a small on-board 4.5 KVA generator custom fitted to the gold buggy base of the vehicle. The PA was similar to last year’s with four D&B Y7Ps and four Q-Subs all run off D80 amps. The control console was a Yamaha LS 9-16, and Sennheiser SK5212 radio mics were supplied for the walk-about brass players.
The five stage PAs were dotted around the city centre and along the parade route. In Albert Square a Compere PA was installed with four D&B Y10Ps and four E8s as point source speakers relaying ongoing parade commentaries. Another - larger - Compere PA in Exchange Square dealt with the end of the parade route, built from two ground stacks of Y8 line array speakers to cover the voluminous expanse of the Square, powered by four D12 amps.
St Anne’s Square featured a small D&B music PA to cover around 400 people, comprising four Y7P loudspeakers and four Y-Subs with six M6 wedges, driven by D80 amps, controlled via a Yamaha QL5 mixing desk. The fourth music stage was in a corner of Exchange Square, with the sonics delivered by another four Y7Ps, four Y-Subs and four M4 wedges with a couple of D80 amps and a QL1 console.
The biggest music stage was in Cathedral Gardens which is where 2000-plus party people gathered after the parade to enjoy the finale. The audio system here was four ground stacked D&B V8s, two V12s, four V-Subs and six M4 wedges all run through D80 amps, complete with a Yamaha QL5 console. A selection of generic mics covered all band requirements for the line-up featuring a programme of world music and cross cultural performances.
(Photos: Walk the Plank/John Parker Lee/Manchester Malayalee Association/Mark Waugh)
Collective Works debut Black Box at Mediatech Africa Expo
South African creative production and visual design practice Collective Works staged their new ‘Black Box’ live show concept at the 2017 Mediatech entertainment technology trade expo in Johannesburg in July 2017. Black Box is an experimental show and visual design space/experience conceived by Collective Works - Chris Bolton, Josh Cutts and Bradley Hilton - in conjunction with Simon Robinson, show director of the biennial expo which attracts visitors and exhibitors from all over Africa.
At the heart of Black Box was “Designing with Light - A Way of Thinking”, an educational seminar in three parts developed by Bolton and Cutts. This was open to anyone, but is specifically designed to energise those interested in embarking on a career as a lighting professional.
The Mediatech format was an hourly Black Box Main Lightshow performance which took place around a ‘floating’ stage supplied by Stageworks located in a dedicated area of the Ticketpro Dome which hosted the exhibition. Six daily Main Lightshows were interspersed with two cycles of the three part seminar by Bolton and Cutts.
The goal of the seminars was to provide a basic window and insight into the industry. The first, ‘Getting Started’, was presented by Chris Bolton and dealt with the myriad of considerations - from managing the client’s expectations to feeding the crew - that have to be taken into account before a single lighting cue is even programmed. This was illustrated with two different lightshows programmed to contrasting music.
Josh Cutts then followed with his ‘Console Workflow’ presentation, demonstrated using a GrandMA2 control desk. He detailed how to set up the console and keep the workspace neat, tidy and efficient. This section was illustrated with lighting programmed to a dance track. Both of these sessions were followed by Q&As. The third seminar, presented jointly, was a walk-through of how to programme a Cue-Stack on the GrandMA2.
For the first time in South Africa, 48 of Robe’s new LEDBeam 150 were used prominent in a show, together with 24 x Robe Spiider LED wash beams, 12 x Spikies, a single BMFL Blade and 24 x CycFX8 moving LED battens. Also debuting in South Africa were three of the latest Claypaky fixtures - the Unico Scenius, the SharBar and the Stormy colour-changing LED strobe. CP’s hybrid Mythos moving light also featured in the show. Thirty-two Ayrton Magic Panels were rigged around the black box together with 96 Martin Sceptrons which were fed video signal via a Martin P3 controller.
