UK - With the UK government announcement of a lockdown exit strategy, heralding a return to live events, Shure has announced the next round of its virtual wireless masterclass, followed by the Wireless Workbench Masterclass, starting Monday 22 March.
Wireless microphones and personal monitors are an essential part of almost every audio system, from live entertainment to news broadcasts to business presentations and houses of worship. But changing spectrum availability often makes it difficult to deliver reliable wireless audio in a wide array of venues and under changing RF conditions.
In this five-part virtual seminar edition of the popular wireless training series, this course is split into five one-hour sessions.
Correct and efficient frequency management is an essential skill in today's busy RF environments. Wireless Workbench (29 March) can help you stay one step ahead and run your show from city-to-city with complete peace of mind, says Shure.
Finland - Barcelona-based Amate Audio has announced the appointment of BLC Turva as its exclusive official distributor in Finland.
The appointment of the large scale IT and network services company supersedes the previous multiple distributor network in the country, and marks BLC Turva’s inaugural distribution of a dedicated professional audio loudspeaker brand.
Spearheading the entry of BLC Turva into pro audio is project manager, Juho Kekarainen. Kekarainen has five years previous association with the loudspeaker company as its principal representative at Tecline OY.
Amate Audio’s head of sales, Jordi Amate, states, “Juho was previously ‘our man in Finland’ for five years and it is a major opportunity to partner with him again in his new position within BLC Turva. Our partnership in the past was highly productive, with high levels of sales in the country. Juho’s product marketing skills, experience and application knowledge, within a company with an expansive presence across multiple integration markets, offers greater opportunities; particularly when combined with the best-in-class performance capabilities of our loudspeaker systems.”
On signing the new distributor agreement, BLC Turva has taken delivery of a comprehensive range of systems – including the latest X102FD high output point source PA, G7 commercial audio, Nìtid S6P installation, and X218WF active sub designs – in order to commence demonstrations of the exceptional performance levels and operational efficiencies that are inherent features of Amate Audio’s
Germany - ARRI has introduced Remote Solutions, a toolkit that can be customised to meet near-set and off-set workflows. This remote production ecosystem allows professionals to safely and immediately get back to work without compromising operational and creative control, says the company.
With a complete system of connected ARRI cameras, lights, remote heads, and accessories, ARRI Remote Solutions offers workflows that enable safe social distancing between talent and crew as well as between crew members.
The ARRI Remote Solution enables professionals to remotely control ARRI cameras, lights, remote heads, and accessories.
“The pandemic has accelerated change and forced productions to adapt. With travel limitations and new requirements for social distancing onset, our connected ecosystem of industry-proven tools can be customized to create safe sets, whether working near-set or off-set, without compromising the creativity or technical control of production. This is just another way we at ARRI are enabling and supporting filmmakers,” says Stephan Schenk, general manager global sales & solutions.
UK - The Institution of Engineering and Technology (IET)’s next free-to-attend webinar is entitled Temporary Power Distribution.
Temporary electrical systems are often a source of confusion. Questions such as ‘Does BS 7671 apply?’, ‘How long can a temporary system be installed for before it needs to be considered permanent?’, or ‘Do the rules for construction sites apply to systems used for an event?’ are frequent issues for electrical technicians and designers.
Another common discussion point with temporary systems is that of generators and their earthing requirements. Do they need to be earthed? Is a reference earth required? What is a floating generator? Should generators have RCD protection? This is an area that has undergone a significant amount of work in recent years, the latest guidance is explored in this seminar.
This seminar will explore these issues and detail: how to approach the design of temporary systems; appropriate standards and legislation; how to manage temporary systems effectively; the latest guidance on generator earthing arrangements; earth electrode requirements and practices.
The webinar is essential watching for anyone who has a responsibility for or interest in temporary systems, says IET.The session will also cover the design of temporary systems and earth electrode requirements and practices.
Speaker for this webinar is James Eade, author of two IET publications on the topic of Temporary Power Systems and the 5th Edition of the Code of Practice for In-service Inspection and Testing of
France - Once known as ‘Little Breton California’, the vibrant town of Saint-Nazaire is home to VIP, or ‘Le VIP’, as locals refer to it. Featuring a 550-seat concert hall, three rehearsal studios and a resource centre, the venue attracts artists of all levels and music genres. This year, French audio, lighting and video company, Melpomen has installed L-Acoustics A Series in Le VIP to address the venue’s complex architectural design and deliver homogenous sound across the entire auditorium.
