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Ayrton celebrates 15th anniversary with new products at Prolight + Sound
Ayrton celebrates its 15th anniversary in 2017 and marks the occasion with the addition of new members to the Ayrton team. To complement the team led by Founder and CTO Yvan Peard, Christopher Agius Ferrante has taken on the role of CEO, Michael Althaus is the new Global Sales Director, Simon Gasch joins Ayrton as a Regional Sales Manager and Chunyan Hou is the new Legal and Administration Manager.
By way of celebration Ayrton also introduced a new line of luminaires at Prolight + Sound 2017 with product names that evoke the winds of the world. The first luminaire in this new line is called Merak which made its debut at Prolight + Sound 2017. Ayrton has developed Merak as a compact wash fixture that is less than 40 cm high, with a new 250 W RGBW multichip LED module and Fresnel lens. Merak features a proprietary 10:1 optical zoom system (7° to 70°).
The second new arrival at Prolight + Sound was ArcaLine 3, the latest product in the Static Luminaire range. With ArcaLine 3, Ayrton’s ArcaLine unit has had a total makeover. Each ArcaLine 3 fixture now consists of two distinct parts: the tubular optics and a slender base that houses the electronics, with stabilizing feet at either end. The one metre-long linear luminaire houses 12 RGBW LED emitters that can be controlled point-by-point. It has a new 45 mm collimator that projects an 8° beam angle - narrowed from the 12° found on previous units. The new lens employs a rosette pattern. ArcaLine 3 is rated IP65.
Ayrton has also chosen Prolight + Sound for the official launch of its new MagicBlade-FX fixture. With MagicBlade-FX Ayrton expands its Creative Solutions line of graphic beam projectors with a unit that combines the qualities of its MagicBlade-R and originality of MagicPanel-FX.
The MagicBlade-FX linear luminaire is fitted with seven of the squared output 65 mm fixed frontal lenses found on MagicPanel-FX and shares the same colour mixing and effects: 3D volumetric projections, variation between the colour-rich luminescent face or separated points of light, with ultra-tight beam projection or wide angle wash from a zoom system with no visible moving parts. MagicBlade-FX features a short-stroke zoom with a 15:1 ratio for a zoom range from 3.5° to 52°. It has the same form factor as MagicBlade-R and uses the identical control protocols: DMX-512/RDM, ArtNet and wireless DMX via an on-board LumenRadio receiver with external antenna.
Robe fixtures illuminate ‘MasterChef Algeria’
French lighting designer David Seligmann-Forest of Paris based Lite4Life chose ten Robe DL4S LED profiles to be right at the heart of his lighting rig for ‘MasterChef Algeria’, which was recorded in a new purpose-built studio and former envelope factory in El Hamis, a suburb of Algiers.
Seligmann-Forest was working as both LD and Director of Photography for broadcaster Allégorie Group who produced eight episodes of the series plus the finale. He has also worked on the French version of the series, which a few years back gave him the initial opportunity to use the first generation of Robe’s then DLS units.
The DL4Ss - purchased by the Allégorie Group - were installed in the roof of the studio for the duration of the ‘MasterChef Algeria’ recording period. Seligmann-Forest used the DL4Ss for key lighting the contestants, the presenters and the judges wherever they were on the set. He worked on the ‘MasterChef Algeria’ show with lighting programmer Edward “Ted” Hall.
(Photos: Brahim Boucherit/Allégorie Groupe)
Maestra makes new LED screen investment
Event production company Maestra Dubai has invested in 100 square metres of new 3.9 mm Flex:led LED screen, a product specially developed for them in conjunction with an Asian manufacturer for indoor use. As the ‘flex’ part of the name implies, the high resolution surface can be used curved up to 10 degrees - either concaved, convexed or twisted - so it is multifunctional and can be used for more creative shapes and scenic applications as well as standard IMAG displays and backdrops.
For Maestra, this represents phase one of a substantial investment and expansion of its video departments planned for this year in both Dubai and London bases. Both operations will be purchasing eight 14K Christie projectors, several additional Dataton Watchout 6 servers and an Analog Way Ascender 32 switcher. Maestra’s additional video services include the production of content in-house, and the provision of camera/PPU packages, media servers/control and projection systems.