Other effects appearing in the show, including two full colour lasers, two MDG low foggers and one hazer - all adding up to 14,900 parameters requiring 29 universes of DMX control. The consoles were two GrandMA2 lights, networked with four MA NPUs. An MA VPU light was used to store some of the video playback content, together with a Green Hippo Borreal media server. The video sources were played out on a Barco FLM 20K projector onto an upstage screen.
Joining Bolton and Cutts on the Black Box FOH crew were assistant LDs Jade Manicom and Andre Siebrits, Head of Technical, Paulos Modise, Laser Programmer George Mkowe and Douw Grobler who custom designed the Track-It movement used to move sections of truss on and offstage for the Main Show. The sound system was designed by Marinus Visser and delivered via a D&B system and a DiGiCo SD10 console supplied by Blue Array.
Sponsors included CCPP from Cape Town, which supplied 90 per cent of the Robe kit; Theo Papenfus from Stage Effects who contributed the Magic Panels and Guillaume Ducray of LXFX and AV Unlimited who made the Martin Sceptrons and Barco kit available. The lasers were supplied by LaserX, Richard Baker from LED Vision assisted with the LED banner wall and Warren Liss from Keystone Productions produced custom video content, while SA Draping dealt with wrapping the venue and all the soft good requirements.
Choreographer Debbie Rakusin of Debbie Rakusin Dance choreographed the performer and helped the flow of the show and Stuart Andrews from Gearhouse SA and his team undertook all the rigging. Duncan Riley from SA sales company DWR Distribution and “all his people helped us in numerous ways” states Chris Bolton. The list of corporate sponsors included Robe, Claypaky, Ayrton, MDG, DWR, Electrosonic, Stage Audio Works, DiGiCo, Green Hippo, MA Lighting, Martin, QSC and D&B.
Crew photo (left to right): Douwe Grobler, Joshua Cutts, Christopher Bolton, Andre Siebrits, Jade Manicom, Bradley Hilton and Marinus Visser.
Robe supports ‘Picnic Passover with Black Coffee’
Tel Aviv based Light Architects Cochavi & Klein seized the opportunity of the ‘Picnic Passover with Black Coffee’, an electronic music event presented by The Tripping in Tel Aviv’s Hayarkon Park, to utilise 48 x Robe Spiiders and 24 x Robe Pointes on a circular trussing structure, forming a massive ‘sun’, which was winched above the crowds on a crane. The sold-out event featured sets from South African DJ and music producer Black Coffee, plus DJs Jenia Tersol & Benji.
Three concentric circles of trussing at 8, 5 and 2 metre diameters were cross braced by 12 x 4 metre scaffolding poles to make the sun skeleton rigid. The Spiiders and Pointes were rigged on the front and back rails of the trussing circles in an alternating pattern for balance. Forty-eight blinders were also rigged on the structure between the Spiiders and Pointes to create a classic warm halogen feeling that contrasted with the LEDs.
‘The sun’ was lifted in to place behind the DJ booth using a 66 metre high crane and trimmed at 20 metres so the lights on it had to throw at least 30 metres to the dancefloor/audience. The Spiiders were run in extended mode and pixel-mapped through an MA VPU media server allowing Eran Klein and his team to create new looks and effects with video treatments.
In addition to that, 8 x BMFL Spots were mounted on vertical truss towers positioned in an arch upstage of the DJ booth. Another four BMFL spots were located behind the hill throwing backlight across the entire scene and making silhouettes of the rocks. For key lighting the DJ booth two Patt 2013s were utilised.
Lighting was controlled using a GrandMA2 system, programmed by Omer Israeli for Cochavi & Klein, the lighting crew chief was Dor Aichner and stage manager was Itay Harpaz. Lighting and audio equipment for the event was supplied by Argaman Systems. Structures and trussing came from Stage Design, lasers from Saar Lasers and the crane was provided by Dror Cranes.