“After 10 years of service, the old sound system was entering a delicate maintenance phase,” says Julien Potin, technical director at VIP. “So it seemed an appropriate time to acquire a new system that would address lifelong issues.”
“We knew right from the start that we needed an extra-versatile and scalable solution for a modern music hall like the VIP,” adds Samuel Birais, audio technical manager at Melpomen. “Our key objectives were to create a comfortable listening experience for the audience and to respect France’s latest constraints and rules in terms of sound levels, particularly in terms of dBc. To achieve this, we needed a system that delivered high SPL, extended bandwidth of between 25Hz and 20kHz, and evenly distributed sound coverage throughout the hall, without overly polluting the stage space.”
The concert hall is almost 18m wide and the FOH control position is barely 7.5m from the front of the stage. There is also a mezzanine floor that is as wide as the room but shallow, with a bar along its back wall. Smoothing out th
Czech Republic - Nearly a century old, Czech Radio (Český rozhlas (ČRo)) is the largest public radio broadcaster in the Czech Republic and Europe’s second oldest radio broadcaster after the BBC. Established in 1923, Czech Radio offers four national services, 14 regional channels, numerous channels covering classical and jazz music, sports, children’s and youth radio services and external multi-language broadcasts.
With previous positive experiences of using DiGiCo SD12 consoles, Czech Radio’s team decided to expand their fleet of broadcast transmission vehicles, with a DiGiCo Quantum338 as the heart of the new OB van for the station’s key location in Prague.
“The Quantum 338 will allow Czech Radio to mix up to 128 channels of audio with enormous processing capabilities and unprecedented flexibility thanks to its universal DMI slots and two Dante DMI modules,” says Petr Šťásek from Pro Music, which supplied the console. “Additionally, the advanced processing capabilities of the console and its superior flexibility, all featured in a compact format, was something that we knew would give them an edge in their busiest location in the capital city.”
The console is complemented by three DiGiCo SD-Rack stage boxes equipped with 32-bit 'John Stadius' AD / DA converters and Optocore connectivity up to a distance of 250 m.
“The calibre of broadcasts done at Czech Radio meant system reliability was our number one priority. The entire technology of the OB van is powered from the grid through a power backup supply, which allows up t
Switzerland - In January 2021, a new training and conference facility for Mercury Training Group SA opened in Mendrisio. The versatile space is designed to be used as one large room or divided into two or three smaller ones, so a flexible and reliable audio system was needed. Yamaha provided the chosen solution.
Led by Frank Merenda, founder of Metodo Merenda (the Merenda Method), Mercury Training Group hosts ‘American style’ training conventions where marketing meets showbusiness. Along with live speech from presenters, video and audio playback are integral parts of the show. Michele and Riccardo De Simone of Sperlonga-based Remix Multimedia SRL were asked by Tiziano Stampete, the head of Mercury’s technical staff, to design an audio system which would maximise the use of the space.
“Reliability, safety and quality were the key words for this installation,” says Michele. “For us one of the key advantages of a Yamaha system was that it allowed full redundancy by installing both Dante and analogue networks, guaranteeing reliability. The customer wanted to be certain that, if there was any problem with one, the other would seamlessly take over, making sure there would be no interruption to their presentations.”
The system installed by Remix Multimedia comprises eight truss-mounted DZR10-D powered loudspeakers and a QL1 digital mixing console with MY4-DA expansion card in the main room. A DCP4V4S digital control panel provides straightforward control of the different main room configurations. An adjacent breakout room features five VXS5 s
UK - Set in a thickly wooded area and set off by manicured gardens in Thronton Hough on The Wirral, The Red Fox restaurant started life as a manor house in the late 19th Century.
For a period this February, the stately landmark took on a more contemporary appearance when it was bathed in brilliant green by a collection of Chauvet Professional LED fixtures.
Scott Cooper of ASG Entertainments donated the use of the lighting fixtures, along with his expertise, to the Red Fox for the benefit of the Clatterbridge Cancer Centre NHS Foundation Trust, whose cancer treatment facilities serve patients in Cheshire, Merseyside and the surrounding areas including the Isle of Man.
Although the COVID-19 pandemic has forced the suspension of many things, cancer has not taken time off. This is why the Clatterbridge Centre initiated a Let’s Go Green campaign to raise funds and awareness. Management of Red Fox elected to participate by asking Cooper to turn their building, as well as some of the surrounding trees, green.
“This venue is a client of ours, and we were only too happy to participate given the worthiness of the cause,” said Cooper. “Plus, it was fun to create a compelling image throughout this impressive site.”
