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S+H supports National Eisteddfod of Wales
S+H Technical Support provided substantial quantities of its LED starcloth product to production designer Sid Scott of Scott Callaghan Art Production for the 2017 National Eisteddfod of Wales. The 9-day event was staged in a large field near Bodedern on Ynys Môn (the Isle of Anglesey), around 8 miles from Caergybi (Holyhead) and approximately 20 miles from Bangor on mainland Wales.
The main entertainment hub on site was the Pafiliwn, a 40 metre deep 1800 capacity pavilion built by Neptunus Structures, which was new in 2016, and once again utilized throughout the Eisteddfod for a diverse mix of entertainment, from a Sunday service to rock concerts, stand-up comedy, etc. in the evenings as well as a variety of competitions - dance, poetry, music, etc. - during the daytime.
Sid Scott created the Pafiliwn production design in close collaboration with lighting director Nigel Catmur, Eisteddfod producer Medwyn Parri and Huw Aled Jones, the Eisteddfod’s head of technical operations.
Having used the Neptunus structure for the first time last year, the team wanted to make several enhancements to the presentation space this year. The LED starcloth wrap ran 120 metres down both sides of the structure and behind the audience, and also around two sets of 15 metre wide stage wings - stage left and stage right. S+H also provided drapes for a blacked-out backstage area on both sides.
The ‘wrap’ elements were all rigged from the structure by S+H’s crew, using a combination of tensioned drift wires and slug-slider fittings for attachment by the crew who utilized 7 metre high scissor platforms.
Further runs of starcloth were rigged behind a series of LED screens and columns which Nigel Catmur integrated into the visual design for this year, and these were rigged from an ELP ground support rig that provided lighting and video positions around and above the stage. The DMX-controlled starcloths were all controlled via Catmur’s Roadhog 4 lighting console.
Sid Scott has been involved with the Eisteddfod for several years, however this was the second time he designed the main Pafiliwn venue. Additionally this year, he designed the Literature & Poetry Pafiliwn (Pabell Len). S+H also draped this out with blacks to create a theatre/studio space, with Scott’s set at the one end. He also designed the Welsh Learner’s Marquee - the Maes D.
Scott and his scenic team also worked closely with Tony Thomas, construction manager for the Eisteddfod, Kevin Richmond of Get Set Scenery and Sion Tomos of Cainc construction and their crews, all of whom assisted in building and producing scenery for this Eisteddfod.
(Photos: Sid Scott)
“Don Pasquale” lit by Painting with Light
Painting with Light renewed its long-term working collaboration with the Summer Opera at Alden Biesen, a 16th century castle in the village of Rijkhoven, Limburg, eastern Belgium. Paco Mispelters from Painting with Light was tasked with lighting this year’s production of Gaetano Donizetti’s comic opera “Don Pasquale”, celebrating 20 years since the start of the annual opera event.
The production was staged in the gardens of the castle - now a cultural and conference centre - and this environmental setting provided the inspiration for Philippe Miesch’s set design, which extended the garden theme and comprised a number of scenic trees, plants, grass and other foliage. Upstage was a 40 piece orchestra, with the action unfolding on the main stage space in front. The performance area had some weather protection from a temporary roof structure.
The roof system was ground-supported by four large, structural pillars with hooks along the top, beneath which U-shaped trusses were rigged to provide lighting positions over the performance space. Eight VariLite VL2500 Spots were used for the main back lighting fixtures, and four VL3000 Spots - on the front truss - projected gobos and texturing onto the front of the castle for some kinetic backdrop effects.
Eight Elation Satura LED profiles - with framing shutters - were the main tools utilized to define a number of different zones on-stage, with eight Robe LEDWash 300s dotted around. Six bars of 6 PARs in front and side positions provided general stage lighting and washing. Paco Mispelters programmed the show on a GrandMA2 light console, which was then transferred to an onPC/Fader Wing set-up for the 4 week run of shows.
Painting with Light provided one of its Christie Pandora’s Box media servers to the production, which played one piece of video towards the end that explained part of the story which happened earlier in secret. This was projected onto the castle via a Panasonic 7K machine rigged on the front truss. The Summer Opera Festival provided two lighting operators, and the lighting equipment was supplied by rental company New Lines from Genk.