(Photos: Yosi Mamia/Albert Lalamaiev)
Matt Guminski chooses Elation fixtures for JoJo tour
LD Matt Guminski was called in to design American pop singer-songwriter JoJo’s 2017 ‘Mad Love Tour’ just a week before the tour launched and turned to Elation Professional moving heads and effect lights to light the show. Touring in support of her ‘Mad Love’ album, JoJo was selling out 900-1800 capacity venues at nearly every stop.
Guminski acted as lighting designer and operator on tour (he programmed the show on the road) and often handled lighting crew duties as well. To light the show he used a rig of 12 Elation ACL 360i compact LED beam effects, 6 Elation ZW19 LED moving heads, and 8 Elation Cuepix WW2 white light LED blinders along with hybrid moving heads.
Besides the ACL 360i fixtures, the four backline risers held a pair of Cuepix blinders and were topped with a hybrid moving head. Three ZW19 LED beam/wash effects worked from each side of the stage as cross light and shin light. The Elation lights were supplied for the tour by Christie Lites out of Seattle.
(Photos: Mat Hayward)
Plugin Alliance’s AAX DSP Bundle V1.4 available
Plugin Alliance released 100% AAX DSP Bundle V1.4 earlier this year, offering 50 plugins, including its new HG-2 (emulating four different vacuum tube stages combined in series and parallel circuits to colour mixes and individual tracks). The AAX (Avid Audio eXtension) DSP unified plugin format is compatible with DSP-accelerated Pro Tools HDX systems. Offering 50 plugins from 10 pro audio companies (including Brainworx, Elysia, SPL, Millennia, Vertigo, and more), it is the largest collection of AAX DSP production tools on the market.
Those bundled plugins also support AAX Native, Apple’s AU (AudioUnit), and Steinberg’s VST (Virtual Studio Technology) standard plugin formats at no additional charge, so those Pro Tools HDX system users have licenses for other systems that they may also use (for composing in other environments, such as Apple’s Logic Pro or Ableton’s Live, for instance).
Plugin Alliance has included an authentic emulation of Black Box Analog Design’s HG-2 hardware, a line level stereo processor designed to add saturation, harmonics, natural compression, increased RMS (Root Mean Square) - used to characterise the ‘average’ of continuous varying signals - and enhancement during mixing and mastering.
Also new to 100% AAX DSP Bundle V1.4 is BX_Subsynth, a processing plugin built around the digital heart and soul of the (discontinued) DBX 120XP Subharmonic Synthesizer, using founding Plugin Alliance development partner Brainworx’s M/S (Mid-Side) matrix technology to control the stereo field and add sub, punch, and saturation to sounds.
100% AAX DSP Bundle V1.4 is available as an AAX DSP-, AAX Native-, AU-, VST2-, and VST3-supporting plugin bundle for Mac OS X (10.8 through 10.12), Windows (7 through 10), and Pro Tools 10.3.10 (or higher).
Estonian watchtower lit with Robe
Robe’s LEDForce 18 PARs and Anolis ArcSource Outdoor 4MCs were specified - together with other lights - to illuminate the Pesapuu (Nest Tree) Watchtower in Rõuge, Estonia. The new 30 metres high Watchtower is located near to Rõuge Suurjärv, Estonia’s deepest lake in the Rõuge parish of Vöru Country. The structure - which replaces an original wooden watchtower built in 2006 - was designed by Tallinn based architect Karmo Tõra. Mayor Tiit Toots fully endorsed the project and its proposed lighting scheme.
Roadservice, the company who built the structure, already knew the lighting products they wanted to use, which included the 12 x Robe LEDForce 18 LED PARs and the six Anolis ArcSource Outdoor 4MCs, and had placed the order with Tallinn based E&T, Robe’s Estonian distributor. The LEDForce 18s are rigged within the structure around the two bird’s nest elements and as dusk falls, they wash the steelwork. On top of the tower is an egg shaped pod which is lit by the Anolis 4MCs.
