UK - Planning permission has been granted for the £48.8m transformation of Bristol’s Colston Hall.
The redevelopment of the venue includes refurbishing its historic facade, remodelling and upgrading the Main Hall and The Lantern, and utilising the Victorian cellars as a third performance space and education suite with classrooms and a technology lab.
Bristol Music Trust, the organisation that runs Colston Hall, and Bristol City Council have selected construction company Willmott Dixon as preferred contractor. Work will start in June and the new Hall is expected to re-open in 2020, with the Foyer set to stay open throughout the transformation.
Louise Mitchell, chief executive of Bristol Music Trust, comments: “Now our plans have been approved we’ve reached the final milestone as we approach the start of the Hall’s transformation. We are incredibly grateful for the hard work and dedication of our partners and supporters who have got us to this stage.
“The Hall hasn’t been updated since it opened in the 1950s, so it’s long overdue a transformational refurbishment that will give Bristol and the South West a world class venue to be proud of as we make our detailed plans a reality.”
Marvin Rees, Mayor of Bristol, adds: “Bristol has an internationally-renowned cultural offer, which also makes a major contribution to the local economy. We are really pleased that the Arts Council has committed this funding alongside our own investment and that of other city partners.”
Over £41m has been raised towards the project thro
Singapore - The Production People (TPP) has recently invested in an Alcons Audio system.
TPP services a wide range of events and clients throughout Asia and owner Sheldon Gooi is always looking for equipment which can improve the experience of the company’s clients. Eugene Tay (of Alcons Singapore representative Creator’s Solutions) invited Sheldon to listen to Alcons products at the company’s off-site demo during the ProLight+Sound show in Frankfurt, an experience which left Sheldon very impressed.
"The Alcons demo really caught my attention," says Sheldon. "The sound quality was of a higher standard than our existing systems and I saw a brand that is actively pursuing perfection with its designs and technology. Discovering something that could outperform our existing inventory made me want to invest in some Alcons products to push our boundaries further."
Sheldon immediately saw that an Alcons V series pro-ribbon system would be the ideal solution for TPP’s ‘ballroom’ corporate events - from conferences to awards dinners. He invested in a system comprising 12 VR12 mid-size versatile monitors, four VR8 compact versatile monitors and four BF181 MkII compact subwoofers. The system is powered and controlled by three Sentinel10 amplified loudspeaker controllers.
"We have already actively deployed our Alcons system on various events and it has never failed to get great reviews from our clients every time we use it. It is a truly remarkable system and helps to reinforce the high standards that we, as a company, stand for," says Sheldon
UAE - Sennheiser thas launched evolution G4, the fourth generation of its popular product family. Major upgrades to the G4 line-up are user-inspired features such as multichannel capabilities, single click scanning and set-up, frequency agility, as well as longer range, battery life and reliability. With four product series in the range- the 100, 300, 500, and IEM series- evolution G4 is suited to meet the needs of the live performance, broadcast and film, as well as the business and education market segments.
“Whether it is in the corporate world, live entertainment, theatre or broadcast, the evolution wireless series has long been the professional's choice for the widest range of applications. We have set the precedent of introducing an ever-evolving feature set with each iteration and ew G4 is no exception. With many user-driven improvements and features, it is the culmination of 60 years of expertise in analogue wireless design,” said Mig Cardamone, director of sales and marketing at Sennheiser Middle East.
In addition to the familiar 100, IEM, 300 and 500 sub-series, this latest iteration includes some important additions: There are new professional sets for ENG and film work in the 500 series, three new Base Sets in the 300 series, as well as upgraded Vocal Sets and a new Combo Set in the 100 series.
The ew G4 500 series offers the added benefits of greater range, more spectrum flexibility and the control options offered by the Wireless Systems Manager software. Available systems include Vocal Sets with e 935, e 945 and e 965 capsules, an
UK - All or Nothing, the mod musical that follows the rise and fall of the Small Faces, features a range of the band’s classic hits, including Itchychoo Park, Lazy Sunday and All or Nothing. Following its initial run at The Vaults in 2015, followed by a sell-out UK tour, the show opened last week at London’s Arts Theatre. Having supplied the show since its very first production, White Light has been called upon once again to provide the West End run.