(Photos: Patrick Smets)
Sonic Bloom festival features Elation ACL and Platinum fixtures
This year’s edition of Sonic Bloom, an EDM festival held at Hummingbird Ranch in the surroundings of Colorado's Spanish Peaks, ran June 15-18. Denver-based Nexus Productions has been working the festival for the past four years and this year served as the main stage lighting vendor (Bloom Stage) for the first time, supplying all trussing, lighting, motors, distros and more.
Nexus Productions owner Chuck Williams used Elation’s continuously rotating ACL 360 Bar LED moving bar effects together with Platinum Beam 5R beam lights to create the visual atmosphere. The ACL 360 Bars were the lead component to the main stage design. “With our circle truss hanging as a ‘halo’, the ACLs covered the whole ring,” says Williams. “We found the magic number for our 20' circle was 24 units evenly spread.”
According to Williams, the Platinum 5R Beams were his “main guns” in the rig with 24 fixtures all in the air. Twelve fixtures were mounted in-between each of the ACL Bars on the halo truss with the remaining 12 on a stage right/left raked truss.
(Photos: Seth Watrous/Shutterfinger)
200 plus Robe lighting fixtures selected for PopRock Festival Slovenia
Lighting designer Crt Birsa and set designer Greta Godnic selected 200 plus Robe lighting fixtures for Slovenia’s 2017 PopRock Festival, a national TV live event broadcast from Ljubljana, staged at the Gospodarsko Razstavisce exhibition centre for the first time.
The PopRock Festival rig included Spiiders, BMFL Blades, Pointes, MMX WashBeams, Squares, LEDBeam 100s, Parfect 100s, CycFX 8s, LEDWash 600s and ColorSpot 1200E ATs. All were supplied by Slovenian rental company Event Lighting which now has a rental inventory of over 350 Robes.
The set crosses were lit with a combination of Robe Parfects and CycFX 8s. The lighting rig mirrored the shape of the black gloss stage floor, and the set was painted a medium grey shade, both to contrast with the floor and to respond when illuminated in any colour. Crt Birsa also did some accenting using strobe like effects around the set.
At the heart of the rig was a lighting ‘chandelier’, a square shaped truss loaded with a high concentration of lights - 16 x Spiiders, 8 x Pointes, 16 x LEDBeam 100s in a 4x4 matrix nucleus, and four Robe Square fixtures delineating each corner.
The main overhead trussing design comprised three diagonally flown squares of which the chandelier was the central one. Thirty-six Pointes were the core effects lights, with eight each loaded on to the three diamonds and the other twelve positioned around the front and to the sides of the stage.
Birsa and Godnic didn’t want a large LED screen upstage. Instead, they decided to light through a stretched gauze back-cloth as a rear visual feature, with a mix of Sunstrips and Robe LEDBeam 100s concealed behind.
Twelve BMFL Blades covered the centre and backlighting with a row along the upstage edge of the stage deck and two behind the set at the sides. Two more at the back of the hall were used as follow spots. Ten MMX WashBeams and 10 more Spiiders on the front and rear trusses were optimised to light the stage, set and orchestra. Twenty-two LEDWash 600s washed and coloured evenly down each side of the venue with another six on the outer two squares - a position to highlight the crosses and the venue’s prominent structural pillars and wash the ceiling.
The Parfect 100s - fitted with 10 and 20 degree diffusion filters - were fitted to the venue’s pillars and spread out over the floor, used for set dressing in conjunction with CycFX 8s. Six CycFX 8s under the stage at the front were used to give the illusion that the stage was floating, while other units assisted the Parfects in lighting the inner surfaces of the crosses and the venue’s structural RSJs.
Crt Birsa programmed and ran all the lighting on a ChamSys console using a mix of timecode and manual cuing. All of the most complicated sets - mainly the rock bands - he ran manually.
Adlib supports ‘Nashville - In Concert’ UK tour
Adlib was chosen by the production team from the Grand Ole Opry in Nashville, Tennessee, to supply lighting, audio and crew to this year’s UK arena tour by the stars of the CMT musical drama TV show ‘Nashville’. Tony Stephens was the tour manager, Betsega Bekele was the tour director.