When it came to providing lighting control, Roadservice approached locally based Andres Sarv, head of lighting at Tartu’s Vanemuine Theatre. He assisted with suggesting a system and provided Tõnis Järs, one of Vanemuine’s regular freelance programmers, to address the devices, sort out the DMX and programmed looks for the opening night and the ongoing day-to-day lighting.
The lights can be changed by Tiit Toots and his colleagues on the town council via an IoT system website or locally on site using a smart phone app. It’s also possible for local residents to engage with the lighting by making suggestions - for example for World Prematurity Day when the tower was lit in purple. Whenever a child is born to the municipality, that evening the “egg” in the upper bird’s nest is lit pink or blue according to gender. The whole tower can also be colour changed for festivals and special events.
Elation fixtures light ‘UniSon’ musical at Oregon Shakespeare Festival
The Oregon Shakespeare Festival (OSF) has celebrated William Shakespeare’s legacy since 1935, with another busy summer season this year. OSF also stages plays by other playwrights and is presenting ‘UniSon’ at the Angus Bowmer Theatre through October, a new musical inspired by the poetry of August Wilson.
Lighting Designer Alex Jainchill is using dynamic lighting from Elation Professional on the play, including ZCL 360 Bar wash/effect lights and Platinum Wash 16R Pro moving heads, as well as color-changing Elation Flex LED Tape.
‘UniSon’ is the story of a dying poet who leaves a mysterious box to his apprentice with strict instructions to destroy it. The apprentice opens it however, releasing seven ‘Terrors’ that tormented the poet through his life. The seven different Terrors allowed Jainchill to use six of the ZCL 360 Bar fixtures to treat the Terrors not featured in the scene in a different way using a saturated color specific to each.
Six ZCL 360 Bars are hung on a 20' truss about 19' high mid-stage, running stage left to stage right. Elation’s Flex LED Tape was built into the edging of the multiple platforms on the stage deck.
(Photos: Jenny Graham/Oregon Shakespeare Festival)
Colour Sound invests in AquaBeams
Colour Sound Experiment has invested in 100 new LightSky AquaBeam waterproof beam moving lights in readiness for the 2017 festival season. MD Haydn “H” Cruickshank says they have been looking for a couple of years for a product that is water resistant and bright enough.
The IP44 rated LightSky AquaBeam is designed especially for outdoor live events and productions. “They will be ideal for stage and PA wings positions or for lighting in outdoor scenarios where the kit has no protection at all,” says Cruickshank.
The AquaBeams are the first LightSky products that Colour Sound has purchased. In addition to these new units Colour Sound has invested in 50 square metres of 2.5 mm Unilumin Upad III HD LED screen. Other new purchases in the last seven months include PTZ camera systems which have been out on Placebo, Snarky Puppy and The Kooks, amongst others.
Photos show AquaBeams in action at the 2017 Wildlife Festival.
Antelope Audio releases Goliath HD pro audio interface
Antelope Audio has launched Goliath HD, its new Thunderbolt/USB 3.0/HDX Port/MADI pro audio interface with Zero-latency FPGA Engine and AFC Clocking Technology. Goliath HD features 64 channels of I/O and upgrades, including new adaptable Accusonic mic preamps.
Goliath HD allows to interface digitally with both Mac and PC platforms via Thunderbolt or USB 3.0. It also delivers dual MADI connections, compatible with MADI to Dante Bridge products, permitting users to access all audio streams from anywhere within their Dante-enabled facility. For Pro Tools HD users, Antelope Audio’s proprietary HDX Delay Compensation technology allows any analogue or digital input to arrive at the timeline with sample accuracy. Users can have a Pro Tools HD and a Native DAW setup simultaneously interface with Goliath HD.
