GLP fixtures make impression on James Arthur
Tuesday, 13 February 2018
james-arthur-tourThe back wall was made up of all 80 JDC1s - hanging from custom-made soft ladders (Photos: Hywel N Williams and Chaz Callingham-Woods)
USA - Having previously been involved with putting together the lighting design for James Arthur’s club/theatre tour in early 2017, LD Michael Straun has moved up to lighting the larger arenas for the artist — again using GLP fixtures extensively in his toolkit. He was invited by Meggan McKenzie, creative director of production company, The Live Dept, after previously working with the company on shows with Tinie Tempah and Katy B.
He and McKenzie worked closely to evolve the concept. “She would send me ideas which I would adapt and add lighting elements. We wanted to move away from custom builds so we used different fixtures in different ways to create the stage set,” said Straun. “James was also involved throughout the entire creative process. The key was to make the show look big and impressive - and the wall of JDC1’s did this.”
This is GLP’s new low-profile hybrid strobe. A traditional single tube element, created with LED’s to produce a bright, white output, is combined with a surrounding full face of RGB power, utilising a large array of complementary LED sources. These two elements have independent control and can be used as separate or combined effects. It therefore not only functions as a powerful strobe light, but both the tube and full face sections can be run continuously for high output blinder and wash light effects.
Some 80 heads were supplied by Christie Lites along with GLP’s award-winning X4 Bar 20s, both of which exist in large quantities in the hire company’s inventory.
Michael Straun admits there had been a couple of compelling reasons for sourcing their gear through Christie Lites. “Since the design was heavily based around a back wall of strobes, I wanted units that would give us a bigger pallet than a static coloured strobe. Christie owns a vast quantity of the JDC1’s so were able to offer the number of units I wanted, within the production budget. Secondly, I was keen to work with Andy Strachan [Christie Lites account handler] on a new show. We have a good working relationship and he’s great at making sure all details are considered from beginning to end.”
Strachan responded by saying, “I have worked with Michael for a number of years and he is a fantastic LD. The GLP JDC1 strobes are such a great fixture, and he worked these into his design as soon as he had seen them and the result was outstanding.”
The back wall was made up of all 80 JDC1’s — hanging from custom-made soft ladders. These were complemented by 38 X4 Bar 20s, with 14 staggered across three flown trusses and the remainder on the floor.
Michael Straun was confident the JDC1s would deliver the solution; after seeing them at last year’s PLASA Show he managed to get his hands on a couple of units for a German TV show, having also seen them in use on the Mercury Music Prize.
Michael Straun undertook most of the programming himself with Dan Williams looking after the show on the tour. “I was only with him for the first show,” he confirms. “There was no backing track or timecode so everything was done live.”
Summarising the JDC1, he says. “GLP have really developed something useful and exciting here. The back wall of JDC1’s was a major part of the look. Without a big video wall they were the key element of the stage design. With them being so versatile compared with other LED strobes on the market they improved the looks within the show tremendously.”
(Jim Evans)

Latest Issue. . .

Tweets from our Friends