The debut show for the new Flex:led was during Art Dubai 2017 for which Maestra was the primary AV supplier. Flex:led was used in two locations in Madinat Jumeirah. The first was a 4 m by 2.5 m screen that showcased a time-lapse video of ‘Coloured Glass Panels’, the 2017 Abraaj Group Art Prize winning commission created by Bangladeshi-British artist Rana Begum, an installation inspired by the interplay between light and colour. The screen was built into custom set panels and secured using its ground-stacking system.
The second Flex:led screen was used as a stage backdrop for the 11th Global Art Forum, a major conference staged in a custom built tent structure on Fort Island, featuring talks, presentations, discussions and videos.
Zero 88 releases new products
UK based lighting control specialist Zero 88 has launched an Apple Watch focus tool, the PowerCon True1 Alphapack 3, the Chilli Pro 12 (with dimmer, relay, bypass, RCD & RBCO options) and ZerOS 7.9.3. The new Apple Watch app acts as a focus remote, providing access to channels and groups with tools such as Highlight and RemDim.
It’s a free update for all Zero 88 customers and users and works with all Zero 88 consoles running ZerOS (FLX, ORB XF, Solution and legacy consoles like Leap Frog 48 & 96, ORB and Frog2). The App has been developed based upon customer requests and feedback. Via forum posts on the website, the Zero R ‘n’ D team has engaged and kept customers updated with development progress and also received feedback at each stage.
The PowerCon True1 Alphapack 3 brings Neutrik’s locking connectivity to the range of three channel portable distributed dimming devices, first launched last year. All Alphapack 3 units include automatic overload protection, two M10 threaded mounting holes for rigging on both horizontal and vertical bars, plus full DMX addressing to any channel.
The Chilli Pro 12 dimmer offers options for dimming, relay, bypass, RCD and RCBO. The redesigned units join the reworked Chilli Pro 24 dimmers, now with the control options of dimmer, relay or bypass (“hard power”) and the safety options of MCBs, RCD or RCBOs. It’s available in 10A or 16A variants and the new design features a new wiring chamber for easier installation and a lockable door.
ZerOS 7.9.3 adds support for Lumen Radio’s CRMX Nova TX USB and Enttec’s USB Pro devices, as well as completely revamped patching and setup screens.
Kinesys launch Apex chain hoist system
UK based automation manufacturer Kinesys has launched its new Apex chain hoist system. The system is launched with a new hoist controller and two new chain hoists. The range includes both 500 kg and 1250 kg hoists with maximum speeds of 30 m/min and 12 m/min respectively. All the hoists have integral loadcells, silent dual monitored brakes, absolute and incremental encoders, and meet the requirements of EN 61508-SIL3 and DIN 56950.
The drive units can be either rack or truss mounted for adaptability and depending on the application. Pass through connections for both power and data make cabling as simple as possible, and standard power and Ethernet cables offer flexibility.
A clear touchscreen display provides operators with essential feedback and allows manual control of the hoist from the controller itself. Safety-over-data is fundamental to the Apex system, allowing bi-directional SIL3 safety information to pass over the data network. This permits multiple controllers to be linked together for group shutdown if required.
Intelligent duty cycle management software allows the drive to predict how much run-time the hoist can be used for based on current running speed, temperature and load. Real time data logging is included, which allows the hoist to record its total run time and number of brake operations as well as to keep a record of the loads that have been lifted. This information ensures that the hoist’s owner can adapt their service schedule according to the actual usage of the hoist.
Showlight speaker schedule online
The mainstay of the Showlight quadrennial is, its Speaker Programme where professionals are gleaned from lighting disciplines across the world to educate and entertain, and generally have a very good time networking with other lighting enthusiasts from across the industry. The Speaker Programme has now been finalised and a full list of speakers can be viewed online at www.showlight.org/speaker-schedule. This will also be useful to those delegates/Day Ticket holders who can only spare a day or two when choosing which days to attend.