64 channels of I/O are accommodated within a 2U rack device that can be used with monitor and level indicators alongside a responsive touchscreen. Duly included are 16 of Antelope Audio’s new Accusonic mic preamps with individual push-and-turn-style volume controls, making multitrack recording possible by further leveraging the realtime processing capabilities of the company’s FPGA hardware and allowing accurate hardware-powered circuitry to complement any microphone selection - with or without any additional outboard gear. iOS and Android apps allow users to remote adjust those mic preamps and output volumes while freely moving around wherever Goliath HD is installed.
Goliath HD’s 32 analogue inputs achieve a 124 dB of dynamic range while its 32 analogue outputs offer up to 129 dB. The monitor outputs reach the heights of 132 dB. While supplying sufficient analogue connectivity through its mic preamps and multiple 25-pin D-Sub connectors, Goliath HD has several specialised inputs and outputs that do away with necessarily needing external equipment, including four front panel-positioned guitar DI inputs (G1 through to G4), two transformer-based re-amp outputs (R1 and R2), an inbuilt talkback mic, and two headphone outs (HP1 and HP2), plus a pair of rear-mounted analogue Inserts.
In addition, Goliath HD offers clock signal distribution connectivity with AES/EBU, MADI, ADAT, S/PDIF, and BNC connectors (for loop sync or standard word clock usage). The Goliath HD desktop application also facilitates full control of input and output routing, as well as sub-mixes and effects processing.
Due to Antelope Audio’s Session Presets application, all of that functionality - including specific FPGA effects and HDX compensation settings - is instantaneously recallable and shareable, so this makes Goliath HD a partner for Pro Tools HD-based studios with multiple rooms or artists working in several environments.
Goliath HD sports the lowest THD (Total Harmonic Distortion) available in a multi-channel interface across all 64 of its I/O channels. It is powered by the most powerful ESS chips available and equipped with Antelope Audio’s AFC (Acoustically Focused Clocking) technology.
HSL is main lighting and video contractor for current Depeche Mode tour
Blackburn lighting rental specialist HSL is the main lighting and video contractor worldwide for Depeche Mode’s ‘Spirit’ tour. They are partnering with CT to deliver the video package. The production design is by creative director Anton Corbijn, who has always pioneered video as an essential vehicle of live production. Lighting has been designed by Sooner Routhier and Robert Long of SRae Productions and is being directed on the road by their associate LD, Manny Conde.
The ‘Spirit’ tour is being production managed by Tony Gittins and plays a mix of stadiums and arenas. HSL’s project manager Jordan Hanson is working closely with CT’s music and touring specialist, Graham Miller and the HSL crew of five is being chiefed on the road by Ian Stevens. They will be travelling internationally, together with the full lighting rig.
The stage has an upstage walkway with the front clad in LED screen and a long runway on stage left extending into the audience with a shorter one on stage right. The large upstage video wall is a 15.6 metre wide by 6.6 metre high 7 mm pitch rectangle which meets the lower strip - along the front of the walkway measuring 15.5 m wide by 1.8 m high, also 7 mm in pitch - which looks like one continuous surface from the front. These two onstage screens are packaged in CT’s touring frames.
The IMAG screens are constructed from 8 mm pitch Aoto M8E product from CT. The stage right one is in a landscape orientation and the stage left one is portrait and these asymmetrical elements, together with Corbijn’s request for a stark, edgy feel to the lighting led to Routhier’s proposal of the asymmetric lighting rig.
The workhorse lighting fixtures are VariLite VL6000 Beams, which were purchased by HSL for the tour and work in conjunction with Robe BMFL Spots as the main profile fixtures. These are distributed on three or four (for the stadium shows) upstage/downstage orientated trusses on stage right and three (or four) onstage/offstage trusses on stage left, together with two flown vertical side torms either side of stage.
GLP X4 LED washes in the overhead trusses provide back and rear effects. Four of the BMFL Spots - two a side - are positioned on the deck for low-level cross lighting onto the band. There is also a row of VL6Ks behind the band and upstage of the backline, and Claypaky Sharbar moving multi-beam LED battens.