Cooper used COLORado Quad 1 Par fixtures to light the exterior of the main restaurant building. Relying on the intense output and powerful throw distance of these RGBW units, he was easily able to reach the uppermost levels of the building with light. He was also able to connect to the building‘s power source without needing a
UAE - KISS said goodbye to 2020 in spectacular fashion = with a live New Year’s Eve pay-per-view concert from Atlantis the Palm in Dubai.
The 22-song set from the band’s End of the Road show was performed on a 250ft stage with the live audience at the Atlantis resort watching from their balconies and fans worldwide live streaming the concert on FITE. A large complement of Claypaky Mythos 2 and Scenius Unico fixtures from technical supplier PRG helped to illuminate the expansive venue.
The concert was designed by Sean Hackett (aka Motley) from the KISS production team. PRG was tasked with providing the A and B rigs to fill the stage and create the architectural lighting for Atlantis The Palm that highlighted building features and set the scene for the mammoth show to come.
Lighting designer Marcell Wahl of HOD Lighting lit the hotel’s grand arch and eight turrets and washed the resort with colour. Martin Smit, who headed the lighting team, used 60 Claypaky Scenius Unicos to frame and project artwork onto the building. He also placed Unicos in the swimming pool in front of the stage to additionally wash the hotel.
“Lighting the hotel was always going to be a challenge with full guest attendance, very limited space to place fixtures and palm trees in the line of sight,” says Wahl. “We needed the best fixture to give us multiple options to achieve our final goal.”
Wahl and his team worked through a number of designs and scenarios and selected the one that gave the camera team the best concert perspective and area shots capture
France - Robe Lighting France delivered its first Robe Awards event, a lighting design and programming competition that saw 10 finalists battle it out by utilising a full Robe lighting rig.
The competition, which attracted more than 160 entrants, was initiated after Sebastien Dendele, president of rental company MursDeLeds (MDL), and well-known TV lighting operator Yannick Duc discussed the idea of organising a lighting competition after MursDeLeds had installed some Robe fixtures in a Paris club.
Robe France account handler Jean Philippe Fouilleul was then approached, who in turn involved his colleagues Bruno Garros, Elie Battah and Vincent Bouquet who floated the idea of engaging lighting designers and operators.
The competition kicked off in December 2020 and was open to anyone in France familiar with professional lighting consoles and visualisation software and able to programme and operate a lightshow. The initial three stages were virtual and entered via a dedicated Facebook page.
Entrants had to create a 90-second timecoded lightshow utilising grandMA 3D, Capture or Depence2 and 133 Robe virtual moving lights, all working to the same predesignated music track.
Those gaining the most ‘likes’ went through to the next round and the process was repeated - until three rounds later, the 10 finalists emerged. They ranged from practising lighting professionals to breakthrough designers, programmers, and operators.
The final was staged IRL (in real life) at Les Studios de la Montjoie in the La Plaine St Denis in a fully COVID-sa
USA - Lewis & Clark Library located in Helena, Montana, has commissioned a new public address paging system, opting for a Martin Audio solution - designed and installed by locally based AV integration company, Montana Pro Audio.
They were awarded the contract after the library, which was established in 1868 before Montana became a territory, received a higher-than-expected bid for the desired AV integration design. After receiving a request for proposal, and undertaking a number of revisions and redesigns, Montana Pro Audio specified the solution from Martin Audio’s Adorn catalogue.
“The original scope of contract was for a public address paging system throughout the library, as well as AV for their large community room that would double as a presentation space and small theatre and a small community room that would be used for meetings and presentations,” explained Aaron Fisher, who was responsible for the design and project management. “The Library is in the home stretch of a full-scale remodel project that started nearly three years ago. This will be the first AV installation in its history.”
Assisted by Ryan Johnston (and with support from Martin Audio North America’s Jim Sage), this was Montana Pro Audio’s first experience working with Martin Audio solutions. Twenty-four of the Adorn A55’s, run in 70V line mode, have been distributed discreetly through eight zones on two floors, in a combination of black and white finishes to suit the environment.
“I have always appreciated the quality of sound, construction and aes
USA - Michael Cannon, co-founder and former CEO of 4Wall Entertainment, has acquired Main Light Industries, Inc (MLI), a dry hire provider of entertainment equipment. MLI will remain headquartered in Wilmington, Delaware and retain all of its employees but its founder, Aidas Gimbutas, will be stepping away from the company.