Adlib’s Phil Stoker masterminded the audio elements, designing and specifying an L-Acoustics K2/Kara rig. Nashville’s engineers John Dauphinee (FOH) and Mark Richards (monitors) worked alongside Adlib’s Mezei Marci, Martin O’Grady and Antonio Calvi on the road.
Lighting was looked after by Charlie Rushton, with a design created by Adlib’s in-house team to a brief received from Nashville touring producer Steve Buchanan and their show caller Ken McGriff, both of whom were on the road with the show.
The main PA hangs - in their largest configuration - were 14 x K2 loudspeakers with 12 x Karas for the side hangs, supplied with all necessary rigging, complimented by 16 x ground stacked KS28 subs, plus some Kara and Arcs for infill and lip-fills.
The FOH console was an Avid Profile, picked by John Dauphinee, and the Yamaha CL5 on monitors was chosen by Mark Richards. The processing was taken care of by a standard Adlib Lake rack loaded with two LM 44s, two LM 26s in conjunction with the L-Acoustics Network Manager which controlled the LA12X amps.
Adlib also supplied a 16-way Shure IEM system and 12 x D&B M2 wedge monitors plus a full mics-and-stands package. The mics included an assortment of Shure, AKG, Sennheiser, Beyerdynamic, AKG and Audix products.
After the initial creative brief that it should resemble a large TV-style set with two side IMAG screens, Adlib introduced some basic touring elements with three LX trusses overhead and a drapes truss upstage to hang the Nashville backdrop.
The moving lights comprised 21 x Martin MAC Viper profiles, 12 on the front truss for key lighting, with five on the mid and six on the back for specials and effects. These were enhanced with 16 x Mac Viper Washes, five on the front and back and six on the mid truss.
Six Chauvet Strike Four LED ‘blinders’ completed the downstage truss. The stage was finished off with 20 x Chauvet Colorado Batten 72 Tour LED Battens to light the Nashville backdrop and focal point of the stage.
The GrandMA2 full size console was run by Tom Webber, with a PC system as a backup. Webber was joined by Jeff Bond on the lighting crew to complete the Lighting team alongside Charlie Rushton. The desk was set up and programmed to be flexible. Tom Webber worked closely with Ken McGriff to adapt the show each day as the set varied from show to show. McGriff called the show and follow spots, while Webber took care of the lighting operation.
Adlib supplied a Green-Go wireless/wired combination comms system, running wireless out to the two Robert Juliat Merlin FOH follow spots. They had a show ring set up for all to hear and a dedicated channel for Ken McGriff and the follow spot ops - so the rest of the crew didn’t have to hear the spot cues. The video crew’s separate comms system could also be patched into the master Green-Go system, connecting all the technical departments.
(Photos: Shirlaine Forrest)
Elation offers DiGidot C4
Elation Professional offers the DiGidot C4, a small and powerful LED controller and pixel tape driver that has use in all kinds of applications. The DiGidot C4 is an in-house development of DiGidot, based in Amsterdam, the Netherlands. It works as a pixel controller, ArtNet node, show recorder and trigger device and can work standalone for smaller setups or collaborate in larger networks with third-party devices. One device can drive more than 6000 single LEDs.
Whereas users previously needed one or more ArtNet to DMX nodes in combination with a large number of DMX to SPI decoders to control a large number of LED pixel lights, the DiGidot C4 driver allows for easier configuration by daisy chaining through a built-in Ethernet switch. A built-in show recorder records up to 8 DMX universes. The DiGidot C4 works with a variety of protocols. An intuitive app and web-based user interface make for convenient operation.
MDG ATMe haze generators for ‘The Wind in the Willows’ musical
The ‘Wind in the Willows’ musical had a run at the London Palladium this summer. The production’s lighting designer, Howard Harrison, used two MDG ATMe haze generators for this show. “We used plenty of haze in the show, and this was the first time I have used ATMe machines,” he states. The ATMe machines were situated on perches downstage left and upstage right, from where they were positioned to fill the stage with haze.