Forty-eight Philips Nitro 510C LED strobes are rigged on the audience end of the stage right trusses and on the side torms, arranged to look like stadium house lights. They are used for additional wash lightsources and audience blinding as well as for standard strobing and zoned effects.
Routhier specified eight specials on Pantographs, which required custom fabrication. HSL sourced eight classic 10K fresnel housings, refurbished them and custom fitted each with two GLP X4S compact LED washes. For general stage and set washes, Elation SixPar 200s are used as truss warmers and for band lights and LED PARs on each of the pantographs highlight the scissor mechanism is lit as it extends downwards.
The stage left runway is outlined with Martin Sceptron LED battens, which together with the Sharbars, are mapped and fed video sources via a Green Hippo server triggered by Manny Conde’s GrandMA2 full size console. In front of the PA wings and below side IMAG screens each side are 8 x Robe MMX WashBeams installed in weather domes. Two Robert Juliat Lancelot follow-spots are also on the spec.
Anton Corbijn produced eight films which play out in the big screen in specific numbers, and other video pieces are composited from his animated artwork. The content is programmed and run via Green Hippo Taiga servers. The IMAG mix is directed by Richy Parkin, utilising a Panasonic 6000 PPU from CT together with five operated Sony HXC-100 cameras positioned at FOH, in the pit and hand-held onstage, plus three Q-Ball robocams dotted around the stage.
Brian Jenkins worked alongside Conde and Routhier as a programmer and associate designer. Joining Ian Stevens is Harrison Cooke who is co-ordinating the moving light technology day-to-day, Andrew Whitaker is on ‘dimmers’ and completing the team are are Jake Jevons, Neil “Braveheart” Smith and Ben Eastham. Mixing FOH sound is Antony King, Sarne Thorogood is the monitor engineer and Shawn Saucier is stage manager.
Robe fixtures at the core of Burhan G’s new concert design
Danish singer Burhan G has been on the road with a new set and lighting design by Theis Wemuth of Aarhus based creative visual practice Create This. Wemuth specified 18 Robe Spiiders and 25 x BMFL Spots, which were supplied to the tour by rental company Comtech. There was no video on the tour.
Wemuth wanted a multi-level riser system to accommodate the 15 musicians in different sections onstage. The architecture of the rig was based on two flown trusses and six vertical pre-rigged trussing towers upstage, with Robe spec’d as the primary moving lights.
The BMFL Spots were split between being rigged on the flown trusses and sitting on flightcases on the floor used for side lights. BMFL number 25 was used in follow spot mode on the back truss operated from the console. The 11 Pointes were all upstage on the deck to give aerial beams and ACL patterning from that position.
Anders Tinggaard - who also works full time for Create This as technical Project Specialist - was on the tour with Wemuth, accompanied by a technician from Comtech.
(Photos: Jens Wognsen)
Painting with Light design set, lighting and video for Flemish TV series
‘Tegen de Sterren Op’ (TDSO) is a TV series on Flemish commercial channel VTM that satirises and sends up politicians, celebrities and anyone else on the ‘fair game’ radar. Painting with Light were tasked with designing a new set together with lighting and video.
They worked on the set elements with scenic specialist Deusjevoo, their near neighbours at Genk’s C-Mine complex. The show was recorded in the NEP Studios in Londerzeel with a live audience and was produced by Dedsit. Two interconnected stages were positioned at 90 degrees to one another, with a catwalk in between going out into the audience, which sat each side of the runway and at the back of the room.
The set walls were constructed from corrugated wood panels and lit with 322 x integrally mounted 2 metre SGM LT-200 LED graphic tubes. These comprise two sides of 54 LEDs giving a 35 mm pitch, which can be DMX controlled and mapped. They back-lit and highlighted the set.