The lighting designer for All or Nothing is Peter Small, who has worked on the show since it first opened in 2016. He comments: “It’s fair to say the show has definitely grown and changed over time; so much so that it’s now a completely different production than the one seen at The Vaults. Every time we’ve remounted it for an extension or a new tour, we’ve always taken the opportunity to improve and refine our work; with the West End transfer being the biggest and loudest version yet.”
As with every version of the show, Peter’s brief remained the same for the West End run: to be true to the music and the era in which it’s set. He explains: “This isn’t a rock show. Rather, it’s an equal balance between the ‘straight acting’ scenes alongside the music and dance sequences. For the acting scenes, we carefully choose the lighting depending on how we wanted each location to look (given the scenery doesn’t change). When we moved to a new location, we would either lead with a practical or an effect in order for the audie
The Netherlands - One of the most unusual sound reinforcement applications in Nexo memory has been completed in Holland. The Sauna Theatre Thermen Soesterberg, one of Europe’s top venues for the curious art of Aufguss, has been equipped with Nexo’s super-compact ID Series loudspeakers. How are these robust little cabinets dealing with temperatures of more than 150°F?
One of the host venues for the 2017 Aufguss world championship, the Sauna Theatre of Soesterberg can accommodate 150 people. The Aufguss (also called "gettata di vapore" - “Steam blow” in Italy) is a wellness / purification / entertainment ritual which is performed in the sauna, either by an employee of the wellness-centre or by an authorised guest called aufgussmeister (Steam Master).
The rite revolves around the centre stove, where attendants pour water mixed with essential oils on the hot stones of the sauna stove. The water, containing particles of essential oil, vaporizes once in contact with the stones and spreads throughout the sauna. The Aufgussmeister directs the hot and scented steam towards the bathers, using the different rhythmical movements of a towel and sometimes accompanied by music background, creating an intense and enjoyable multi-sensory experience.
Sound contractor DSA from nearby Apeldoorn has taken four Nexo ID24 loudspeakers, and built them into the centre stove, well isolated with foam. Under the audience benches are two ID S110 subbass cabinets. There is a substantial video wall in the theatre, which has been augmented with two more ID24 point-source
India - Harman Professional Solutions supplied an extensive audio system to India’s 69th annual Republic Day celebrations.
Each year, more than 200,000 people attend the Republic Day parade at Rajpath, a ceremonial boulevard that runs from Rashtrapati Bhavan to the National Stadium in New Delhi. The chief guests for this year’s celebration included 10 heads of state from the ASEAN nations, adding even more significance to the event.
Last year, Harman Professional supported the Indian Army during the transition of Rajpath’s audio systems from analogue to digital. After witnessing the system’s superior audio quality, the Indian Army decided to commission Harman audio solutions for the 69th Republic Day parades at Rajpath.
“Harman is honoured to establish a long-standing relationship with the Indian Army, and deliver superior audio quality at one of the nation’s most important events,” said Prashant Govindan, senior director, Harman Professional Solutions, India & SAARC. “As industry’s leading provider of cutting-edge audio technology, the installation for Republic Day and later in the year on Independence Day enables us to showcase our expertise in delivering world-class sound at one of the world’s largest events.”
The main audio system at Rajpath comprised of 250 units of JBL CBT 70J-1 and 250 units of CBT 70JE-1 column speakers, 21 Crown DCi 4|2400N high performance installation amplifiers, 13 BSS BLU audio processors and six Soundcraft GB Series professional audio mixers.
South Korea - Junghoon Pi, professor of music & sound design at Seoul Institute of the Arts has recently employed a TiMax SoundHub immersive audio processor to add spatial dimension to an art installation commissioned by the Asia Culture Centre in Gwangju, South Korea.
Based on his previous work with TiMax, the studio of Kimchi and Chips sought Pi for collaboration on the third edition of its Light Barrier series. Influenced by impressionist painters who were inspired by the introduction of photography to create 'viewer-less images', the installation allows images to arise from the canvas, - “creating paintings outside of perspective”. Pi created an immersive soundscape rendered and distributed by a 16-channel TiMax SoundHub dynamic spatial audio matrix, to help embed the images into the audience’s senses.
