UK - White Light Events reports the completion of an extremely busy Christmas period, which has seen it providing lighting to some of London's most prestigious party venues.
For the third consecutive year, the company was invited to design and supply the lighting for the parties and events held at Coram's Fields in north London, managed by European Events. This year's parties were themed around the Winter Solstice: lighting designer Mike Robertson responded by creating a fantasy world using a mixture of lavenders and blues to embellish the themed environment.
European Events were also managing a new marquee structure in the grounds of London Zoo, themed as the Latin Quarter. Here White Light Events used image projection, haze and colour washes of vivid reds, pinks and ambers to create a highly charged atmosphere for the parties' guests. The lighting system was also flexible enough to cope with daytime events including an Ugly Bug Ball for young children!
Elsewhere in London, the company was part of the revival of a favourite party venue, the Hop Exchange. Evolve Events and Inneventive had devised a New Orleans theme, with lighting effects adding magical moments such as a reveal of the dining room through a gauze partition. The White Light Events team also had to cope with the restrictions imposed by the building's historic architecture; so a range of custom solutions were created to allow lighting fixtures to be rigged where required.
Alongside these large-scale events, the company also lit a number of smaller projects including a fantasy Father Christmas Gro
UK - It was a royal extravaganza dampened by blustery, rainy weather as Queen Elizabeth II christened the world's largest ocean liner on Thursday 8 January in Southampton. In front of 2,000 invited guests, she launched the £500 million Queen Mary 2 - the first liner for transatlantic and worldwide routes to enter service since the QE2 in 1969.
Although the Queen was protected from the strong winds and downpours by a temporary structure, hundreds of Southampton residents, barred from the dockside by tight security around the Ship, braved the elements to watch the ceremony on large screens in the nearby park. Weather conditions were fierce and health and safety regulations prevented the rigging of the stage and other equipment until the eleventh hour when the winds finally calmed. Despite the weather, the afternoon was a colourful, lively spectacle thanks to an array of imaginative graphics from the G-LEC custom graphic library, which were shown on the G-LEC Curtain.
Facilitated and organized by Fourth Phase London, the event marked the first use of the G-LEC Curtain in the UK after extensive use on large-scale concerts and events on the continent and the US. Flown at the back of the stage, it provided a creative backdrop for performances from Fame Academy runner-up Alistair Griffin and new girl band, Clear.
The G-LEC Curtain can be used for both indoor and outdoor performances and proves its worth in windy weather conditions, where traditional LED screens could blow over. Made up of a series of tubes, each separated by a 6cm gap, the G-LEC Curtain offer
UK - This year's Olivier Awards nominations have been announced: three musicals lead the way in overall nominations, with Jerry Springer The Opera, Ragtime and Pacific Overtures each receiving eight nominations across a number of categories.
Best Lighting Design nominations are for PLASA member Simon Corder for his design for Hitchcock Blonde at the Jerwood Theatre Downstairs at the Royal Court and the Lyric; Hugh Vanstone for Pacific Overtures at the Donmar Warehouse, and Howard Harrison for Ragtime at the Piccadilly.
For the first time in its 28-year history, the Olivier Awards panel has added a Best Sound Design category to its list of honours, with nominations going to Mike Walker for Jerry Springer - The Opera at the Lyttelton and Cambridge theatres; Nick Lidster for Pacific Overtures; Peter Hylenski for Ragtime and Paul Arditti for The Pillowman at the Cottesloe.
Out of the four Best Sound Design nominations, both Pacific Overtures and Ragtime have sound designs from Autograph Sound Recording (in the last 20 years, the company has designed or supplied 28 of the productions that have won in the Best Musical or Best Play categories). Ragtime's American sound designer, Peter Hylenski, was working for Autograph on this occasion, in conjunction with Autograph's chairman and flagship designer Andrew Bruce who had been asked by the producers to be a consultant on the project. "Peter did a beautiful job on the show," said Bruce. "It was great to be of help and to he
Australia - December saw Resolution X install a record nine separate Christmas lighting displays in various locations all over Melbourne. Since its beginnings in 1998, the company has developed a reputation for delivering innovative displays on-time and on-budget has seen the number of Christmas clients steadily grow, with many commissioning multiple installations in separate locations.
2003's installations ranged from the 1km-long Burke Road, Camberwell display to a single tree in Victoria Gardens, Prahran. Many of these shows were run from Enttec's DMXPlayback unit, a compact DMX show recorder, which can be configured to either start a particular show on power-up, and loop through until the power is turned off again, or trigger up to 26 different shows via RS232.