Gimbutas comments: “Deciding to sell your business is never easy. Of course, a business owner is looking to capitalize monetarily, but I did not seek a new owner based on this alone. I could not have found a better person than Michael Cannon to accept ownership of Main Light. Michael is investing in what is obviously, a tough time for the industry. He is continuing full-time employment for our dedicated and loyal staff; he respects our customer service approach, and he is here to not only continue but will strengthen Main Light’s ability to provide our services well into the future. I could not ask for more. The employees of Main Light, our clients, and myself are blessed to have this opportunity and a man of this character to represent the future of Main Light, a company I have given so much, and it has reciprocated in kind.”
Cannon adds: “Aidas and his team have built a great company over the past 40+ years. Main Light has always been considered one of the preeminent lighting rental providers to the industry and among its strengths are its valued long-term employees like Randy Mullican, Giovanni Ciranni, and Rick McKinney who each have been with the company for over 20 years. Main Light’s business model of being a dry hire on
Germany - London-based Mountview Academy of Theatre Arts entered its production season with support from GLP’s UK office and some inventive programming of the company’s bespoke theatre fixtures from one GLP enthusiast and freelance designer, Adam Kingnow.
When the academy relocated to its new building in Peckham from its former Wood Green base, where King had graduated with a BA (Hons) degree in Technical Theatre specialising in Lighting, it had the benefit of a new reconfigurable theatre. This featured a purpose designed lighting grid on which the LDs could hang and focus their lighting, including a large number of GLP fixtures, to achieve maximum creativity.
King had been fortunate enough to work alongside top theatre LD Neil Austin, which is when he first discovered the special TH theatre-specific versions of GLP’s impression X4 and X4 Bar fixtures, with the yellow chip - which Austin had helped to instigate. This is now available as a custom option in the GLP catalogue. “I immediately became a convert to GLP,” King explains. Via his long-standing relationship with Mountview, he learnt that the drama theatre was in the process of purchasing a new LED moving head profiler last year, which provided the real breakthrough for GLP. Having just worked with the impression S350 and marvelled at the quality of the pastels, he insisted that they audition it in the competitive demo set up by dealers, White Light.
“They had been reviewing other brands until I mentioned the S350s,” King adds. “I subjected the products to some rigorous tests. T
France - Last summer, DJ Florian Picasso wowed his fans with a livestream set, accompanied by hypnotic projection mapping and pyrotechnics, from his great-grandfather Pablo’s former residence in Cannes.
The light show at Villa La Californie brought the exterior of the building to life and delighted not only his neighbours on the Riviera but also an audience of millions worldwide. In an equally compelling follow-up, Florian recently staged another stream from inside the villa, this time in conjunction with artist Cyril Kongo, for the benefit of Maria Bravo and Eva Longoria’s Global Gift Foundation. The show sought to raise awareness and funds for Vietnamese orphanages.
The event was staged from the living room of the villa which was transformed, with the addition of paintings, sketches and sculptures to its original state as Pablo Picasso’s studio. As Florian’s set progressed, Cyril Kongo worked beside him to paint a unique piece of art using a Pioneer DJ CDJ-3000 as a canvas, which was later auctioned with all proceeds going to an orphanage in Vietnam.
Pioneer Pro Audio provided the technical support for the event and provided a range of equipment to help power the stream. As well as the combination of the CDJ-3000 multi-player and a DJM-V10 mixer supplied by Pioneer DJ, Pioneer Pro Audio furnished the event with two XY-3B loudspeakers and two XY-218HS subwoofers to deliver powerful in-room sound, as well as a pair of XPRS-10 powered speakers for monitoring.
Florian Picasso enjoyed the performance: “It was such a blessing to be able
World - Hippotizer’s Nevis+ Media Server is proving to be an essential tool for smaller productions around the world, offering the features and power of its ‘bigger brother’ stablemates but in a more compact and affordable package.
Some of the world’s leading visual design companies have embraced the creative possibilities of the Nevis+ since it was launched in July 2020, using it as a simple-to-use training and demo option as well as specifying it for small to mid-size events.
Maggie Zhu at KUPO (Keep Ur Performance Outstanding) Shanghai was one of the first investors in a Nevis+.
“The main attraction of Nevis+ is its price, coupled with the fact we can use all of Hippotizer's comprehensive software features,” she says. “For us, the main market for Hippotizer is for performance and theatre. Nevis+ is the right solution for these events, as one machine includes the functions of playback, control, timeline and so on.