(Photos: Marc Brenner/Jamie Hendry Productions/Darren Bell)
Podium de Vorstin chooses Robe
Production assistant Robin von Zijl and technical manager Michael Sakkers were part of the team who chose Robe Spiider LED wash beams and DL4S Profile luminaires - 16 of each - in a recent technical upgrade. This replaced their previous moving lights, which were from a competitor brand and dated back to 2010 when the venue opened, built on the site of the former De Tagrijn youth centre which burned to the ground.
Vorstin’s production schedule includes at least three or four live gigs every weekend utilizing its two performance spaces - of 850 and 300 respectively - which can be set up in a number of different configurations to stage a mix of bands, dance shows, stand-up comedy and cabaret and also includes regular radio and TV broadcasts.
The majority of the 16 x Spiiders and 16 x DL4S Profiles are in the main room’s overhead rig, with four of each type reserved for floor specials. Vorstin’s smaller hall has some LEDBeam 100s that were installed in 2015. These are used five days a week. The Spiiders are run in extended mode giving individual pixel control. The DL4Ss are used constantly for face and key lighting.
Photo shows Jeroen van Aalst from Benelux distributor Controllux on the left with Vorstin Production Assistant Robin von Zijl.
Elation fixtures light Justin Bieber’s Dominican Republic and India shows
When Justin Bieber’s “Purpose” world tour played the Hard Rock Hotel in the Dominican Republic earlier in the year, Dominican-based rental company and Elation dealer BM Eventos was there to supply Elation’s Platinum Beam 5R beam lights. LD Cory FitzGerald had 120 of the fixtures at his disposal to provide beams from positions in the overhead rig, stage front, right and left, and from the walkway.
Bieber’s Dominican Republic show wasn’t the only tour stop in which Elation fixtures got involved. In India, also earlier in the year, Elation dealer Star Dimensions supplied 140 Platinum Beam 5Rs, 24 Platinum Beam 5R Extremes, 22 Rayzor Q7 LED moving heads, and 38 SixPar 300 LED Par lights for the Canadian star’s show at DY Patil Stadium in Mumbai.
Powersoft and EAW systems installed at restaurant in Pretoria
Surgesound has carried out its first installation project for the Rhapsody’s Group bar/restaurant franchise in Hatfield, Pretoria. They specified a single Powersoft Ottocanali 4K4 DSP+Dante amplifier to power a total of eight EAW SMS5 loudspeakers divided into four areas inside the main restaurant area.
The Powersoft distributors had been introduced to the client through one of their rental company partners who look after the nearby venue and are themselves a loyal Powersoft X4 and EAW JFL Series user.
The operators were seeking a system that could accommodate standard playback of background music and televised sport, but equally be able to accommodate a low-key DJ setup or one-man-band plug-in. Surgesound responded by supplying three auxiliary plug-in points.
In Pretoria, in addition to the SMS5, including two 10” loudspeakers installed in the Mezzanine/Smoking area, three EAW SMS4 loudspeakers are installed in two outside areas. An FBT MMZ8004s Zone Control unit provides the client with a signal management solution.
Event Lighting invests in Robe Spiider
Ljubljana, Slovenia-based lighting rental specialist Event Lighting was the first company in the country to purchase Robe’s new Spiider LED wash beams following a purchase of BMFL Blades last year. Event Lighting’s first batch of Spiiders went straight out on a number of projects and this was soon followed by a second order, so they now have 40 in stock.
The Spiiders were used on the latest series of ‘Dancing Stars’ show, the EMA Slovenia’s selection event for Eurovision 2017, and a rebranding event for SI Mobile (now A1), amongst others. Robe’s Slovenian distributor MK Light Sound provided some samples so Event Lighting’s team could evaluate thoroughly before committing to the large investment.
Event Lighting has invested steadily and regularly in Robe moving lights since launching in 2006 and now has over 400 of the latest fixtures in stock. Other recent purchases have included 24 x BMFL Blades, Patt 2013s and more Parfect S1s. These join their existing stock of Pointes, MMX WashBeams, LEDWash 600s, LEDBeam 100s, CycFX 8s, Parfects and Robin 600E Spots.
Photo shows Event Lighting owner Jernej Gustin.