The installation uses a multi-segment mirrored apparatus to split the beams of eight video projectors into 630 individual projection elements, which in turn create a total of 16 million, measured and calibrated, pixel-beams. Each mirror creates a group of light beams that collaborate to form animated mid-air images in the heavily hazed space, all varying in both the physical and the time domain.
Forty channels of audio support the six-minute sequence, which employs the motif of the circle to travel through themes of birth, death, and rebirth, helping shift the audience into a new perception of existence.
A total of 20 full range loudspeakers are driven by TiMax, with sources fed from an SSL Live L300 desk. Rigged at a hei
UK - Star Light, Star Bright, an award-winning installation created by Bailes and Light and Hellion Trace, is that’s taking place in Oxford throughout January and February.
Bailes and Light designed lighting and digital electronics for the seven ‘constellations’ that make up the installation. The constellations are part interactive lighting spectacle, part social experiment. They bring people together, encouraging them to play with light and learn more about the stars above their city.
Star Light, Star Bright launched in Oxford January 2018. Bailes and Light have worked closely with Hellion Trace to ensure Star Light stays fully functional throughout its stay. As Ben Bailes, director of Bailes and Light says: “We’re proud to think we helped bring Hellion Trace’s interactive installation to life. It was fascinating to explore how technology can engage an audience and bring people together. And we always love custom building new products to fit a really specialised brief.”
For the project, Bailes and Light designed a system allowing people to control the ‘stars’ beneath their feet. Each constellation forms a kind of interactive game, placed in areas to reach a diverse range of people. Friends, passers-by or even strangers are encouraged to come together to stand on coloured ‘star’ lights. Once a group works together to cover all the ‘stars’, they shine upwards in beams of white, revealing the constellations visible overhead.
The installation allows people to interact with both technology, and each other,
UK - A.C. Entertainment Technologies (AC-ET) 's specialist film & TV sales team will be showcasing their choice of LED solutions designed to work in image capture within the studio or on location - at BVE 2018, Excel London, UK, stand L41, 27 February - 1 March 2018.
Chroma-Q’s range of LED solutions is becoming widely used for various broadcast, TV and film applications. Products on show include the 2016 Cine Gear Expo-winning Space Force tuneable white soft source, which delivers an output and performance comparable with a traditional 6kW fixture in an energy-efficient, lightweight, convection cooled, ultra-quiet design. Also showing is the 2016 LDI and ESTA award-winning Color Force II colour-mixing wash light range, the award-winning Studio Force Phosphor compact soft source, and the Color One 100X colour-mixing LED effects PAR.
Also on show will be the latest, top of the range hard and soft sources from Spotlight, Mole-Richardson and Desisti. On demo will be Quasar Science’s Q-LED linear lamps, available with tuneable white and RGB output.
Making its BVE debut, the StageSmarts smartPDU intelligent power distribution solution provides simple and highly accurate real-time load monitoring at any time and from any location, of each individual circuit.
Another newcomer to the show is RatPac's AKS system, which uses LumenRadio CRMX wireless technology and allows users to control lighting fixtures directly from their mobile phone, tablet or PC. In addition, RatPac's Cintenna wireless receivers can plug directly into the back of lightin
UK - Audio-Technica will be showing a range of its broadcast-oriented microphone and headphone products alongside Allen & Heath’s latest SQ and dLive mixing systems at BVE 2018 between 27 February and 1 March.
Audio-Technica’s BP40 large diaphragm dynamic microphone – designed for rich, condenser-like response in broadcast environments – and the company’s M Series flagship M70x monitoring headphones will be among the key products on display. Also available for visitors to experience at the show will be various microphones from Audio-Technica’s Broadcast & Production range, currently being relied on for broadcast sound from the Pyeongchang Games.
Those looking for compact on-camera audio solutions will be catered for with both the AT8024 stereo/mono microphone (with selectable line-cardioid or mid-side stereo modes) and System 10 camera-mount wireless system. The 2.4GHz System 10 camera unit offers supreme ease of use, light weight and 24-bit/48kHz operation, ideal for ENG reporting and video production.
