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Successful SSL-erate project supports European SSL strategy
The European SSL-erate project has supported successfully the uptake of Solid State Lighting (LED lighting). Over a period of three years, the project promoted opportunities for broader SSL uptake based on green, sustainable SSL business development and the positive effects of lighting on health and well-being. The SSL-erate project has actively contributed to fostering the emergence of new related businesses across Europe, especially at a regional level.
Through workshops and business development experiments, which involved companies, customers, end-users and regional lighting clusters, the SSL-erate project achieved cooperation along the SSL value chain and between professional users and the lighting industry. This included the lighting sector, architects, installers, the buildings and construction industry, business entrepreneurs, specific end user groups (cities/municipalities, property owners, consumers) and indirect stakeholders (e.g. from healthcare, education, or the insurance sector).
The project also created the online platform www.lightingforpeople.eu which provides customer guidance for optimum utilization of LED, carried out a series of outreach actions for the wider European public, and actively supported European Commission initiatives and events launched as part of the Commission's overall SSL policy. The project partners have agreed to maintain their network and LightingEurope will actively manage the lightingforpeople.eu online platform for the coming three years.
Circa Waves on tour with Robe fixtures
Lighting designer Ed Warren started working with UK indie rockers Circa Waves at the start of their latest album campaign in October 2016. For the recent UK and European legs of the tour, he specified an almost entirely Robe rig including 12 x Spiiders, 12 x CycFX 8s, 36 x Halos and four DL4Ss, all supplied by CEG Hire & Productions, and operated on the road by Toby Hoggarth.
Warren selected a classic white backdrop look, the nature and texture of which could be changed with up-lighting from the CycFX 8s. Some custom gobos featuring the new album artwork were made for the DL7s, which could be flashed up on the backdrop at strategic moments.
Eight Spiiders were on top of four trussing towers each side of stage which were gradiated in height with the shortest at the rear and the tallest at the front, with the other four Spiiders upstage behind the band. Ten of the CycFX 8 were up-lighting the backdrop, and four were hung vertically off the two more upstage towers and used as side key light for band.
The Halos were rigged to the front of the towers. Five were on the front one, four on the next, three on the third and two on the most upstage tower each side, which took care of 28 fixtures. Another eight were on low towers along the back of stage in a horizontal line connecting the two upstage towers.
The DL4Ss, fitted with the custom gobos, were hung on house front trusses at each venue and used as cross stage backdrop lighting. The lighting set up was completed with four strobes on the floor behind the band. The Spiiders produced a thin-beam as well as big bright wide washes and a selection of 'gobos'.
(Photos: Lindsay Cave)
Various Elation products installed at Fox Sports LA Studio
Fox Sports refitted Stage B at its Pico Studio in Los Angeles with nearly 100% Elation Professional products, an LED-based lighting system designed by Victor Fable with lighting supply by Kinetic Lighting. The new lighting system includes a host of Elation broadcast-optimized lights including one of Elation’s latest LED wash solutions, the Fuze Wash Z120, a PAR moving head with 120 W RGBW COB LED engine.
Other Elation lights employed at the broadcast center include white light DW Fresnel and DW Profile luminaires, Colour 5 Profile LED ellipsoidal spots, TVL Cyc RGBW cyclorama wall wash lights, TVL4000 LED array panels, Arena Par Zoom RGBW PAR wash lights, Colour Chorus series LED battens, and Satura Profile LED-based CMY moving heads with framing.
Prolyte Group introduces new Box Corner
Prolyte introduces a new Box Corner for its 30-series truss. This Box Corner can be used in combination with regular truss as well as the Verto truss. Prolyte replaced welds by bolts and the open structure by plated sides. The integral structure of the Box Corner gains strength in all directions, not suffering from the loss of material strength caused by the heat affected zone.
The new Box Corner, the Box-30-HD, is a fully plated and bolted element and is therefore stronger than the regular Box Corner. This allows to build any 2D or 3D structures without losing involuntary strength due to the corner types used.
Due to its design, where the plated sides interlock with each other, a 90-degree shape is guaranteed. The plates can be changed in case of damages. All standard available accessories for the regular Box Corner can be used for the HD Box Corner as well, like the male and female half couplers and bolts. Prolyte Group will continue both products in its product range, the regular Box Corner as well as the new HD Box Corner.