“We also purchased the Nevis+ for customer training, demonstration and promotion. In the past, we used the bigger Hippotizer Media Servers such as the Montane+ RTX or the Boreal+ when we needed to test. But now, it's very convenient to use the Nevis+.”
Over at Sofit-108 in Russia, Andrey Miroshnichenko invested in the Nevis+ towards the end of 2020. “Last year was obviously very difficult for everyone working in visual production,” he says, “but due to its attractive price the Nevis+ offered a good solution for our training purposes. It’s small, powerful, and not too expensive. It’s a dream.
Australia - During the height of the Covid-19 pandemic last year, Channel 9 staff in Sydney were kept busy moving from their historic Willoughby site where they had been for 60 years to the network's new home in North Sydney.
November 20, 2020, marked the final day of broadcast before the move to the new HQ that includes a large number of specialist spaces to support Nine Entertainment Co's broadcasting function, including a 400sqm data centre, six studio spaces, radio and podcast facilities, eight control rooms and a multitude of editing suites.
The investment in new technologies for the studios includes a full package of studio lighting from Show Technology.
Channel 9's head of lighting Andrew Veitch started on the new studio fit-outs last April saying it was hard work as the rest of his crew were still working at the Willoughby base. “Fortunately I then had Paul Collison and Tom Johns join me for three weeks and we conquered heaps - with help from Show Technology's Vince Haddad too,” commented Andrew.
There's not a lot of power in North Sydney to run large studios so an all-LED rig was essential and with that proviso in hand, Andrew surveyed many companies and much gear. Ultimately, it came down to price and what was offered for that price and whilst there were a couple of other companies that came close in price, they could not offer an entire suite of studio lights the way that Prolights can.
Consequently, a Prolights complete package of 205 x EclPanel TWC, six EclPanel TWCJr, 119 x EclFresnel Jr, 20 x EclFresnel 2K and 79 x Ecl
UK - Roger Barrett, technical director at Star Live contacted SES Entertainment Services as he was in need of a large amount of quality power distribution units and cabling for three large semi-permanent contracts that they had been awarded. Owing to the technical requirements and location of some of the distro, it all had to be designed around a fixed brief.
The first stage of the project was to have design drawings approved by Star, to ensure that each of the units we would provide fitted exactly to each location where they would be installed. As some of the units were to be housed under the main structure, they had to be exact.
Once the drawings were approved, SES commenced manufacture of over 50 bespoke units and over 100 supply cables which were shipped shortly after order was confirmed so that they could be run into position awaiting the delivery of the distribution units.
Each of the three sites were supplied with a 630A freestanding steel intake unit which were fitted with the P3 connectors new designed angled Powerlock. Alongside these units were a stainless steel framed Powerlock SES PowerPro 5 distribution unit with a range of outgoing sockets including an internally mounted 2KVA 110V transformer, which was incorporated into the design.
With a selection of other final distribution units to complete each package, SES designed, fabricated, wired, tested and inspected the whole order in four weeks from approval.
USA - Strand has announced that they are standardising their portfolio of Vision.Net architectural lighting components to use 35mm DIN rail for mounting.
Strand’s new, modular family of hardware devices consists of nine new products, including control modules, rack trays, enclosures, power supplies, and other components. This new solution can be customised to any size application for educational, theatrical and house of worship environments.
“Customers have relied on Strand’s custom lighting control enclosures for years,” says Fernand Pereira, global head of marketing and product management, Entertainment Lighting at Signify. “Customers received exactly the solution they needed in a factory certified, UL rated enclosure that could be easily installed in the field. However, this required each solution to be custom designed and assembled in Strand’s factory.
“By deploying standardised, DIN rail mountable modules, customers get the same flexibility in a solution that’s easier to order as boxed goods, can scale easier down the road and can be assembled at any dealership or in the field—while still keeping the regulatory compliance.”
Using standard 35mm DIN rail ensures system integrators can easily retrofit the solution into any existing installation or incorporate it into any new build out. With modular components and a variety of trays and enclosures available, the solution can scale to address any application, with rack, flush, or surface mounting options available.
Because components are individually listed, solution
UK - 3LR has appointed Christina Nowak as film and studio liaison. A marketing graduate, Nowak has accrued wide experience of business development in the film-technology and production sector, working with brands including Red Digital Cinema, Ncam Technologies and G-Technology.
Matthew Lloyd, MD of 3LR, comments: “Christina will act in a consultancy role for 3LR, developing relationships and raising awareness amongst the film production community of the brands and products we represent. She combines an acute understanding of technologies and their applications with the communications skills essential for developing new business opportunities. Christina’s track record of success is impressive, and demonstrates that she has a ready grasp of the culture of this sector.”