Allen & Heath’s latest SQ digital mixers will be represented by the SQ-5, built around the company’s latest 96kHz FPGA XVCI core. With 16 onboard preamps, the compact 48-channel SQ-5 is designed for demanding professional audio situations and is compatible with Allen & Heath’s AudioRacks and SQ MixPad remote mixing app.
Visitors will also be able to get hands on with the dLive S3000 surface from Allen & Heath’s flagship mixing system. With a small footprint but remarkable specification, the S3000 feature
USA - The recently-opened World Club has quickly become popular among visiting LDs for artists like Hardwell, Tiesto, Alan Walker and Armin Van Buuren. The spacious 21,000sq.ft venue at the south end of Charlotte’s famed Music Factory complex provides designers with a broad, colour-neutral canvas to work on. And, with eight universes of lighting hung from its ceiling, they can let their creative impulses scream out in wild, eye-shattering explosions of patterns and colour.
“The space really gives the LD creative freedom to set the mood,” said Eye Dialogue’s Travis Pagels, who used a collection of Intimidator fixtures from Chauvet DJ to anchor his rig. “All the walls and furniture in the venue are black or metallic silver, so there really isn’t a colour scheme restricting the lighting designer. Then with all those universes in the ceiling, it’s easy to turn the dancefloor into the face of the sun.”
During a typical evening the lighting starts off more slowly, according to Pagels. The club begins most nights lit in darker colours like blues and violets with slow movements from the 33 Intimidator Beam and Intimidator Wash fixtures in its rig. Then as the evening progresses, the lighting picks up along with the action on the dancefloor.
“It is easy to be sneaky with the way we tiered this design,” said Pagels. “When patrons walk into a colour washed room at 9 o’clock and they see dark colours and some simple slow movements, it’s easy to blow their minds later when the main act starts by letting loose with 33 movers going all
USA - Since 2015, event production company Showcore has been providing Elation Professional lighting to Minneapolis’ multi-purpose sports facility Target Centre that recently underwent a $130m renovation.
Home to the NBA's Minnesota Timberwolves and the WNBA's Minnesota Lynx, the lighting system is a major contributor to the pre-game atmosphere.
Showcore recently added Elation Paladin hybrid LED strobe/blinder/wash lights and compact Rayzor 360Z LED beam moving effects to the arena lighting rig to complement other Elation lights installed in 2015 and 2016, namely Arena Par Zoom and SixPar 300 LED Par lights, Rayzor Q12 LED moving heads, Protron 3K LED strobes and Cuepix WW2 LED blinder/strip lights.
“We’ve had Elation products in the arena since 2015 and have had a lot of success with our client using Elation,” said Josh Wabaunsee, lighting designer at Showcore, which is based just outside of Minneapolis. “The price point is good, and that’s always attractive, but the quality is just as good. We have a good relationship with the Target Center and they place a lot of trust in us so it’s important that we use products that we know we can count on.”
The Elation lighting is used to not only create movement, energy and excitement at each home game, it engages the audience and helps promote the brand. Used for dance routines and halftime activities, perhaps its most important role is during player entrances and introductions when dynamic lighting effects are used to pump up both player and fan prior to a game. The pre-game light sho
UK - Depeche Mode’s Global Spirit world tour kicked off in Stockholm in May 2017 and is currently scheduled to continue until the third quarter of 2018.
Blackburn-based HSL is the worldwide lighting vendor for Global Spirit working with a travelling crew headed by production manager Tony Gittins.
The asymmetric lighting design was created by Sooner Routhier and Robert Long of SRae Productions in Nashville and is being directed on the road by their associate LD, Manny Conde.
The industrial production design was imagined by the band’s creative director Anton Corbijn, who has always pioneered video as an essential vehicle of live production. This is no exception with a large video screen upstage.
HSL’s project manager looking after the tour is Jordan Hanson who comments, “It’s brilliant to be working with Tony, Sooner, Manny and an amazing production with a great band that is literally the tour of the moment and the one the industry is talking about.”
Chiefing the HSL crew on the road is Ian Stevens. He is joined by Jake Jevons, Harrison Cooke, Ben Eastham and Andy Whittaker.
Ian comments, “We are having an incredible time on the road. I know you hear people say this sometimes on a long tour, but this really is like family.”