By far the largest installation, the Burke Road, Camberwell show featured giant custom-built panels depicting various Christmas scenes and characters, built by Russell Brebner, one of Resolution X's production managers, and painted by Vicky Pratt, a freelance artist whom Resolution X has relied upon for many years. Lighting fixtures used ranged from Clay Paky Golden Scan HPEs in weatherproof enclosures and Studio Due City Colors, to over 3km of 'Stargazer', a 24-volt decorative festoon. Three Enttec DMXPlaybacks were used in various locations to control the enormous display. In all, over 350 hours were spent installing the display, and more than 150 hours were spent in planning, preparation and manufacture by the Resolution X staff.
One of the simpler installations was the Melbourne City Square Chri
Germany - This month sees the launch of a new show control systems specialist company, The Fun Company show control systems Ltd - which promises to "put the fun back into the entertainment controls industry". The Fun Company is a developer and manufacturer of professional show control systems that will "bring a new level of sophistication and integration to lighting, video and audio environments".
The company has been formed by industry veterans who are dedicated to show control products that will make a real difference for operators, designers, and the audience. The company's products will incorporate innovative solutions for hardware, software, and networking, as well as what it claims will be unique user interfaces.
The-Fun-Company is a multinational enterprise, with offices in Germany, Scandinavia, North America, and the UK, enabling it to provide regional support for the products, as well as direct channels for user feedback to the product development team from the major markets in the industry.
"The-Fun-Company is currently in the middle of a development process for a whole new range of show control systems and we will in the near future schedule a presentation to the industry of the first working prototypes", says company co-founder and spokesman Oliver M Klaeffling.
Kaeffling's background includes working in R&D at AVAB in Sweden from 1994-1996, also running AVAB Germany (1995-96). After TransTechnik took over AVAB in 1996 he continued to work in TransTechnik as a product manager, before moving to LDDE in Austria in 1
UK - The smash-hit musical from last Christmas, Trevor Nunn's Royal National Theatre production of Anything Goes, has now transferred to the West End - and DHA Lighting has again been involved with making lighting designer David Hersey's vision for the show a reality.
At the National, DHA's Wyatt Enever and Steve Larkins carried out the careful pre-distortion of the images projected onto the show's cyclorama. The projection - particularly the scrolling image of New York as the ship on which the show is set leaves dock - proved so successful that it was expanded for the West End production.
However, the changes required the DHA team to produce newly pre-distorted images to suit the different shape of cyclorama and projector positions at the Theatre Royal Drury Lane - one of London's largest stages, but here filled with John Gunter's recreation of an Atlantic liner. Gunter's design was adapted from the National by wrapping the cyclorama around three sides of the set. Hersey therefore chose to locate two large-format projectors upstage, giving a back-projected up-centre image that carried around to the sides of the cyclorama as far as possible.
The projectors chosen were E/T/C PIGI 6kW units fitted with film scrollers and with Wybron CXI colour-mixing scrollers to allow the colour of images to be altered on the fly. Both projectors were mounted on a platform installed half-way up the back wall of the stage. The film scrolls contained revised versions of images created for the National (New York by night, New York by day, a sunrise), and new images created f
UK / France - Le Maitre has announced the appointment of SFAT, of Chalon-sur-Saône, as its new distributor for France. SFAT, a well-established manufacturer of foam, snow, confetti and wind inflatables, has taken on the distribution of all of Le Maitre smoke products, including smoke machines, hazers, and bubble machines.
SFAT's Christophe de Lora commented: "We are very happy with this deal, we plan to launch the new Le Maitre machines at the SIEL show in Paris. We feel strongly that Le Maitre products fit perfectly well with our existing ranges."
Rick Wilson, Le Maitre's sales director added: "This is a positive move forward for us. I have always viewed the French market as a key constituent for the overall European marketplace. Our current pyro distributor, JP (Pyrofolies), will continue working with pyro, with both companies supplying each other. In all, a perfect arrangement."
(Lee Baldock)
UK - Simple sound-wise, but intensely artistic, the recent performance by the Merce Cunningham dance ensemble in the Turbine Hall of the Tate Modern produced an inverted take on movement and music.
The three musicians up on the gallery, out of sight of the dancers, were required to respond to the dancer's movements, conveyed by CCTV, and play subsequently. This in turn was a live response to the Olafur Eliasson installation 'Weather' (see Lighting&Sound International magazine, November 2003). It's a thin line between cutting-edge art and plain conceit - some may find such a performance fanciful - but most visitors were intrigued.