3LR recently took responsibility for representing leading US manufacturer ETC’s broadcast, film and TV range of lighting and control, including its fos/4 range of LED Panel lights and fresnels. Introducing that product’s advantages to the film production sector will be Christina’s initial responsibility for 3LR.
“I’ve enjoyed success in the industry through relationship and community driven roles, and I’m looking forward to connecting 3LR’s brands with an audience who will truly benefit and appreciate their specialised features,” says Christina.
UK - SensorSpace is a new cloud-based platform designed to ‘revolutionise’ the way riggers can access and manage data from Broadweigh's wireless sensors. Launched this month, SensorSpace can be used to remotely monitor the status of any Broadweigh sensor - load or wind speed -and help site managers and rigging managers make decisions or take action before, and during a show.
Elliot Van Laere, product specialist at Broadweigh, explains: “SensorSpace is a game-changer. It not only provides a way to visualise load cell or wind speed data in the cloud, so anyone with access can log in on a desktop or mobile device, but can easily be set up to automatically send SMS, email or app-based alerts in the event of unexpected change. A whole team can stay connected to a dashboard keeping them on the ball and informed wherever they are located.”
SensorSpace is fully customisable which means dashboards can be as simple or as complicated as they need to be, from numerical display of sensors, to in-depth overlays, charts and graphs showing live and historical data. With a SensorSpace plan, users can store up to three years’ data should post event analysis be required.
Elliot Van Laere, continues: “In the case of an outdoor festival, for example, where wind is a major concern for temporary outdoor structures, SensorSpace can give live data on the average speed and maximum detected gust. This can give a very good idea on site for when to go ahead with a build or not, coupled with weather forecast data. It can also allow for constant monitoring of ongoin
Germany - In late 2020, the city of Munich wanted to create a projection mapping show on New Year's Eve, but with coronavirus restrictions, a new solution was created. A semi-permanent installation would enable as many people as possible to see the attraction whilst maintaining a suitable social distance. The chosen location was The Kunstareal which is a museum quarter in the city centre of Munich, where numerous cultural institutions, universities and museums are located.
We Are Video is an agency for visual art which is run by three artists: Betty Mü, Raphael Kurig and Christian Gasteiger. Betty Mü participated in a tender together with her colleagues and won with the concept The Kunstareal Connects. With years of experience in the field of AV and the experience economy, the company combine art and the latest technology to create experiences that engage, mesmerize, and fascinate the audience.
Due to the vast expanse of the buildings, one thing was clear. “To map on a canvas that size, we needed a lot of power,” said Kurig. “The Titan Laser projectors were the perfect choice as they provide 37,000 lumens and are compact enough to be easily set up.”
The show ran every night from 5pm to 9pm until 14 February, so a reliable projector was that could withstand the demand, as there would not be an on-site crew available every day.
We Are Video turned to Magic Event & Media Technology to help realise their vision, and to Digital Projection’s partner, ETHA International GmbH for the supply of projectors. Providing more details
USA - For DJ, producer and remixer Nicky Romero, New Year’s Eve would normally involve travelling to an exotic destination to perform in a club in front of thousands of fans. To mark the end of 2020 and the beginning of 2021, that couldn’t happen. Instead, he stayed local and recorded a performance that was broadcast to fans around the world from his website to help them to celebrate the New Year at home.
The lighting rig for the shoot comprised predominately ADJ fixtures, including Vizi Beam RXONE and Vizi CMY300 moving heads as well as Pixie Strip LED battens.
Nicky Romero’s NYE broadcast also featured guest DJs DØBER and Timmo Hendriks who performed a back-to-back set. The venue for the shoot was Downtown Veenendaal, a modern community meeting space housed in a 100+ year old former church building. The livestream was organised by Artist Division, Nicky Romero's management company, and Ronald de Man, through his company RDM Productions, was responsible for managing the project. He brought in local rental company NT Sound to supply all of the lighting and audio equipment, which completely transformed the space to create a nightclub environment.
For the Nicky Romero NYE video shoot, NT Sound owner/manager Jonathan Jansen served as lighting designer - supplying all of the fixtures from NT Sound’s rental inventory. Koen van Elderen, who has experience of touring with Nicky, was then responsible for programming and operating the rig.
To fill the space with beam effects, NT Sound provided 28 ADJ Vizi Beam RXONE fixtures. Jonathan’s team