Painting with Light supports Panasonic Roadshow
Painting with Light continues its collaboration with Panasonic through the current European Media & Entertainment Roadshow initiative which is showcasing the brand’s latest, high-powered projectors. The projectors work in conjunction with three technologies that the Belgian creative design practice has invested in and is using in innovative ways. These are BlackTrax remote tracking, D3 media servers and Notch real-time interactive video content.
The specialist technical and programming skills needed to optimise and run these systems are also being provided by Painting with Light and the overall project is being managed for them by Wouter Verhulst.
This creative/technical partnership was first seen at the Integrated Systems Europe (ISE) exhibition, Amsterdam in February, where Painting with Light’s creative director Luc Peumans initiated a fully choreographed and directed live show, demonstrating simultaneous tracking and projecting onto multiple objects. It was the first time that a combination of live tracking and projecting onto flying objects had been achieved using D3 and BlackTrax technologies.
Panasonic’s Visual Systems Europe marketing specialists Hartmut Kulessa and Thomas Vertommen, were also integrally involved in the whole project and saw several other potential applications for this model.
A re-scaled version of the live show at ISE was presented two months later on the Panasonic stand at the 2017 Prolight+Sound expo in Frankfurt. Now, the same show is touring throughout Europe as an integral element of Panasonic’s Media & Entertainment Roadshow.
The technical setup features a BlackTrax system with six infrared cameras and five active beacons (three live and two spare), all rigged on a ground-supported structure, plus a D3 4x4 pro media server.
The cameras pick up the IR signals emitted by the beacons and send the coordinates to the D3 server via RTTrPM (Real-Time Tracking Protocol for Motion).
Three D3 outputs are utilized - one for the back, feeding a PT-RZ31K projector; the second for the front, feeding a PT-RZ12K and the third sending signals to the new PT-RZ21K 20.000 lumen laser projector.
Different objects are tracked - including a helmet, a wand, a plate and two people - through a total of six scenes with varying levels of content and interaction. The show also features special video content created by Painting with Light, using Notch and other software.
APG Uniline Compact system installed at new Parisian club
Located in the 18th arrondissement of Paris (France), the Hasard Ludique was born from crowdfunding and is a new cultural and musical spot in the French capital. The venue, a former train station, features APG’s new Uniline Compact loudspeakers. After running a comparative listening session on site between different brands, Hasard Ludique technical consultant Ronan Berthomé and his team opted for APG’s modular line array system.
French integrator and service provider D6 Bell Light installed four APG UC206W loudspeakers as well as two TB215S subwoofers. “We set up a fully digital system, from the console to the amplifiers, using Dante cards integrated in the APG DA15:4 amplifiers,” says D6 Bell Light sales manager Yael Laporte.
(Photos: Jean-Philippe Corre)
Robe fixtures for ‘League of Legends’ in Rio
Brazilian rental company LPL supplied over 150 Robe moving lights including BMFL WashBeams to the 2017 ‘League of Legends’ Mid-Season Invitationals (MSI) e-sport competition staged in the Jeunesse Arena in Rio de Janiero (formally the Rio Olympic Arena).
LPL’s Caio Bertti project managed the lighting elements for production company Riot Games. The production lighting was designed by Arnold Serame of LA-based Serame Design and directed on site by Mathew Stovall. LPL has invested steadily in Robe over the last ten years and now has a stock of nearly 600 fixtures, some of which were supplied for the event.
A network of trusses was installed in the venue’s roof and used to provide near, mid and far lighting positions for stage and audience areas. Sixty-two BMFL WashBeams were deployed along four perimeter trusses - 34 fixtures along the two long sides and 28 along the two short sides of the arena.
These provided general audience lighting as well as hitting the stage from up to 44 metres distance. Another ten BMFL WashBeams were rigged on two trusses approximately 38 metres away from the stage. The other twenty-four BMFL WashBeams were deployed on the floor and used for aerial effects.
The BMFLs were augmented by 54 x Robe ColorSpot 2500 moving lights which provided support illumination rigged on all the surrounding trusses. In addition to the BMFLs and the ColorWash 2500E ATs, the rig contained a number of other lighting fixtures including LED washes, beam moving lights, LED strobes and generics, all controlled by a GrandMA2 full size console operated by Matt Duvall.