Paco Mispelters chooses Robe, Martin, Claypaky and SGM fixtures for “Unidamu”
Belgian visual design practice Painting with Light's Paco Mispelters designed the lighting for the Studio 100 tour of new youth musical “Unidamu”. The tour visited four Belgian theatres and is a co-production with TV channel Ketnet. The “Unidamu” (Universe of Dance & Music) journey started with "Ketnet Musical", a talent scouting competition TV show with a mission to source new singing, dancing and acting talent, resulting in 24 fresh and enthusiastic faces picked from 12,000 hopefuls to make up the cast.
Painting with Light and Studio 100 have enjoyed a long working relationship and this was the third edition of the musical show. It has a strong anti-bullying narrative and tells the tale of two worlds - a reality which is grey and devoid of music, fun or entertainment and the sci-fi fantasy world of Unidamu, filled with colour life, joy, music, dancing and inspiration. The set design by Stefan Haudenhuse was already in place and Paco Mispelters' main challenge in lighting the piece was creating a stark contrast between the two worlds between which the young people teleport.
The main location in the real world is a school which Mispelters decided to light with standard commercial fluorescent tubes, which were rigged onto a number of house LX bars. The light emitted is white which is the default look for the real world.
Unidamu needed to be colourful and vibrant, so a number of moving lights were specified - 18 x Robe LEDWash 1200s for the washes, 12 x Martin MAC Viper Profiles for the rear spots with some Claypaky Alpha Spots for the front lighting. Twenty-two SGM LT200 LED battens were utilised, with some integrated into the set pieces. "We wanted to create a roof with these LED strips," Mispelters explains.
The set required lots of dynamics, so there was a front, mid and back section, all featuring two of these 2 metre tubes, with each fixture’s 52 x LEDs individually mapped. Five side booms ran down the sides of the stage and these were each loaded with 2 x LED PARs. The LEDWashes were run in 'wide' mode so pixel looks and ring effects could be optimised.
Mispelters programmed the show onto a GrandMA2 console, networked with an MPU as the 22 LT200s already consumed 3500 channels. The teleporter set piece featured some integrated practicals - inbuilt LEDs and lots of smoke - as well as motorised doors. The show was recorded for later broadcast and DVD.
(Photos: Luk Monsaert)
Prljavo Kazalište on tour with Robe fixtures
Croatian rock band Prljavo Kazalište’s world tour kicked off with a show at the Spaladium Arena in Split, with lighting designed by Sven Kučinić of LumiLas LLC, who has worked for the band for the last six years. Kučinić specified Robe fixtures to light this show, where the challenge was on to create a scalable design to work for the whole of the upcoming tour which plays various sized venues and is scheduled to run for the rest of the year.
Kučinić chose Robe as the main moving light fixtures: 20 MMX Spots, 12 x MMX WashBeams and 16 Pointes. The main trussing was configured as a ‘W’ shape above a 100 square metre LED wall at the back with the MMXs all rigged on this and the Pointes positioned on the floor along a walkway behind the band.
The MMX Spots were the primary profile lights on the rig. The Pointes were the only pure effects lights of the show and this role defined the look and physical structure of the performance space. They became an integrated scenic element.
Kučinić programmed and operated the show on a GrandMA2 full size. The show’s video has original content created by Croatian multimedia artist Ivan Marušić Klif and his colleague Ana Hušman. Also integral to the production for the gig in Split were FOH sound engineer Daniel Biffel and Juraj Stipetić of LumiLas who co-ordinated all the laser effects in close consultation with Sven Kučinić. Equipment was supplied by Croatian rental company Eldra, project managed for them by Dario Katačić and Domagoj Pribanić.
(Photos: Juraj Stipetić/LumiLas LLC)
L-Acoustics launches first Avnu-certified systems
The LA12X amplified controller is the first L-Acoustics product that received Avnu certification. The LA4X also received certification this year. A member of the Avnu Alliance since 2015, L-Acoustics has committed its development resources to open standard AVB technology, which streamlines network infrastructure by combining audio signal transmission with system control and monitoring.
The Avnu-certified LA12X and LA4X amplified controllers include built-in AVB bridge functionality. Together, they are the first Avnu-certified amplified controllers to be launched with both Bridge and Listener technology. To accompany LA12X and LA4X, LA Network Manager software is also updated with an AVB controller, which eases connection with other systems.