There is also a special feature amongst the regular programme of events at Showlight 2017: the Neal Preston photographic exhibition, ‘In the Eye of the Rock ’n’ Roll Hurricane’ from the Lightpower Collection. This exhibition shows more than 70 of Preston’s pictures and memorabilia from his career. All proceeds from Lightpower Collection sales go to Behind the Scenes (www.behindthescenescharity.org/bts.htm) and Backup (www.backuptech.uk), foundations that provide relief for event technicians in need.
ADB launches new products
The new ADB Klemantis is an asymmetric linear cyclight based on the most advanced LED technology. This luminaire was developed to answer the requirements of Theatre and Opera customers, as well as for TV studio needs. Klemantis features the technology that is based on a six color LED module and its unique control algorithm. The HCR technology provides a wide color gamut, from bold colors to pastel shades, as well as a tunable white light with a CRI up to 97.
Klemantis is a family of fixtures that today consists of the Klemantis AS1000 and the Klemantis AS500, designed to be used in a linear array. An optical system based on exclusive lenses generates a uniform light diffusion and blended colors. The luminaires will be set in a row - on the floor or/and at the top - at a distance between 0.60 m to 2 m from the cyclorama, depending on its height. They will provide a uniform coverage of the surface, with smooth and invisible overlap.
Imago is a compact USB backlit control surface, which, when connected via USB to a PC running the Hathor lighting software, becomes a full-fledged console. Imago can be transported in a backpack, as well as installed in all places. Combined with Hathor and a USB connection to a laptop, Imago offers capability, advanced features and enhanced programming, including two DMX outputs and one DMX input as well as the possibility to send 32 universes via Ethernet. The Imago Wing completes the Imago family offering, when associated to the Imago, additional control possibilities (18 Subfaders and 18 Executor keys).
Robe fixtures for Ras Al Khaimah National Day Celebrations
Nearly 200 Robe fixtures were used by lighting and show designer Terry Miranda of Lighthouse Productions to light a special production of musical “Fakhrak Ya Watan” (The Pride of a Nation) for the Ras al-Khaimah National Day Celebrations on the eve of the United Arab Emirates National Day event. Ras al-Khaimah (RAK) is one of the seven Emirates making up the UAE.
The spectacular, performed by a cast of over 800 singers, dancers, actors and poets of all ages, was attended by His Highness Sheikh Saud Bin Saqr Al Qasimi, Supreme Council member of the UAE & Ruler of Ras Al Khaimah, plus a host of dignitaries and VIPs as well as 10,000 members of the public.
The show, which included projections mapped across a 92 metre wide set and performance/presentation area, celebrated UAE’s achievements over the last 45 years and presented a vision of the future of the country based on peace and inclusion. It culminated in a 4 minute pyro and laser finale.
Lighthouse Productions designed and built the entire 1,250,000 square metre site from the ground up, creating the venue for the event - from the stage and set, backstage and production areas to the seating tribunes and car parks - in an empty space on the mangroves along the Ras al-Khaimah Corniche waterfront.
“There was no roof on the stage, so all the lighting positions were created from a massive structure at the back with horizontal and angled lines of trusses sub-hung either side of a central V-shape,” says Terry Miranda, designer of the show as well as being responsible for the lighting design.
Thirty-two Robe MMX WashBeams were utilized, rigged all over the structure. They were used extensively for general lighting, washing the stage, for gobo and beam work onto the floor and also to complement the fireworks, the majority of which were rigged to a 72 metre wide x 44 metre arch erected behind the stage.
There were 22 x 300E Beams on the show, 14 rigged on horizontal trusses both sides of the stage and used for punchy beam to complement the projections and the other eight on the verticals. Twelve ColorWash 575 ATs provided rear and side lighting onto the dancers.
Twenty-four Pointes were used on this show, rigged on the angled trusses either side and used for a variety of aerial effects and as head-height lighting for actors entering the stage space on a mechanical boat prop. The Pointes were combined with the MMX WashBeams and some 7K searchlights upstage on the deck to present a number of ‘beam layers’ which could be revealed and juxtaposed as the show unfolded.
