Ayrton WildSun K-25 TC premieres with Boston Ballet
Wednesday, 15 May 2019
forsytheFull on Forsythe is a trio of works from choreographer William Forsythe (photo: Angela Sterling)
USA - Ayrton, and its exclusive US distributor, ACT Lighting Inc, in conjunction with lighting equipment supplier 4wall Entertainment, supported Boston Ballet’s 2018–2019 spring season with the provision of Ayrton WildSun K-25 TC LED fixtures for Full on Forsythe, a trio of works from prestigious choreographer William Forsythe.
The programme features Playlist (EP), Forsythe’s first world premiere to be created with an American company since 1992, the North American premiere of Blake Works I, and the return of Pas/Parts 2018.
Boston Ballet’s lighting director, Brandon Stirling Baker, explains why he chose Ayrton WildSun K-25 TC: “As the lighting director of Boston Ballet it is my responsibility to maintain the work of over 100 international lighting designers in our repertory. I am always looking for creative tools and lighting equipment that allow the designers to create their vision but, most importantly, find equipment that is efficient and reliable enough to endure a month-long season.
“For over 20 years, Boston Ballet has used HMI 4K Fresnels which provide a beautiful quality of white light but are not without their own unique consequences. I have been searching for the perfect HMI replacement. Ayrton is a company that I have greatly admired for many years and when I heard about its WildSun K-25 TC, I immediately knew that this could be a great replacement and solution to the HMI problem.”
Ayrton WildSun K25-TC (True Colour) is an evolution of the WildSun K25, specially geared to shooting and broadcasting in high-definition. It produces an extremely high-quality light of up to 63,000 lumens without flicker, a colour temperature perfectly calibrated at 5700 K, a CRI greater than 92, and a zoom range of 12° to 60°. Its luminous intensity can be fine-tuned using the precision electronic dimmer, and the user can control each concentric circle individually to adjust power or create dynamic effects.
“The intensity of the Wild Sun is incredible,” says Baker. “After conducting many side-by-side tests with manufacturers from all over the world, we found the Ayrton WildSun K25 TC was the only fixture that could compete with the HMI 4K, not only in terms of intensity but also clarity.”
For the premieres of Full on Forsythe, two WildSun K-25 TC fixtures were hung directly over centre stage from where they were used to directly mimic and re-create the clean, cold white light that was created with the classic HMI Fresnel. “We were also able to utilise the WildSun’s ability to change focus, zoom and intensity easily,” says Baker, “to create dynamic visual looks that are completely unique to each dance, without a delay in the creative process.
“Replacing the classic 4kW Fresnel with the Ayrton WildSun not only eliminates the old-fashioned and time-consuming re-focus process, but also allows the designer to create a custom focus and zoom range specific to the surrounding scenic environment. This ability to change focus remotely was used in many variations during the cueing process.” The WildSun K-25 TC fixtures were programmed by Jon Gonda from Boston Ballet using a grandMA2 console.
“Ayrton WildSun has an aesthetically beautiful design,” concludes Baker. “It has a clean, elegant look for a theatrical lighting fixture that not only provides a beautiful quality of light but also, visually, can be used as a scenic idea in any live performance.
“Boston Ballet is the only major ballet company in the United States to have over 50 moving lights in our standard repertory plot. My hope and dream is that the Ayrton WildSun will become a permanent solution to replace the HMI White Light effect that is required, not only on the many ballets that we perform here in Boston, but also on our international tours.”
Full on Forsythe ran from 7-17 March at the Boston Opera House with WildSun K25 TC fixtures supplied for the world premiere by 4wall Entertainment, before transferring to the Theatre des Champs Elysees, Paris, France from 9-11 April where the units were supplied directly by Ayrton.
(Jim Evans)

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