The Turbine Hall is an unfriendly environment for the sound fraternity. Even before you put sound energy into the room there is a permanent 50Hz hum caused by the National Grid sub-station still resident in the building: added to this are the spacious dimensions of the hall itself. To deal with the space, sound designer (and accomplished musician in his own right) Andy Russ chose to use d&b audiotechnik F1222s, in collaboration with Giles Rowland from Orbital Sound. "It's a big, echoey space," said Rowland, "pattern control is everything. But Russ wanted quality as well - he originally specified some Meyer speakers, but was impressed with the performance of the 1222s and changed his mind."
Despite just three musicians, Russ, who also mixed the performances live, used a Midas H3000 mixing console, taking 40 inputs from the three maestros.
(Lee Baldock)
Germany - As part of complete renovations, both Theatre Heilbronn and Theatre Duisburg in Germany have taken delivery of a DiGiCo D5 56EX. Having first seen the console at Tonmeister 2002, Theatre Heilbronn immediately scheduled an in-house demo, which also took advantage of DiGiCo's German distributor being in the theatre's hometown. One of the theatre's main requests was for a flexible and easy-to-use system, which still covered a comprehensive set of tasks. The analogue feel of the D5's touch-screens, with dedicated hardware built around them and the well-designed snapshot system, made an immediate impression, say the company.
Theatre Heilbronn's D5 configuration includes three racks with 104 inputs and 74 outputs and runs with 96 DSP mixing channels, plus internal effects and output processing channels. The theatre's head of sound, Frank Bürger, says: "Within a matter of days all our mixing engineers felt at home at their new working place which aids creativity and artistic performance rather than them having to worry about scrolling through menus and cumbersome technology."
Meanwhile, Theatre Duisburg had initially scheduled a complete refurbishment for 2004, but due to technical problems with existing equipment their console needed to be replaced immediately. After a short evaluation of two other digital products, the decision was made to install the D5. "It was both the flexibility of the workflow and the simplicity of the format that made the choice easy for us," explained Oleg Surgutschow, head of the sound department.
Other decidi
Germany - The recent Musik Produktiv fair in Ibbenburen saw the official appointment of A audio as the new distributor for KV2 Audio products in Germany. Providing the main PA and monitors for Event Stage Number One, the KV2 system played host to a varied line-up Roland keyboard demonstrations, various live bands, percussion workshops, and a demonstration by Michael Angelo Batio, allegedly the fastest guitarist in the world, who thundered his way through many rock classics.
Representing A audio was Freddy Thalmann, who worked closely with George Krampera and Jonathan Reece-Farren of KV2 to ensure the whole event ran smoothly. Thalmann is no stranger to George Krampera's loudspeaker designs, having come from the stable of EAS, where prior to his appointment with A audio, he provided technical sales and support for RCF and Mackie industrial products.
With offices based in Emmsdetten and a sales office in the south of Germany, the company says it look forward to bringing the brand to the forefront of the German live music and installation markets. Thalmann comments: "Germany is a difficult but very important market, and when introducing a new brand, it is essential that you have the full support of your manufacturing and design team, along with a willingness to mould the product to the real needs and expectations of your potential customers. I believe with the KV2 product we have an opportunity to do this, and to offer a new higher level of audio experience, but at a price point that represents real value."
(Lee Baldock)
UK - The Annual General Meeting of the Production Services Association (PSA) will be held on 9 February 2004 at the Hammersmith Novotel, and will followed by the PSA Conference and the Total Production Awards Dinner, and the PSA is encouraging all members to attend if possible.
The conference includes the detailed unveiling of the new IOSH / PSA Safety Passport Scheme. A Safety Passport works like any other passport, say the PSA; in this case it identifies the holder as having undertaken basic health and safety awareness training and allows access to "passport controlled" workplaces. Many industries insist that workers hold a Safety Passport before they can gain access to the workplace or even obtain work.
The AGM starts at 10am, and is followed by the Conference beginning at 11am. Lunch is served at 1pm and it is envisaged that the finishing time will be around 2.30 pm.
(Lee Baldock)
UK - Swedish rock star Robert Wells was in concert at the Royal Albert Hall recently with his Rhapsody in Rock show. The show was a lavish affair with a full symphony orchestra, an a capella group, dance troupe and even a trapeze artist!
As a backdrop to this visual extravaganza, Massteknik UK staged a 45sq.m Unitek V9 LED screen system - one of the largest screens ever used in the Royal Albert Hall. Behind the scenes, an Electrosonic Vector image processor was in control, driving the mixture of live video, graphics and Catalyst images, which were created by Massteknik's Swedish division. The show was produced by Robert Wells AB of Sweden, and the technical production was jointly achieved by Massteknik's UK and Swedish operations.