Twelve PARfect 100s along the front of stage left and right were used to illuminate the various dance troupes participating in the show, with another 12 dotted around at the back. Other Robe fixtures on the rig included CycFX 8s, LEDWash 1200s and ColorMix 250s.
Over 400 technical and event services staff and crew in total were involved in staging the 2016 Ras al-Khaimah National Day Celebrations, including a full time team of 30 from Lighthouse Productions. The lighting programming was completed by Adrian Guzman. The musical was directed by Mohammad Al Amri, director of the show, Ali Al Khawar, director of the music, and Obaid Ali, director of the choreography. It was the largest Emirati musical production to date, created and presented by an Emirati team working alongside Terry Miranda and Lighthouse Production.
(Photos: Lighthouse Production)
SAPOA Annual Convention lit by Claypaky
MGG supplied the full technical for the SAPOA Annual Convention, which celebrated its fiftieth anniversary at the Sandton Convention Centre’s Pavilion venue in Johannesburg. For this occasion, MGG asked lighting designer Francois van der Merwe from Wizardry Group to design both the conference and banquet styled show. The South African Property Owners Association (SAPOA) is the representative body and official voice of the commercial and industrial property industry in South Africa.
MGG incorporated the largest VuePix configuration they had ever built comprising of 200 x Q3 3.91 mm panels. The show included Claypaky Sharpys and Mythos and control on a GrandMA2 full size. The event kicked off in the conference room where a 28 m x 4.5 m VuePix L6 Series 6.67 ml Blend screen was erected. “I designed this site but Rianda van Burick from MGG ran the actual show on a GrandMA2 light,” says van der Merwe who used eleven Claypaky Alpha Spots for front light and 16 Claypaky Sharpys.
For the actual show, a themed event took the audience through a journey starting off in the 1960s with four singers presenting a medley for each decade. “The big part of this show was that the client wanted us to focus on the dance floor, which is usually an afterthought for people,” van der Merwe explains. “They wanted to highlight the after party dance floor so my idea was to come in with all my colours used for the production, with lighting coming straight from the top and then beams and gobos surrounding the dance floor, basically at 360 degrees.”
The lighting gear comprised of five Claypaky Alpha Spots at FOH. There were thirty Claypaky Sharpys and further twelve Claypaky Mythos for side angle beams.
Elation supports Insomniac dance events
Elation and SJ Lighting’s relationship continued last fall on a number of dance events produced by Insomniac Events, including Dreamstate, Escape Psycho Circus and EDC Orlando. Lighting was designed by Steve Lieberman.
Held at the NOS Events Center in San Bernardino, California, Insomniac’s Dreamstate expanded to four stages with new stage designs and enhanced production. SJ Lighting brought the festival’s Dream stage structure to life using 76 Platinum Spot 35 Pro moving heads, eight Colour Chorus 72 LED battens, and 120 Opti Tri 30 compact LED Par lights. On the festival’s Sequence stage, Platinum FLX hybrid moving heads provided beam and spot looks while 24 Opti Tri 30 Par lights kept the truss colored.
Insomniac’s Halloween EDM festival, Escape Psycho Circus, returned for its fifth year at the NOS Events Center and included multiple stages, amusement rides and a UV/black light theme. On the festival’s Slaughterhouse stage, 184 Colour Chorus 72 LED battens were used to line the set’s horizontal LED screens top and bottom.
68 ELED TW Strips and 172 Opti Tri PAR lights provided color for the structure at the Ghoul's Graveyard stage while 40 Platinum Beam 5R moving heads, 24 Protron 3K strobes, 14 SixPar 300 Par color changers, and 60 EPAR Tri Par lights worked the Cannibal's Tea Party stage.
The sixth incarnation of EDC Orlando took place at Tinker Field with Nero, Bassnectar and RL Grime playing the Circuits Ground stage and Jamie Jones and Markus Schulz headlining the Neon Garden stage, both dressed for the occasion with Elation lighting.