Caio Bertti worked with a team of 16 crew from LPL on this event for which the technical producer was Randy Quick for Riot Games.
Robert Juliat Lancelot and SpotMe used for Opening Ceremony of FINA World Aquatic Championships
Four of Robert Juliat’s 4000 W HTI Lancelot fixtures were the followspots of choice for Frédéric “Aldo” Fayard, the lighting designer behind the Opening Ceremony of the 17th FINA World Aquatic Championships, which took place in Budapest and Balatonfüred in July 2017.
Fayard, who is founder of and designer with Concept K in Paris, created and programmed the lighting for the opening ceremony event, which was conceived and produced by the French production ECA2 Group with MUPA from Hungary.
The four 4 kW Lancelot followspots were supplied by PRG France and were rigged on two technical towers front of stage. The Ceremony also provided an opportunity for Fayard to test out Robert Juliat’s newest product, SpotMe, where he put it through its paces under live conditions for the first time ever.
Photo: Opening ceremony of 17th FINA World Aquatic Championships Budapest 2017. (Copyright: Julien Panié/ECA2)
MDG ATMe selected for ‘Miss Saigon’ tour production
The musical ‘Miss Saigon’ has recently embarked upon a major UK tour, taking the full West End production to several places across the UK. The show opened at the Curve, Leicester in July 2017 before moving to Birmingham Hippodrome, from where it travels to Ireland, Wales, Scotland and back to England, culminating at Norwich Theatre Royal in September 2018. Travelling with the show, with its lighting design by Bruno Poet, are two MDG ATMe haze generators, purchased specifically for the tour by White Light.
“My Associate LD on this show, Warren Letton discovered the ATMe hazer and recommended that I take a look at them,” says Poet. “We used two Atmospheres on both the West End and Broadway productions of ‘Miss Saigon’. But it was the extra control of the new ATMe hazer that really appealed to me.” The two ATMe units are rigged either side of the fly floor, each with a fan to help direct the haze onto stage.
(Photos: Johan Persson/Cameron Mackintosh Ltd)
Elation lighting rig installed at Detroit’s El Club
El Club in Detroit, Michigan, has featured a customizable Elation Professional lighting rig since opening in 2016. Adam LaBay of Future Weapons Laser & Lighting Design chose the Elation lights for the 300 capacity nighttime venue.
El Club’s lighting rig includes 12 ACL 360 Bar LED moving bar effects, 12 compact ACL 360i beam effects, 8 Elar Ex Quad Par HP LED lights, 6 Sniper 2R effect lights, 6 Colour Pendant LED color-changing downlights, and 8 Protron 3K LED strobes, all run from a HedgeHog 4S lighting console. An Antari HZ-350 hazer and Antari Z-500 II fog machine provide the mid-air projection canopy and fog effects.
Tiziano Ferro supported by WI Creations
For Italian singer/songwriter and producer Tiziano Ferro’s latest stadium tour, WI Creations was commissioned to find solutions for two primary motion-control ‘brain-teasers’. The show was creatively directed by Claudio Santucci working in close collaboration with video designer Romain Sabella from Clonwerk and lighting designer Giovanni Pinna.
The two automation challenges were to provide a fluid movement system for a large video ceiling weighing 11 tonnes, which moved in all directions and to track two massive upstage LED screens into different configurations throughout a dynamic set.
In addition to these, also required to move were two lighting trusses either side of the video ceiling, a water screen in front of the video ceiling rigged on two moving hoists and a pyro effect circle upstage of the video ceiling that also shifted position. WI Creations’ Hans Willems project managed from their end, upon PRG Belgium’s request.
The video ceiling was one of the production’s highlights. At one stage, it tilted downwards with water content pouring off the ‘end’ of the LED, while an actual water feature was simultaneously flown into place to meet the downstage edge of the screen, with real water tumbling down onto stage in a fountain.
The 7.2 metre wide by 19.2 metre long video ceiling was made up of Pixled F12 LED product and weighed 11 tonnes. It was moved by 18 x Evo motors specified by WI Creations and tipped, tilted and pitched in all directions.