Yamaha supports Hamburg’s Stadtpark summer
Since 1975, audiences have flocked to the Freilichtbühne open air stage in Hamburg's Stadtpark each summer. Cobra Sound Light has been the season’s technical production supplier since 1981. They use Yamaha digital mixers for each night’s programme.
The season runs from May to September and features performances from both national and international artists. “All the different artists requirements can mean a lot of changes to the equipment used for each show,” says Cobra Sound Light’s Trevor Wallace who has been using Yamaha consoles since he started in the business in 2005, both working for rental companies and as a touring engineer.
For the Stadtpark summer season, international artists usually bring their own engineers and consoles, or specify a console (usually a Yamaha CL5 or QL5) from Cobra. However for the smaller acts - including most of the support performances – Wallace does the Front of House and monitor mixes on a Yamaha QL1.
S+H equips 10cc tour and several TV shows
S+H Technical Support supplied a full Pea-light starcloth wrap as specified by designer Patrick Doherty for the new ‘Bigheads’ TV series, a Primal Media production for ITV, recorded in the George Lucas 2 studio at Elstree in Hertfordshire, UK.
S+H has supplied soft goods including starcloths, pea-light drapes and special FX for various of Patrick Doherty’s shows including ‘Strictly Come Dancing’ for several seasons. Mark Kenyon was the LD and the series was directed by Richard Van Riet.
For the WE Day 2017 charity fundraiser in the UK, S+H supplied massive quantities of blacks and an extensive pipe-and-drape system to create dressing rooms, break-outs and green rooms plus other backstage areas at Wembley Arena. A crew from S+H installed everything for production manager Natalie Smith.
For the dog show ‘Crufts 2017’, S+H supplied LED starcloth and a custom built LED sign for the main show ring of the event staged by The Kennel Club at the Genting Arena, Birmingham, UK. The starcloth was specified by Jon Pope of Chichester based Lighting Design Services, the show’s lighting designer since 2009, and was installed along the upstage edge/back of the main ring.
The 6.5 metre wide x 2.2 metre deep sign was flown in front of the starcloth. Made up from approximately 1200 x RGB LEDs with a 40 mm pitch and 8-channel DMX control, all run from the lighting desk, this was first fabricated for the event by S+H in 2012.
S+H supplied their Glux 12 mm LED screen to the latest UK and European tour by rock band 10cc. A 4 x 3 metre 10 mm LED screen was used on this leg of the tour and specified by video and visuals designer Ian Holmes of Essex, UK based XIVIX. The dry hire from S+H was looked after on the road by 10cc production manager, David Cobby. The tour’s lighting designer was Russell “Tigger” Matthews.
Antelope Audio releases Orion Studio HD HDX & USB 3.0 Interface
Antelope Audio’s Orion Studio HD HDX & USB 3.0 Interface - the latest addition to its professional audio interface lineup, and the third to offer full Pro Tools HD and Native DAW (Digital Audio Workstation) compatibility via HDX and USB 3.0 connectivity offering zero-latency streaming and processing of 24-bit/192 kHz audio (alongside a library of real-time FPGA effects, clocking and conversion) - made its debut during a showcase at AES Berlin 2017.
Based upon Antelope Audio’s recently released Orion32 HD and Orion Studio Rev. 2017, Orion Studio HD can operate simultaneously with Pro Tools HD and Native DAW setups, and any analogue or digital input can arrive in Pro Tools HD sample accurately in the timeline, due to Antelope Audio’s HDX Delay Compensation.
7th Heaven plays beneath Elation rig aboard Harmony of the Seas
Chicago-based rock band 7th Heaven does an annual cruise called the “Chicago Music Cruise” and this year played a week of shows on the largest cruise ship in the world, Royal Caribbean’s Harmony of the Seas, outfitted with Elation Professional LED lighting.
7th Heaven has been sailing with Royal Caribbean for years but this was the first year they were hired as a feature act. On a Harmony of the Seas cruise that sailed the Caribbean from January 7th to January 13th, the band played shows in the ship’s Royal Theater, the main entertainment space, as well as a final show in the Aqua Theater.