The same 360-degree immersive design that was used for the 2016 EDC Vegas Circuit Grounds stage was used at EDC Orlando with 102 Elation Colour Chorus 72 LED battens and 90 Opti Tri PAR color changing Par lights used to highlight the truss design. Over on the Neon Garden stage, the vibes of trance, house and techno were enhanced with color from 61 Elar PAR 108 lights.
(Photos: Adam Kaplan/ASK Media Productions Inc.)
‘Phantom of the Opera’ in Stockholm lit by Robe
The new ‘Phantom of the Opera’ production in Stockholm, Sweden, is utilizing various Robe fixtures, including DL7S and DL4S Profiles and DL4F washes plus Pointes and ColorStrobes (over 50 fixtures in total). The Really Useful Group (RUG) licensed production of the Andrew Lloyd-Webber musical is scheduled to play the 1650 capacity Cirkusteatern arena for a year, for which the Robe lights were specified by associate lighting designer Mike Odam.
Apart from one front truss which accommodates all their general front washes, all the other FOH positions are Robe moving lights that replace multiple booms rigged with standard profiles and an assortment of lenses. Working on Stockholm lighting team with Mike Odam were Andrew Bridge who oversaw the operation, taking it through the previews; assistant LD/production LX Andy Bird and programmer Dave Totaro. The production’s main lighting contractor is Netherlands based Flashlight, with the Robe DL4S Profiles supplied via Copenhagen based rental company Litecom.
(Photos: Matthew Murphy)
Valerio Tiberi chooses Claypaky for ‘West Side Story’ in Milan
The ‘West Side Story’ musical returned to the stage at the Teatro Manzoni in Milan, Italy, utilizing various Claypaky fixtures. The scenery was designed by Cristiano Colombi. Federico Bellone was asked to direct the show: "To set the scene, I decided to focus on two elements: the theme of fear, a feeling shared by all the characters in the two rival groups, the Jets and the Puerto Rican Sharks, and red, the colour that has become a trademark of the musical, along with the five iron fire escape staircases which link the various levels of the scenery." Valerio Tiberi was asked to design the show lighting.
Did the presence of the fire escape staircases and their movements on stage make the lighting design very difficult? There are shadows everywhere.
VALERIO TIBERI: Yes. So I decided to use them. At different times during the show, there are scenes with shadows projected onto the backdrop. In the last scene, one of the most emotionally difficult moments in the show, we decided to turn off the video projection, as it seemed too invasive, too beautiful and too well defined. At that moment, I was able to project the long shadow of the towers onto the black backcloth.
Did you achieve the lighting you were hoping for?
VALERIO TIBERI: I am happy with the overall set-up I gave the lighting design. I preferred to use incandescent lamps and especially side-lighting in the wings. I pointed the whole sequence of lights in various directions with various incident angles, from the ground up to 13 feet up, along the side towers, or vertical trusses. There are eight in total: a sequence of two beam shapers, a B.Eye K10, 4 PAR lamps, another 2 beam shapers, an Alpha Profile 700, and lastly another B.Eye K10 on the top of the truss.
Is there any room in the wings at the Teatro Manzoni?
VALERIO TIBERI: Not a lot, but we placed upright trusses on the right and left of the stage without any problems, in compliance with the distances needed by the moving heads and for the entrances and exits of the actors, dance troupe and props.
Did you need compact lighting fixtures?
VALERIO TIBERI: I managed to install exactly the number of lights I had envisaged in my design. The body of an Alpha Profile 700 is incredibly compact (head length = 455 mm/18 inches). It is about as big as a theatrical PAR lamp.
Valerio, what were you saying about your rig?
VALERIO TIBERI: Because I wanted to pursue my initial idea of communicating through side lighting, which is a useful tool for loading a scene with dramatic tension, like during the clashes between the two opposing gangs, I put very few lights in the overhead rig. Their colour, where they come from, and their angles - mostly on the proscenium and further down the stage - help recount the story through the direction of the light. I used lights that could fill the scene, like the B.Eye K10s: basically lights that could back-light at least three levels, the whole floor and the stage.
How did you deploy the B-Eye K10s in your lighting design?