WI Creations devised a custom hydraulic load censoring and control system which integrated the hysteresis from each individual motor and applied some maths and triggering calculations so all the chain hoists could be made to act as if they were one enormous motor. The upstage tracking video screens measured 3.6 metres wide by 13.2 metres high, weighed around 3 tonnes and moved along a 21 metre stretch of track, for which WI utilized its Touring Tracking system which also assisted with fast load ins/outs.
WI also supplied 13 x Evo half tonne and two Evo 800 Kg hoists to fly and move the two 18 metre long lighting trusses at the sides of the video ceiling, the water curtain truss and the FX circle at the back. All these elements - the 18 motors on the video ceiling and the 15 moving the other elements - were controlled using customised WI 3D software, operated by Joey Poortman.
(Photos: Giovanni Pinna)
Robe appoints new Australian distributor
Robe Lighting s.r.o. has appointed Jands as Australian and New Zealand distributor for Robe and Anolis lighting brands. Jands is an Australian owned company founded in 1970 that manufactures and distributes lighting, audio and staging products primarily for the entertainment and exhibition industry. With headquarters and manufacturing facilities in Sydney, a factory in Melbourne and offices in Brisbane and Perth, Jands employs over 120 people across Australia.
Premios Max Awards lit by Robe fixtures
The annual Premios Max Awards celebrate Spanish individuals and organisations who have making outstanding contributions to the performing arts and are organised by the General Society of Authors and Publishers (SGAE). This year they were staged at the Palau de les Arts in Valencia. The event was also broadcast live on TVE2.
Lighting designer Juanjo Llorens utilised luminaires in the venue’s house rig, together with some specials, notably 30 x Robe Pointes, 6 x BMFL WashBeams and five Patt2013s. These were all supplied by Madrid based rental company Fluge Audiovisuales.
Llorens’ starting point for the lighting was this year’s theme of the Mediterranean and in particular the Levantine light as depicted in the works of Spanish painter Joaquin Sorolla. From this, the overall visuallity of the gala evening was imagined by director Joan Font.
Juanjo Llorens worked closely with set designer Curt Allen who created a large changing canvas of Sorolla-esque proportions onstage, complete with a theatrical tree on stage right and an elevated ‘studio’ section area stage left.
A large upstage video screen displayed a range of images and backdrops and drapes could be brought in downstage of this to instantly change the ambience of the space. Custom video content was commissioned by Joan Font and produced by Curt Allen and Leticia Gañán in collaboration with Paloma Canseco with animation, editing and sound by Irata Films.
The Pointes were positioned on the floor. Llorens used them in combination with fog hazers. The BMFL WashBeams were rigged on a front truss and used for general lighting as well as key and highlighting. The Patt2013s served as props for one part of the show as a painter worked live in the ‘studio’ and also for a number of camera angles.
At the Premios Max Awards, Juanjo Llorens also worked closely with lighting crew chief David Gavilán and programmer Pablo Zamora.
(Photos: Vicente A. Jiménez Fundación SGAE)
Budapest’s Erkel Theatre invests in Yamaha and Nexo
The Erkel Theatre in the Hungarian capital Budapest has recently installed a Yamaha and Nexo system which was specified and installed by Hungarian installer Lisys-Project Kft. Audio is mixed on Yamaha CL5 and CL3 digital consoles, with Rio3224-D and Rio1608-D I/O units, routed to a Nexo STM series PA system comprising 20 STM M28 omnipurpose modules, two STM B112 bass modules and six STM S118 sub modules, with four PS15 and four PS8 fills, all driven by NXAmp powered controllers with Dante cards.
The first production to use the new system was ‘Billy Elliot the Musical’, which saw both CL consoles and one of the R-series I/O units located in the control room, with more R-series units in the orchestra pit and amp rooms. In contrast, for a recent concert, the CLs were in their traditional Front of House and monitor positions, with the R-series units on stage.
MDG ATMe haze generator used at Royal Academy of Dramatic Art
The students of the Royal Academy of Dramatic Art (RADA) in London have used an ATMe haze generator during their recent production of Rona Munro’s ‘Scuttlers’. “The brief from the director, Hannah Eidinow, was to create the atmosphere of Manchester in the 1890s: hot, industrial, sweaty, dirty, polluted and foggy, so clearly we needed to use a hazer,” says guest lighting designer Declan Randall.