The lighting rig is more complex that it might appear at first glance, there are a lot of moving elements and it requires plenty of attention to detail to get it looking just right in the different variations. “We are all very proud of how it looks and the part it plays in br
USA - FOH Engineer Simon Thomas began his live sound career in theatre at 16. Thirty four years later, he’s worked with many major artists including Gary Numan, Echo and the Bunnymen, Moby, Tracy Chapman, Kylie Minogue, Jessie J, and Sam Smith - and 2017 saw him out with Ariana Grande.
His FOH rig with Grande was inherited from the tour’s previous engineer, Toby Francis, and was Thomas’ first experience with Rupert Neve Designs equipment, including a 5059 Satellite summing mixer, a Shelford Channel for lead vocals, and a Portico II Master Buss Processor on the 2-buss.
Thomas’ DiGiCo SD7 console sent seven groups into the 5059, including drums, band/tracks, backing vocals and lead vocals. On combining analogue summing with the digital realm, Thomas says, “In very simple terms, the analogue thing brings the mix forward, brings it out of the box - rather than making it feel stuck in the box, where it lacks impact.”
The Shelford Channel was used on Grande’s vocals. “It’s good to have a piece of equipment at hand that you can just grab rather than digging into the digital domain. The EQ was pretty sensitive, and I didn’t have to do much to resolve a problem - a couple of clicks and you could deal with any top-end nonsense going on in the PA.” Thomas also reports that the unit’s diode bridge compressor worked quite well as a finishing tool. “I would’ve never thought to have used that idea in the first place, but in saying that, it worked.”
Thomas had first heard about the Master Buss Processor when out on tour with Sam
UK - Sculptor Andy Scott has created a five-metre high galvanised steel leopard - Poised - as the centrepiece of the newly developed Marischal Square urban quarter in central Aberdeen, Scotland.
The work was commissioned by Muse Developments and Aviva Investors and was inspired by the City of Aberdeen’s ancient heraldic coat of arms, which features two leopards. The majestic beast is five metres high, with another five-metre reach for the tail hanging below. It weighs two tonnes.
It is internally lit by 11 x Anolis ArcSource Outdoor 4MC LED fixtures.
The leopard’s lighting design - to bring it alive after dark - was created by Scottish based lighting and environmental design practice Atelier Ten, also responsible for lighting all the Marischal Square commercial, retail and leisure spaces for Muse Developments.
For Atelier Ten’s Peter Kerr, the leopard lighting scheme started when Andy Scott sent him initial sketches of the piece, which gave a good sense of scale and shape. Once the leopard’s frame was completed they started making the first site visits together with Angus Cartwright from Glasgow based Cartwright Lighting Associates, who supplied the Anolis fixtures and control system.
Aberdeen is dark for much of the year due to its northern latitude, so for Andy - well known for large scale works like The Kelpies’ 30-metre-high horse-head sculptures next to a new Forth and Clyde Canal extension - and everyone else involved, creating a “year-round 24-hour experience” was essential.
Andy always intended the
USA - Internet singing sensation Jacob Sartorius is wrapping up his second headlining tour with a lighting package supplied by Bandit Lites. With 1.5m Twitter followers, 9m Instagram followers and 2.7m YouTube subscribers, the multi-faceted artist released his second EP Left Me Hangin’ in the fall of 2017 before hitting the road in 2018 to bring his infectious energy and hit songs to fans in person.
Bandit Lites supplied lighting designer Lenny Sasso with Martin MAC III Profiles, MAC Viper Profiles, Martin Sceptrons, Solaris Flares and a grand MA 2 lite console for control along with 60 Clay Paky Mirage Panels.
Sasso designed the lighting to be a modern twist on the classic cabaret and big band styles, putting the band up on a raised platform with eight feet wide steps at the centre, giving Jacob the option to utilise both the downstage edge to connect with the audience or walk up and join the band at the top of riser for bigger rock star looks.
Martin MAC Vipers and Solaris Flares are placed diagonally leading up the steps to the centre of the platform with Martin Sceptrons filling in the spaces between the fixtures. Clay Paky Mirage Panels, which Sasso refers to as ‘the bread and butter of the show’, occupy nearly the entire upstage wall while the Sceptrons along the front of the riser and downstage edge give the appearance that the video flows off the screen and all the way downstage.