VALERIO TIBERI: I arranged them symmetrically. Four on the first batten, four on the second, four on the third, and only two B.Eye K10s on the fourth batten. There are also other beam shapers on the overhead rig: a total of six, two on the first batten, two on the second and another two on the fourth. They work as special lighting units during Tony's first meeting with Maria, during the dance scene that follows, when all the couples are on stage, when they project windows inside the bridal shop, on the bed in Maria's room, and when they light the grocery store from the side. There are lights with LED sources above the stage. The side-lighting instead consists of incandescent lamps: PAR lamps, beam shapers and Alpha Profile 700s. The lighting programmer used a GrandMa 2 light desk. Marco Moccia's Leader Sound provided both the sound and lighting systems, and - above all - Marco helped reproduce everything that was part of the original design.
Audified releases TNT Voice Executor
Audified announces availability of one-click processing plug-in for vocals and spoken word: the TNT Voice Executor. “In some situations you have to mix vocals or spoken word very quickly - typically in broadcast operations or video productions. We couldn’t find any plug-in that suited this purpose perfectly, so I had to write one myself,” TNT Recording and Postproduction Studios owner Tomáš Trkal explains. TNT Voice Executor is available to purchase as an iLok-protected plug-in, running as an AAX, VST3, and VST2 plug-in on Mac (OS X 10.9-10.12) and PC (Windows 7, 8, and 10) and AU on Mac.
Singapore Chingay Parade with Robe fixtures
Over 400 Robe moving lights were used for the 45th Singapore Chingay Parade to celebrate Chinese New Year - The Year of the Rooster. Javier Tan designed the lighting for this public event, featuring a cast of 8000, directed by Fan Dong Kai and staged at the F1 Pit Building in the city centre.
The show was organized by the People’s Association (PA). It celebrated the diversity and multi-cultural nature of the nation’s population and was watched live by President Dr. Tony Tan, Prime Minister Lee Hsien Loong, plus assorted political, dignitaries and VIPs together with approximately 200,000 members of the public over two nights. It was also recorded for broadcast.
To help wash the parade route and the six massive grandstands which accommodated 30,000 spectators, Javier Tan specified 216 x BMFL Blades, 56 x BMFL WashBeams and 112 x Robe ColorStrobes. The ColorStrobes were used as wash lights to cover the show and audience areas. Additional wash lighting was provided by 56 x Robe LEDWash 600s, with all the event’s lighting and audio kit supplied by Singapore rental company, CSP Productions Pte Ltd.
The lights were rigged on a series of gantries and towers erected along the backs of the seating grandstands on both sides, arranged in layers. The BMFL Blades were on the middle levels with the WashBeams on the tops of the towers. The BMFL Blades created some aerial and beam effects. They textured the floor, a raised runway along one side and a waterway running the full 360 metres down the other.
The ColorStrobes were positioned on the upper gantry rail, where they could immerse the entire crowd and performance area with colours and effects. On Tan’s recommendation, CSP Productions purchased another 80 ColorStrobes which joined the 40 already in their inventory, especially for this project.
Four lighting consoles were used to run the show lighting, which also included some other moving and LED lights plus 40 fog machines. Tan worked with his regular team of programmers, Clement Cheong and Joyce Goh. Chingay 2017 Singapore’s technical director was Yong Fa. CSP's lighting crew chief on site was Colin Foo, supported by technical managers Alan Lee and Pete Win Tin.
With the creation of a new division dedicated to the Deva multimedia system, Powersoft has replaced Karl Kahlau with Håkan Sjöö. Swedish-born Sjöö takes on the role of Regional Sales Account Manager, EMENA - including India, the Nordic countries and German speaking territories - with special focus on rack-mount amplification. Håkan Sjöö brings industry knowledge from the extensive time spent in different roles with Renkus Heinz, for whom he was latterly EMEA Regional Sales Manager.
Elation fixtures installed at Camberley Theatre
Camberley Theatre, a performance venue in Camberley Surrey southwest of London, has undergone extensive refurbishment, including significant additions to its in-house lighting. A new installation of Elation Professional fixtures, supplied by Yes Events Ltd, provides flexibility for this multipurpose community space.