(Lee Baldock)
UK - Allen & Heath's Dutch distributor, TM Audio, has provided a 40-channel ML5000 to one of Holland's biggest commercial broadcasters, RTL4. The live sound VCA console has been installed to cover all live elements of the popular Barend & Van Dorp talkshow, which features performances from local Dutch talent to well-known artists such as Norah Jones, Tindersticks, Stereophonics, 16 down and Peter Frampton.
Broadcast daily from Monday to Friday, the well-known journalist duo provide a mix of satirical comment on current affairs and interviews with special guests, supported by writer and ex-professional soccer player, Jan Mulder. "We provide monitor mixes for visiting artists and bands and FOH mixing for the studio," comments Eric Bergsma, head of sound for RTL Netherlands. "The ML5000's versatility, quality, flexibility and compact size are perfect for our needs."
(Lee Baldock)
UK - As part of PLASA's ongoing role as a CPD Network Provider for RIBA - the Royal Institute of British Architects - PLASA's Nicky Greet, in conjunction with Andy Brining of Stagepoint (and with input from Chris Higgs of Total Fabrications), has developed a seminar entitled Design Considerations for Buildings used for Corporate or Entertainment Applications, to provide architects with essential information in the design stages. The first will be delivered at PALME in Dubai next month (16-18 Feb), with others to follow.
The RIBA CPD Providers Network exists to provide quality, assessed, Continuing Professional Development (CPD) for architects and other construction professionals. Manufacturers and suppliers from practically every sector of the construction industry are now represented on this highly respected Network.
The Association had been looking for an opportunity to build closer links with the architectural markets, and RIBA in particular, so that it can create greater awareness of its members and contribute to the building design process. Further details are available from Nicky Greet at PLASA on the e-mail address below, or by telephone at +44 (0)1323 410335.
(Lee Baldock)
UK - The Association of British Theatre Technicians' annual showcase, The ABTT Theatre Show, staged in London's Royal Horticultural Halls on 16-17 June, has expanded into a third hall - the Assembly Hall.
The decision was made by show director Roger Fox, supported by the Show's administrators, Pandemonium Productions Ltd, headed by Simon Garrett. According to the ABTT, the new cost-effective exhibition packages available exclusively in The Assembly Halls are ideal for new exhibitors, particularly key service and educational organizations. Roger Fox says: "ABTT Theatre Show is a unique forum and is a vital technical showcase for professionals in theatre and auditoria. By encouraging new exhibitors from areas such as PA/VA, video and building services, the show broadens its appeal. We're confident that The Assembly Hall will add value to show as a whole."
ABTT reports that over 72% of the combined floor space in the Lawrence and Lindley Halls has been re-booked by 80 of the 111 companies at last year's show. Whilst a handful of prime open sites can still be booked in The Lindley Hall, currently only nine sites are available in The Lawrence Hall. Meanwhile, the Association is also conducting a targeted promotional campaign to ensure that the show's visitor attendance surpasses previous records.
For Exhibitor information contact Simon Garrett or Isobel Hatton at Pandemonium Productions Ltd, tel: 01895 259559, or via email at the address below.
(Lee Baldock)
Germany - Telecommunications giant T-Mobile has installed one of the world's highest resolution LED video screens for the video-conferencing hub of its headquarters in Bonn, Germany. The huge Lighthouse LVP0630 (6mm pixel pitch, 3000 Nits brightness) screen is free-standing at the end of a large (100m by 30m) video-conferencing room, which features advanced AV facilities and an integrated sound system by Pro Video Broadcast und Konferenztechnik GmbH Berlin and Arge Medientechnik of Germany.
The screen was originally specified at 13 by 13 panels in size, but has since been expanded to 16 by 13 panels, for a 16:9 wide screen aspect ratio. The combination of the 51.9sq.m (559sq.ft) screen size and the 6mm pixel pitch gives a screen resolution totalling 1536 pixels (H) by 936 pixels (V). Control is via four Lighthouse LIP-KX processors, running a DVI input fed by an Electrosonic Vector unit.
The screen itself is the robust S frame structure (fixed install version) of the LVP0630 screen, which provides reliable performance coupled with simple maintenance access from the back. The LVP0630 has a horizontal viewing angle of 140°, a vertical viewing angle of 90° and each intelligent module contains 96 x 72 pixels in a 4:3 aspect ratio. It incorporates Lighthouse's proprietary fourth generation M4 Uniformity Control that has been developed to ensure that the colour and brightness of every LED pixel is well balanced. M4 technology allows for screen uniformity to an exceptional level, and is achieved by measuring the brightness for each LED at the production stage in the f
UK - Audace Ltd, manufacturer of the Intelliplate programmable control system for audio-visual installations, has re-located to larger premises in Somerset, Southwest England. The new offices, in the small village of Stoke-sub-Hamdon near Yeovil, are ideally suited to the next phase of development for the company and the product range, says MD Bryan Waters.