“I did my best to make the entire show have more of a pastel leaning colour scheme,” Sasso said. “I was thinking of like 80's or 90's throw
UK - A.C. Entertainment Technologies (AC-ET) has supplied StageSmarts smartPDU power distribution system to Titan Reality for their first certified, fully immersive 3D audio venue experience in Europe.
The Aures club is located along Leake Street Tunnel under London's Waterloo station, which features a giant mural of street art organised by renowned street artist, Banksy. Aures provides a blank canvas event space within a seven-metre high exposed brick arch and over 2,000 square feet of floor space, which is used for product launches, photoshoots, presentations and corporate parties.
The venue recently launched the first phase of Sensorium, an immersive experience which will eventually encompass sound & light, taste, scent, sight, and touch, to create a five-sensory venue for the arts and events.
To deliver their creative vision, the team behind the Sensorium project opted for Titan Reality’s Indream certified solutions and technologies for immersive venues. Titan Reality completed the development and perfected the first phase of the sensory technology with a revolutionary 3D sound experience for audio playback and live performance, intelligent show control combined with energetic lighting and lasers. The venue will become Indream certified once all phases will be completed.
With the PA system's 50 speakers and 30 amplifiers consuming 50,000 watts of power, plus Titan Reality’s Indream 3D sound processing equipment and the lighting, Titan Reality CEO, Arny B. Arnold was looking to source a highly reliable and safe power
Finland - Green Hippo has appointed Msonic as its distributor for Finland. Effective immediately, Msonic will distribute Green Hippo’s line of scenic video technology throughout the Republic of Finland.
Founded in 2012 in Vantaa, Msonic specialises in the import and distribution of premium professional AV and lighting products.
James Roth, head of sales and marketing at Green Hippo, says: “I have been aware of the growth of Msonic’s business activities over a number of years and for us, the recent move to their new offices and some changes in the structure of the Finnish market that has meant Johan West can join the team was just too good an opportunity to let go. Bringing together such a fine commercial operation with Msonic, one of the word’s real experts on Hippotizer Media Servers in Johan and our global market-leading brand means that we now have an unbeatable position in the Finnish market.”
Kari Vanhalakka, managing director of MSonic, adds: “Green Hippo is rightfully recognised as the pro sector’s leading media-server brand, and this partnership marks a significant milestone for MSonic. The Hippotizer hardware and software is spot-on, and we can’t fault the support on offer from the Green Hippo personnel. Frankly, we can’t wait to take this line to the Finnish market.”
UK - RH Consulting has become an official reseller of Dante Domain Manager.
Dante Domain Manager is a new package designed to monitor and secure Dante audio networks for ease of install and management of networked audio systems.
RH Consulting founder Roland Hemming says: “Dante Domain Manager is another great tool in our armoury to help integrators provide the best audio networking solution to customers. We are pleased to be able to offer this to our customers and have more exciting audio networking announcements coming soon.”
RH Consulting has a DDM demonstration system to show clients the benefits of working with Dante Domain Manager.
The Royal Tunbridge Wells-based consultancy also provides network audio planning advice, DDM config, switch set-up, DSP configuration and plugin development.
South Korea - The Medals Plaza stage within the Pyeongchang Olympic Plaza is home to cultural performances and video displays of the competition during the day and Olympic medal ceremonies in the evening. The experience is reinforced by EAW Adaptive System provided by Seoul-based Dasan SR.
The one-floor Medal Plaza - 1,267sq.m in size - features a wide, domed stage and an audience area wider than it is deep. The challenge was to blanket the outdoor area with clean, high-quality sound while providing the flexibility the different forms of entertainment require.
To accomplish this, Dasan SR specified left-right columns of four Anna modules hung above the stage video screens (covered by scrim to match the dome). Scaffolding towers were erected further left and right of the stage for the main PA, which was made up of 20 Anya modules. Two columns of five Anya modules hang in each scaffold.
A combination of 12 Otto subwoofers - ground stacked 2 x 3 - located under each Anya array along with four SB1002 subs placed under the stage provide the low-end the programme demands. Six KF730 enclosures were placed along the lip of the stage for front-fill while 16 MicroWedge stage monitors were on hand for the artists.