‘Scuttlers’ was first performed at Manchester’s Royal Exchange Theatre in 2015. The recent production at RADA moved the setting from the 200+ seat theatre-in-the-round of the Royal Exchange to the intimate, brick-lined environment of RADA’s 70-seater GBS Theatre. “With such a small space we needed to have total control of the haze produced by the machine,” continues Randall.
“The production called for a continual level of atmospheric haze but also included moments when a little more or a little less was required to for dramatic effect. Using the ATMe’s DMX control, we were able to drive the haze levels precisely throughout the show using a fader to pump it up and, conversely, drop it back down as and when required.”
“We are very proud to sponsor RADA in our capacity at MDG,” says MDG CEO Martin Michaud. “RADA is one of the oldest and most influential drama schools in the UK with an international reputation for excellence. We are very happy to contribute to the great work that they do by supplying them with one of our latest models of haze generators.”
(Photos: Linda Carter/RADA)
Eggshell invests in Elation Proteus Hybrids
Eggshell Light Company of Honolulu has invested in Elation Professional’s new IP65-rated Proteus Hybrid multi-functional moving head. Bob Harmon, CEO and President of Eggshell Light Company, comments on the addition of the hybrid lights to Eggshell’s rental inventory: “We often put moving lights outside for a number of events, always with the caveat that if it rains we have to shut them down. On a few occasions that was indeed the case but now we don’t have to do that thanks to the new Proteus in our rental fleet."
Eggshell’s new weatherproof Proteus Hybrid units made their Hawaiian Islands debut at the Waikiki Shell in Honolulu August 4th and 5th for a pair of Jack Johnson performances. "One of the inherent challenges when doing shows at the Waikiki Shell is the lack of a front truss position,” Harmon says. “Also, the in-house spot positions are low and dead-on, so artists complain about not being able to see their audience. With fixtures being off to the sides, the Proteus solution gives us a proper stage wash and solves that spot issue.”
Penn Elcom launches new exhaust fan
Penn Elcom has launched the new CoolRac FT-80-Q-FC - a near-silent exhaust fan, specially designed for racking systems and applications requiring super-quiet heat management. The total noise levels of the FT-80-Q-FC in operation is 22.5 dBA (0.3 sone). The fan is designed for mounting in/on racked equipment - audio and AV, servers, computers, IT elements, etc. - installed in noise critical environments.
The FT-80-Q-FC functions by expelling hot air from the front of the rack, preventing thermal damage and ultimately potential failure. Digital control gives refined and accurate heat management via continuous temperature monitoring and ‘set-and-forget’ fan control. All the components are optimised for quiet running, have over-temperature alarms and benefit from running off a universal power supply.
The CoolRac FT-80-Q-FCs weigh 400 g each and are engineered to the specifications common to all Penn Elcom products. Nine flan blades improve the airflow and facilitate efficient ventilation. The impeller aerofoil shape was specifically devised to minimise the noise levels and deliver more airflow and pressure.
The CRC-Temp is a thermal sensor accessory that can be attached via an acrylic adhesive pad and plugged in to the Temp socket on the FT-80-Q-FC. This should ideally be located in an area where it can measure ambient temperature rather than directly attached to the main heat source. The unit’s thermal bi-metal reed switch is made to operate at temperatures up to 40°C and it will re-set when the ambient temperature reaches 30°C or drops to minus 2°C.
The Fluid Dynamic Bearing has a 2 year guarantee and is an oil capsule to avoid lubricant leakage. The CoolRac FT-80-Q-FC is mounted in a recessed dish available in standard sizes for mounting (either horizontally or vertically) to any existing style of flight case.
National Theatre invests in GLP
The National Theatre on London’s South Bank has invested for the second time in GLP’s Impression X4 Bar 20s. Lighting Resources Manager, Paul Hornsby, has added to the initial tranche of 18, which he purchased as soon as they first became available, with a further 20 in order to meet the increasing demand. Both batches were supplied by GLP dealer, White Light.
Photo: The X4 Bars in action on ‘Angels in America’. (Copyright: Helen Maybanks)