Band lighting designer Zach Scott, who has been with the band for six years and lights almost every show they play (an average of 250 a year), had large, in-house intelligent lighting rigs at his disposal. The ship’s main entertainment and relaxation areas all house Elation LED lighting. The Royal Theater’s house lighting rig comprises 32 Platinum Wash ZFX Pro, 40 Satura Spot LED Pro, 22 Platinum Beam Extreme 5R, 6 Platinum Spot, 8 Platinum Wash ZFX Pro XL and 19 ELED QA Strip fixtures. “This was the first time I got to use the Saturas and ZFX Pros,” says Scott.
Most of what he used in the Royal Theater was hung on the upstage and midstage truss but he also had beams in the corridors on stage left and right. Scott programmed and operated the shows using a provided Hog 4 with a wing. Head of lighting for Harmony of the Seas’ Royal Theater was Jonathan Wormgoor.
(Photos: JPM Photography)
Robe supports Autosport show
Nathan Wan’s lighting design for the Live Action Arena at the 2017 Autosport show - staged in Hall 5 of the National Exhibition Centre (NEC) in Birmingham, UK - featured nearly 300 Robe moving lights. Wan has lit the show for the past few years working with technical consultants and equipment suppliers Network Productions. This year their technical director Nick Halliday and production manager Dave Beel were working with a new creative team.
With cameras positioned 360 degrees all around the arena, it was essential to ramp up the lighting levels to match the excitement, and the aim was to get as much even coverage as possible around the vast space which is also the UK’s largest indoor racetrack for the duration of the show.
Last year Nathan Wan had illuminated the track with around 250 x 1K PAR 64s but this year these were replaced with 84 x BMFL Spots, all supplied by Network Production. A network of trusses was rigged in the roof, trimmed at nine metres, including four 90 metre long sections, one above the audience and three ‘stage’ left and right over the track and another two 20 metre long side trusses, all of which Wan populated with the 84 x BMFLs.
Four of these fixtures on the audience truss were used for key lighting presenter Sky Sports TV broadcaster David Croft and his various guests. These four BMFLs replaced follow spots that had been used in previous years. Using a combination of the linear prism and various gobos enabled Wan to shape the light and create some asymmetrical looks. BMFLs were also used to reveal the cars once they were in position on the track at the start of the races, and also to throw looks across the space for strategic moments.
A hundred and forty-four LEDBeam 100s were used to light six ‘scenic’ five metre high L-shaped street-race style gantries that protruded nine metres over the track, introduced to bring a F1 Singapore/Baku city track flavour to the ring. Nathan Wan programmed these with arcing and strobing effects.
Another scenic gantry was built over the track at the start line which was lit with generic PARs and 90 pixel battens around the outside wall of the main track provided a layer of up and back lighting. Thirty Robe Pointe multi-purpose fixtures were rigged around a special loop-the-loop structure for the show finale.
The back-lit loop structure was first revealed from behind an LED screen, with Pointes all around it - a look for which Nathan Wan was inspired by Pink Floyd’s rings of moving lights around their famous central circular projection surface. Wan programmed and ran the lightshow and a series of MDG Atmosphere generators from an Avolites Arena console, complete with a Tiger Touch for backup.
(Photos: Ashton Wan)
Cree joins LightingEurope
Cree Europe has joined the European industry association, LightingEurope. Cree Europe’s lighting products enable applications from outdoor street lighting, urban, area and large areas as well as petrol, industrial and indoor lighting. Cree’s European headquarters are based in Florence, Italy and last September, the company opened its first office in the UK, reflecting its commitment to expand its presence in Europe. “It’s a very exciting time to be a part of the European lighting market. We see real growth potential here,” says Nick Farraway, Vice President and General Manager for Cree Lighting EMEA.
Robe fixtures installed at Eesti Rahva Muuseum
The new Eesti Rahva Muuseum (Estonian National Museum) in Tartu has opened at the end of 2016. Around 100 x Robe LED fixtures - a mix of DL4S Profiles, DL4X Spots, LEDBeam 1000s and CycFX 8s have been specified and supplied for the Muuseum’s three main performance, event and conference spaces.
The Muuseum is a modern space designed to maximise natural light by French based DGT (Dorrel.Ghotmeh.Tane) Architects. Sustainability is central to all Estonian new build projects, so the choice of LED fixtures fitted all the “green” requirements as well as being practical and dynamic to meet all the demands of a modern theatre, performance, conference and event venue.