“It is an incredible honour to have our products in such a prestigious location in the Olympic Plaza,” says T.J. Smith, president and general manager of EAW. “When Dasan told us that Adaptive would reinforce the Medals Plaza stage, we were delighted. The flexibility of the system made it an easy choice for a venue that hosts everything
USA - The song fit the moment for Target when the company sponsored a 3:15 minute video of the No.1 Billboard dance hit The Middle during the 28 January broadcast of the Grammy Awards.
Like the awards show itself, the melodic tune, which features country star Maren Morris, EDM producer Zedd and the dance pop duo Grey, illustrates the power of music to pull together a diverse mix of cultural influences. Supporting this musical melding was a captivating video that featured a stunning skyline background of varying geometric light configurations, created by Volt Lites using 325 ChauvetProfessional Nexus 4x4 panels.
Arranged in different heights across the set, which represented the roof of an urban high rise, the Nexus panels flashed on and off in a variety of patterns to evoke powerful images of a city skyline. This setting lent an edge to Morris’ haunting vocals and provided an intense backdrop to the video’s intricate choreography.
“The idea was to create an environment that could support the dynamics of the song in a larger-than-life set,” explained Volt Lites designer and co-founder Matt Shimamoto. “Each element needed to have a moment that could consume the shot at a very specific time throughout the song.
“We went through many different versions of what could be in each of the ‘buildings’ in the background. We selected the Nexus panel 4x4 based on a few principles. We needed something that could be punchy enough to blast through the building windows, yet soft enough to be forgiving when the diffusion was placed inche
Europe - US rock band Paramore's current world tour features a complex array of projection mapped video screens, with the production displays’ psychedelic visuals powered by Avolites' EX8 Ai Infinity Server and Ai v10.1 software.
Production designer Butch Allen devised the show's complex video display. Three concentric rings of truss and screen loom over the audience at a 45° tilt. Managing the tour's substantial projection-mapping system is LMG Touring's technician Grant Draper.
"In terms of video mapping for Paramore, we have multiple planes of convergence and multiple focal points, as everything is on a slant and stepped back on stage," explains Draper. "There is about a foot and half between each circle of the central screen, meaning that even on the most basic level we are not working with a flat plane."
Using a modest six layers of content, Draper has configured the stage's projection screens using Ai v10.1's Autoblend feature. Laying out the mapping as one screen surface in the Ai environment Draper was able to calculate the required warping and blending of the video projection outputs onto the concentric circular screens on stage.
"We use three Panasonic 32K projectors on the show," says Draper. "These effectively act as cameras within the Autoblend 3D environment. I just pointed the projectors at the 3D object - the screens - made it fill the full image of the projectors and basically just used it as a line feed of that. I also used geometry correction within the Autoblend environment. Once I go into the warping features within Ai
USA - Around 250 of GLP’s LED products were deployed at the Pepsi Super Bowl LII Halftime Show during Philadelphia Eagles’ defeat of New England Patriots at the US Bank Stadium in Minneapolis. The show featured a versatile 12-minute set from Justin Timberlake that spanned the entire field.
For lighting designer Bob Barnhart of 22 Degrees, for whom this was his 20th involvement in the event (and ninth as principle LD) the extreme, sub-zero temperatures were just one of the many challenges he faced. The event required all his expertise.
Collaborating with set designer Bruce Rodgers of Tribe Inc, Nick Whitehouse, Justin Timberlake’s designer, and Josh Zangen (of Fireplay), he again drew heavily on GLP’s inventory to help illuminate Justin Timberlake’s show, which took place in eight different performance positions.
Barnhart explained, “JT was turning in so many different directions throughout the show, one of the biggest challenges was just keeping him lit properly. We had many different ‘key’ light looks, but it was quite the process coming up with all the proper angles, especially when you consider that we had to pick our final spot positions way back in September.”
The show opened in a basement ‘Laser Lounge’, doubling as the underpinning of the 360° stage, before JT emerged down the catwalk ramp, and duly used the full expanse of stage and then field (all of which were immersed in production lighting). Over the course of the 12 minutes, he not only worked through his catalogue of hits but paid homage to hometow