The main stage featured two projection screens. When a narrow stage was needed, an electric roll-up front projection screen - 9 metres wide by 5 high - came down and the action took place in front, with the screen acting as a digital backdrop. When rolled up, it revealed the full depth of the stage behind, complete with an upstage projection screen measuring 11 metres wide by 6 high, which was back projected.
Both screens were in 16:9 perspective. The front screen was also used as a general display or IMAG for the audience and allowed quick scene changeovers to take place behind. The screen projections were produced using three Christie 18K Roadster machines, one for the front, and a double stacked pair at the back.
Painting with Light’s Luc Peumans specified 36 x Robe Pointes, 24 x VariLite 3500Q Spots, 48 x Phlippo URC 210 Zooms (a proprietary unit from lighting and video vendor Phlippo Showlight), 24 x Claypaky Alpha Spot 1500s and 24 x CP Sharpy Washes. In addition to these he added 18 x 2K fresnels, 29 x halogen PARs and 36 x LED PARs to the plot.
Most of the lighting was rigged in the studio roof to keep the floor clean and clear. They made use of the house trussing grip and positioned spots and washes all over this and also added two trusses that could be moved into higher or lower positions to facilitate further options. Ten of the Robe Pointes and 14 x URC power-LED strips were ‘floating’ fixtures available to deploy on the deck as and where needed.
Every two-weekly recording day was preceded by a production and creative brainstorming session a week before, a period where the director, video, lighting and sound departments all pitched ideas for how each sketch should be delivered. At the end of it they had a list of technical add-ons for every episode like lasers, smoke, pyro, etc. all of which Painting with Light would order, co-ordinate and integrate into the show.
There would then be one day of rehearsals without cameras, one day with cameras and one official show day where they shot two episodes - one take straight through to get it as ‘live’ as possible - which were broadcast a few days later.
Painting with Light supplied the lighting and video control package. Paco Mispelters was the lighting director and the lights were programmed onto a GrandMA2 by Jeroen Opsteyn. The Pandora’s Box media servers were programmed by Painting with Light’s Katleen Selleslagh, while video content was created by Bart Tauwenberg from New Solid.
SJ Lighting uses Elation fixtures for Crush concert designs
For this year’s Crush concerts (Valentine’s-themed EDM shows in San Francisco, Southern California and Arizona) promoter Insomniac Events, headed by CEO Pasquale Rotella, again called on Steve Lieberman and his team at SJ Lighting to create the lighting design. SJ Lighting worked with lighting vendors Felix Lighting (Crush San Fran at the Bill Graham Civic Auditorium, Crush SoCal at the NOS Events Center in San Bernadino) and Hardwired Production (Crush Arizona at the Rawhide Event Center near Phoenix) on the events.
Lieberman used four layers of lighting: Platinum Beam 5R moving heads, Colour Chorus 72 LED battens, Cuepix Blinder WW2 fixtures, and strobes. Although configurations for each show differed slightly, central to all three were tiers of horizontal LED screens fronting the DJ booth that led to a heart-shaped truss, the ideal stage element for the occasion. The Platinum Beam, Colour Chorus 72 and Cuepix Blinder fixtures lined the heart truss and also worked from angled truss fingers each side of the stage, as well as from overhead trusses.
(Photos: Adam Kaplan/ASK Media Productions Inc.)
Robe fixtures light “Tropicana the Musical” in Singapore
Lighting designer Yo Shao Ann used Robe’s Viva CMY LED spots, Spiider wash beams and CycBar 15 battens on the recent production of “Tropicana the Musical” in Singapore. The show was produced by Tan Kheng Hua for Spare Room Productions and directed by Beatrice Chia-Richmond.
The ten Viva CMYs utilized in the show were part of the first shipment into the region of these new fixtures from Robe. They were supplied to the production via rental company Expo AV-InSync, along with the Spiiders and CycBar 15s from their rental stock. The company headed by Gerard Rodrigues were the first in the region to invest in Robe Spiiders when that luminaire was launched last year.