The Conference Hall can accommodate around 250 people for presentations and lectures and this currently has 10 x LEDBeam 1000s, 10 x DL4X Spots and eight CycFX 8 units installed in the roof. There is an adaptable Event Space in the middle of the building with glass walls and four overhead trusses, so available lighting here currently includes 24 of the DL4X Spots and 20 LEDBeam 1000s.
The third space is the Theatre Studio, a flexible space that holds between 160 and 200 depending on the configuration, and this usually has about 11 x LEDBeam 1000s and 29 x DL4S Profiles in the roof, hanging below a tensioned wire grid.
Robe’s Estonian distributor, Tallinn based E&T, also supplied lighting consoles to all venues as part of the deal. The lights are being looked after day-to-day by Karl Marken heading the lighting department and one of a technical team of seven employed by the Muuseum.
(Photos: Louise Stickland/Tonis Jars)
LEDBlade stellt neues Visual Technology System vor
LEDBlade präsentiert mit seinem Visual Technology System eine neue Generation von LED-Schienen. Dieses System umfasst das originale LEDBlade Stripe, eine Lichtschiene in gerader Form, sowie die LEDBlade Curve. LEDblade Curves und LEDBlades Stripes können in jeder Kombination verwendet werden, als unabhängiges visuelles Element oder als integrierter Bestandteil eines komplexen visuellen Designs. Für kreative Lichtgestaltung und Event Design bietet LEDBlade CAD über jegliche Media Server oder Steuervorrichtung.
LEDBlade wird in Europa gefertigt und wurde von einem AV-Vermietungsunternehmen entwickelt. Die IP-Klassifizierung ermöglicht den Einsatz im Innen- und Außenbereich. Die beiden Komponenten setzen die gleichen Kabel- und Stromoptionen ein. LEDBLade bietet mehrere Befestigungs- und Sicherheitsoptionen, u.a. Verschiebung, Rotation oder Magnete.
Elation Artiste DaVinci LED spot available
Elation Professional offers the new Artiste DaVinci, a theatrical grade LED moving head spot luminaire and the first fixture in Elation’s new Artiste series. The Artiste DaVinci produces a bright and highly efficient beam. An output of over 13,000 lumens is comparable to 700 W discharge lamp fixtures, yet it does not require lamp replacements. A newly designed 300 W LED engine (>7,500 K) is included.
The Artiste DaVinci offers a variety of design features in a small package. Full CMY color mixing gives a broad palette of color choice and is supplemented by seven dichroic colors from a color wheel, including CTB and CTO. While the fixture is a spot luminaire, a frost filter is included when the moment calls for a softer wash effect.
A range of graphical effects via two gobo wheels and an animation system allow for greater design freedom. One gobo wheel houses six rotating gobos while the other houses nine static replaceable gobos for customized looks. A full 360° bi-directional animation effect wheel brings graphics to life. The Artiste DaVinci incorporates a zoom system with auto-focus for more precise coverage. The motorized zoom expands the beam from 7° to 48°.
A host of other effects can be achieved via the fixture’s two rotating prisms, including both a 6-way linear and 3-facet prism. Color, CMY and prism macros are also included for quick programming of effects and a motorized iris is included for further beam manipulation. The DaVinci also houses a high-speed electronic shutter and strobe as well as variable dimming curve effects and 16-bit multi-phase motors. The Artiste DaVinci includes a Hibernation Mode, which saves power when the fixture is not in use. LED refresh rate frequency and Gamma brightness are also adjustable.
The Artiste DaVinci can be controlled via DMX, RDM, sACN or Art-Net protocols and Elation's internal E-Fly wireless DMX transceiver makes for easier setup with less cable mess. The fixture comes with a host of other standard features like 5-pin DMX In/Out connections, RJ45 EtherCon, as well as PowerCon True1 In/Out connections. It includes a 6-button touch control panel with a full-color 180° reversible LCD menu display. It is also possible to power link multiple fixtures. The Artiste DaVinci operates flicker free for use in TV and other broadcast applications and an auto-sensing power supply covers worldwide voltages and frequencies.
Theater Akzent chooses Robe DL Series
Twenty-four Robe DL7S Profiles and DL4S Profiles - twelve of each fixture - have been installed at the Theater Akzent theatre in Vienna. Head of lighting Gerhard Scherer has been working at Akzent since it was founded in 1989 in the grounds of the former Palais Nathaniel Rothschild.