The 408-seat theatre has replaced its house lights with the Colour Pendant LED downlight. Also, sixteen SixPar 200 LED Par units were installed as part of the standard venue rig. Platinum Spot 5R Pro fixtures fulfil moving spot duties at Camberley.
Yes Events Ltd also supplied a significant amount of Elation fixtures for Camberley Theatre’s 2016 pantomime “Cinderella” in December, which featured Platinum Spot 15R Pro and SixPar 200 fixtures along with the Fuze Wash Z350.
Claypaky equips AIDA Prima
The AIDA Prima, the latest addition to the AIDA Cruises fleet, was christened in Hamburg on 7 May 2016. The ship has many attractions, like the Beach Club with Caribbean feel for 365 days a year, and the Four Elements area with water slides and climbing walls. The choice of lights on board the AIDA Prima fell on Claypaky and Lightpower.
The lighting rig includes Claypaky Alpha Profile 800 STs, as well as other MA Lighting products: a GrandMA2 full-size desk, two GrandMA2 light consoles, two GrandMA2 replay units, and one MA Network Processing Unit (NPU).
(Photos: AIDA Cruises)
Frank Schotman (also known as “The Tank”) has joined Elation Professional’s European sales team as a technical sales representative and product specialist. He is a well-known face in the lighting industry with over 25 years of experience under his belt. He came to Elation from a position as Senior Product Specialist at the AED Group, where he supported High End Systems Inc.’s Hog4 family.
Schotman also worked for Eclipse Staging Services in Dubai as Head of Lighting and is a specialist in automated fixtures. He brings with him a wealth of front line experience from major tours and productions of all types. Highlights include support for the 2006 Winter Olympics in Turin, as well as support work on tours by Prodigy, Eric Clapton, Faithless, Iron Maiden and One Direction, as well as Coldplay’s “A Head Full of Dreams” tour.
Frank Schotman started with Elation’s European sales team on December 1st and is based at the Elation European headquarter office in Kerkrade, The Netherlands.
Maestra Dubai supplies technical production to ‘Groove on The Grass’
Maestra Dubai supplied technical production - lighting, audio, video, staging, rigging, special FX and power distribution - to the 2016-17 series of ‘Groove on The Grass’ dance events. Now in its fifth edition, the five events for this season were produced by the Artists Network and staged at the Emirates Golf Club, Dubai, each enjoyed by around 5000 dance music fans.
Maestra’s crew had to be quick on both the in and the out for the ‘Groove’ events - a process that started a day in advance of the show with the erection of a 20 metre wide ground supported stage and decking system to which lighting, video, PA towers and a complete sound system were added. This was set up below a saddlespan tent structure from Wicked. This was completed in 24 hours, and lighting and video was programmed and ready to go for sound-checks the next day and then kick-off at sundown.
The lighting design was based on an overall generic event production design which could then be modified and adapted to suit any specials and specifics as required by headlining artists. The standard design incorporated 40 moving lights - a mix of Claypaky and Martin - plus 20 x Showtec Sunstrips, 24 x Atomic strobes and 12 x 4 and 8-lite blinders. All of these were run through a ChamSys MQ100 lighting console, operated by Geno Welburn.
For the third event, seven separate LED screen surfaces - all made up from Maestra’s 10 mm outdoor LED - were arranged in a semi-circle of columns upstage which was a break from the ‘traditional’ slab of LED at the back. The curvature also added an architectural aspect to the performance space.
The visual content was supplied by the artists and DJs and their VJs who hooked into the Maestra system via their own playback control or media servers, a method that enabled everyone to run their own bespoke content. When it came to specifying audio, an L-Acoustics Kara system, complete with SB28 subs, was installed in co-operation with Andy Jackson and his crew from Delta Sound. This was supplied together with a Yamaha LS9 console, plus all the various DJ kit specified on the individual artist riders.
For the second stage, which is a tented arena, lighting comprised 12 moving heads and a collection of DMX-controllable mock-neon LED tubes, which were installed as a kinetic light backdrop, along with a smaller Kara sound system. Maestra had about 30 crew on site including Delta engineers and locals.