Jens Poehlker from Robe’s Asia Pacific office was involved in ensuring that all the new kit was available in time. “Tropicana” ran for two weeks at the Capitol Theatre, once the island’s first topless nightclub. The production team was led by technical manager Denise Low.
The ten Viva CMYs were rigged on the upstage house bars and used for back lighting, for effects and texturing the stage and set designed by Tan Ju Meng with gobos and colours. The Spiiders were also positioned in the overhead rig and used for all the general stage washing and specials. The CycBar 15s were used as footlights.
(Photos: Jacqueline Chang)
Resolution X invests in ProLyft Aetos
Resolution X is one of the first companies in Australia that started working with ProLyft Aetos hoists range. Resolution X, covering Australia with hire bases in Melbourne and Sydney, provides rental equipment and service. They have become one of the largest providers of rental lighting and rigging equipment in Australia.
Tim Hall, Managing Director of Resolution X, explains: “Adding chain hoists with a good double brake system to our hiring stock was a must. We chose the ProLyft Aetos series hoists because of their build quality, double brake system and local support network.”
“We hire to a lot of Corporate AV companies working in ballrooms,” adds Sam Holloway, Rigging Manager of Resolution X, “most of the time they’re dealing with a restricted load limit in the roof and don’t need to lift heaps of gear. Therefore we also have 250 kg hoists on stock, these are ideal for this type of client.”
Resolution X stocks a large quantity of the 1000 kg Aetos hoists, meeting the German BVG-D8+ hoist classification. They also stock the 250 kg hoists for rental purposes.
Photo shows Sam Holloway.
Colour Sound supplies lighting and video to Bonobo
Colour Sound Experiment supplied a lighting and video floor package for the latest run of live shows by music producer Bonobo (Simon Green), with a new lighting look for the stage designed by Will Thomas. The visual material for the show was commissioned by Bonobo and produced by Strangeloop from LA, who also created the screen design.
It was largely left to the ingenuity of Will Thomas and technician/rigger James Hind - with support from others at Colour Sound - to produce a safe ground-supported solution to position the asymmetric screens - the tallest being 5.5 metres high - in the right places.
Thomas and Hind started building structures in the warehouse and experimenting with different ideas for five individually supported LED screens. The route they chose utilised six Guil Engineering UKL 800 XL tower lifts which were rigged with assorted trussing pieces to which the screens were then attached. These lifts were supplied by Neg Earth.
The screen was Colour Sound’s proprietary BT-6 LED, and the centre of the five screens was supported by two lifts. Lighting had to fit in between the screens and not impose on the shape, so Thomas’ design was based on six vertical Litec QX30 towers, hinged for quick erection, standing on X-Bases. The centre pair were 4.5 metres high, the next were 4 metres and the outside pair were 3.5 metres, with the lights sitting a little bit higher when attached.
The luminaires all travelled in meat racks on lamp bars so four or six fixtures could be rigged at a time. The workhorse fixtures of the design were Chauvet Rogue R2 LED washes. Of 21 x R2s in total, two were rigged to each tower, complimented by five on the floor and two a side on Manfrotto stands downstage, used for all the keying.
Also on the towers was a 2-cell blinder, with another 6 on the floor, then six Robe Pointes positioned upstage on the deck for effects and aerial work. Spread around the towers and on the side Manfrotto stands were 19 Chauvet Rogue 1 FX-Bs, newly purchased by Colour Sound.
There was no front truss, so the architecture and space at each venue was more prominent and particularly apparent at Brixton Academy and Manchester Apollo. Will Thomas ran lighting from a ChamSys MQ500 console, one of two also newly purchased by Colour Sound.
The video was run via a Resolume system side-stage, which fed it straight to the screens, but Thomas had control over the intensity via ArtNet. The general ‘top’ lighting rig for the two largest gigs on this section of the tour - Brixton and Manchester Apollo - was provided by GLS.