Its postmodern architecture was designed by Rudolf Jarosch and it offers a 455 seat main house, a studio that can accommodate 80 people and a 380 capacity event space. Akzent was the first theatre in Austria to have moving lights in its house rig. "A typical show lighting rig will currently contain around 42 moving lights, all LED”, Scherer comments. They also have some LED washes.
CPL provides production for 2017 SEMTA Awards
CPL (Central Presentations Limited), working for producers Eclipse Communications, provided a technical production package - video, lighting and sound - to the 2017 SEMTA Awards event staged in the ballroom of the Hilton Hotel in Park Lane, London.
The CPL team was led by Lee Gruszeckyj. It was the fourth consecutive year for CPL in this role, and as the success and visibility of the event has advanced each year, so has the commitment to increasing the production values. It was the second time the Awards has been staged at this venue where awards in nine categories were presented.
Projection was a key element of the 2017 production, and the 14 metre wide by 3 metre high set - the biggest screen to date for this event - was the main surface, receiving a 3 projector blend from 14K Panasonic machines.
Behind the screen was a star cloth wrap. Each of the awards and the nominees had a VT intro. For the event, these were edited versions of a series of longer video mini-movie pieces that Eclipse had shot while travelling up and down the country in the preceding weeks.
With a get-in, rehearsals and show on the same day, time was of the essence, so CPL used the new Panasonic Auto Adjustment Upgrade Kit which lines all the machines up using a software plug-in. The three projectors (in this case) were accessed via a network connection and lined-up using a digital SLR which takes an image of the positioning that is then adjusted on a laptop. All the basic parameters like colour, white balance, black levels, etc. can be calibrated.
A Barco S3 system was used for screen management, switching and for creating all PiPs, etc. The playback video intros were programmed on a D3 pro media server. Two cameras were an integral part of the package, one Sony HXC-100 was fixed at the back of the room covering the audience and stage and a Sony FS7, fitted with a Teradek wireless kit, at the stage end to do all the winner pick-ups. An assortment of PowerPoint presentations were also fed into the S3 and output to screen by operator Phil Manson.
Lighting was designed to be flexible and multi-functional, with 12 x Claypaky Mythos hybrid moving lights rigged on three house trusses in the ceiling, together with six A.leda K1-s fitted with B-Eye lenses which did the bulk of the effects lighting, with the B-Eyes providing stage, audience and set washes at different times. These were joined by ETC ColorSource LED profiles and Arri L5-C LED fresnels plus two hazers for atmosphere, all controlled from an Avolites Quartz console and a playback wing, operated by Iain Wood.
A D&B audio sound system was installed, comprising four V-Subs ground stacked per side with three Y8 speakers on top, which worked in conjunction with four Y7P point-source delays towards the back of the large space. E8s were used for front fill and foldback, all powered by the new D&B D20 amps. The console was a Yamaha QL1 mixed by Jamie Kendall. Lee Gruszeckyj worked with a crew of 7 including specialist camera operators from CPL, alongside six local crew and two set carpenters.
Clapaky shows new products
Claypaky has shown its new products at Prolight + Sound 2017. With the Axcor Profile 900, Claypaky has launched a new course in its design research: it is the first Claypaky spotlight to use an LED light source, instead of a traditional discharge lamp. Claypaky has chosen to use a white LED engine with high luminous efficiency, total power of 900 watts and luminous flux of 24,000 lumen output, and couple it with a system of dichroic filters to create the colors.
After the B-Eye Claypaky has now launched the K-Eye HCR, an LED wash light which provides control over the quality of all forms of white or colored light. The new HCR technology used in the K-Eye is an exclusive electronic platform developed by Claypaky in conjunction with Osram. The heart of the K-Eye HCR wash light is an LED light source consisting of a module with six chips, each for a different color: besides the three “classic” basic red, green and blue colors, Claypaky has added amber, cyan and lime.
The Scenius Unico (1400 W Osram lamp, 6500 K, high CRI) is the latest addition to the Scenius family. It is a spot light for projecting effects, with six rotating gobos, a rotating prism, and an animation wheel. The Scenius Unico is also a wash light, since it features a system with different diffusion filters, which may be inserted gradually. The Scenius Unico can also generate a narrow beam of light, with a minimum beam angle of five degrees.
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.