Ayrton NandoBeam-S3 fixtures used for panto show in Welwyn
A traditional Christmas pantomime is a staple of the British festive period. “Over the Christmas period we were hired to manage and provide the lighting for a production of Dick Whittington at the Hawthorne Theatre in Welwyn,” says Leigh Mulpeter, owner of the lighting design company Little Leigh.
Mulpeter decided to use his new Ayrton NandoBeam-S3 fixtures for the show. “The venue was quite small in relation to the size of the set, which made the setup a rather time-consuming affair,” he explains. “During the show I used the NandoBeams for a variety of purposes. Primarily, we used them to light set pieces as well as adding colour to scenes and to highlight actors.”
(Photos: Mark Bryan/A2Zoom Photography/Little Leigh Lighting)
Pro3 invests in Robe
Pro3, a lighting design collective based in Mexico City, invested in a quantity of lighting equipment, including 36 x Robe Pointes together with some other fixtures and effects, all stored in a warehouse in Iztapalapa. Their Robe fixtures are out constantly on their own projects, including a recent tour with OV7 y Kabah, two youth groups who joined forces to complete a 24-date tour of Mexican auditoriums, followed by shows in the US. They also specified Pointes for Mexican rockers Molotov who have been in Europe with a Pro3 stage and lighting design, and their own fixtures have also recently been out with girlband Jeans back in Mexico.
Photos show Osvaldo “Chicho” Giuliano, one of three partners in Pro3.
ALD bestows Showlight bursaries
Showlight 2017, the quadrennial lighting symposium, this year hosted in Florence, Italy, is approaching. To ensure plenty of time for bookings to be made, the ALD has bestowed bursaries upon three of its professional members. The bursaries, awarded to Ric Mountjoy, Sherry Coenen and Sandy McRobbie, contribute to the costs of attending the event, such as registration, travel and accommodation and encourage those lighting practitioners to attend, who may not otherwise be able to take time out from a busy schedule.
Supporting its members for the fourth time in this way, entries for the Showlight Bursary Scheme were judged by members of the executive committee and assessed on the applicants’ reasons for attendance as well as how they intend to report on the event for ‘Focus’, the ALD membership magazine.
Collective Works launched
Collective Works is a new creative visual design practice launched by three live event production industry professionals - Christopher Bolton, Joshua Cutts and Bradley Hilton. All are known for their work in South Africa and across the African continent.
Bringing the energy and vibrancy of the region to an international marketplace, the trio specialise in the disciplines of lighting, video and set/scenic design and digital content production. They have known one another and worked together in different capacities for some time, designing and delivering a variety of music shows, live events, theatrical and TV productions.
Collective Works offers clients an approach to live show and event design - whatever the genre, scenario, size and budget of the project. From the raw material of fresh ideas, to the complex modelling of 3D and virtual simulations, to the equipment specification and co-ordination, client liaison, lighting and video programming delivery and execution on site, Collective Works will provide a complete creative service.
Smartec invests in Yamaha digital mixing system
Swiss live production company Smartec Veranstaltungstechnik AG took delivery of two Yamaha Rivage PM10 systems in late 2016. Smartec has used Yamaha digital consoles for over ten years, investing in its first M7CL-48 in 2006. Since then it has expanded its inventory over time to include more M7CLs, as well as LS9s, 01V96s, PM5Ds and multiple CL series consoles.
Gesher Theatre chooses Robe
Israel’s Gesher Theatre has recently taking delivery of new Robe BMFL Blades and LEDWash 600s to add to their existing LEDWash 1200s. The new moving lighting rig was supplied by Danor Theatre & Studio Systems, Robe’s Israeli distributor, and was specified by lighting designer Bambi (Avi Yona Bueno).
In addition to dramas, the theatre in the southern Tel Aviv suburb of Jaffa also stages concerts and music shows, so the new lights needed to be multi-functional. The purchase also included other LED lights and an L-Acoustics Kara sound system.
Photo shows Gesher technical director Maxim Rosenburg (on the left) with technical manager Sergey Novitsky.