He explained: "This new facility enables us to be far better suited to the growing needs of our clients - we are more accessible, have more space for stock holding and are better placed to supplement our human resources as and when appropriate. The main benefit, however, is the fact that we are a full 150 miles closer to civilization than we were in our previous office in Cornwall!"
Clients, suppliers and prospective clients are invited to visit the new facilities at any time, which are located at 18 North Street Workshops, Stoke-sub-Hamdon, Somerset TA14 6QR. A new telephone number - 01935 825910 - is provided for all enquiries.
The company's Intelliplate is a programmable control system for fixed installations of third-party audio-visual equipment, including projectors, audio processors and video routers. Control methods include a range of wall plates, internet-based virtual panels and system automation capability.
(Lee Baldock)
USA - Using 27,000 cubes of frozen lake water, Minnesotans are working around the clock to construct the Ice Palace, the spectacular centerpiece of the 2004 St. Paul Winter Carnival. More than one million spectators will flock to the outdoor festival starting on 22 January. The event climaxes on 8 February with the National Hockey League's All Star Game.
The Ice Palace promises to be a feast for the eyes. It measures 240 feet wide, with turrets towering to 75ft high. A wall of ice surrounds the grounds with 20-foot high turrets. Adding to the spectacle is a fountain with a 20ft high flame, two stages for entertainment and an ice rink. The entire five-acre site is enhanced with nearly 500 High End Systems lighting products supplied by HES in Austin, Texas, and TLS of Huntsville, Ala. Lighting design is by Frattalone & Associates Inc of St. Paul, Minnesota. High End's Tim Grivas is lighting programmer and TLS' Chris Lighthall is head electrician and system integrator.
The lighting equipment list for the festival consists of 213 ColorCommand fixtures, 22 ColorMerges, 24 ColorPowers, 27 x.Spot Xtremes, 94 C16s, 27 Trackspot 2s, 15 Technobeams, eight Studio Beams, four EC-2s and 20 Dataflash AF1000 strobes, with control via two Wholehog III consoles.
(Lee Baldock)
UK - When the BBC decided to revamp Top of the Pops, it committed itself to live broadcast and live performances, and the new InnovaSON Sy80 digital console was chosen to handle the highly demanding job of mixing sound for the audience PA system plus fold-back for the performing artists. The live studio sound is provided by SSE.
Sound engineer Chris Trimby, permanently assigned to the show, explains: "Now it's live to air, the show has changed completely. Previously, we would record one band then stop, set-up and record the next. Now of course we have to go directly from one to the next. This meant that we needed more inputs and outputs, because we don't have time to patch, and that's one of the main reasons we decided to use the InnovaSON Sy80."
TOTP used to employ up to five stages to record the show but the new, streamlined, live show uses two, or occasionally three. In the new configuration, the Sy80 offers a number of benefits to the show's producers: turn-around time is accelerated, only one console is required, at just 1.65m wide a great deal of space is saved, configuration and routing is simplified, and there is no danger of running out of channels, say InnovaSON.
Trimby, who is experienced with a wide variety of live mixing consoles, both analogue and digital, summarizes the advantages of working with the Sy80: "Almost every multi-act live event I have been involved with from the Reading Festival to awards ceremonies and TOTP has a tight set-up and rehearsal schedule. What's fantastic about the Sy80 is that it saves so much time in t
Sweden - "It's the 'dinner of the year' throughout Europe - perhaps even the world," says lighting designer Per Sundin. But it's not the menu that matters - it's who is being served. The Nobel Prize Awards Ceremony (covering all awards except the Peace Prize) takes place annually in December at Stockholm City Hall in Sweden to honour those who have achieved distinction in Physics, Chemistry, Literature and Physiology or Medicine.
Afterwards, the real party starts with the 'Table of Honour - the Nobel Banquet' - a banquet for 1,300 people, including the entire Royal Family of Sweden, along with dukes and duchesses, counts, ambassadors, lords, ladies and political figures and even more distinguished guests. Sundin (of Sveriges Television), as LD, has for many years been in charge of enhancing the event for the guests and for Scandinavian TV broadcast. "The goal is to make the room a cozy but still formal atmosphere," he explains.
Supplementing the candle-lit tables, Sundin chose to enhance the ambiance with a "buffet" of High End Systems lighting products, including the DL1 digital light engine and the Catalyst Version 3 Media Server. The DL1 combines automated lighting with video projection, all in a familiar moving yoke fixture, while the Catalyst Version 3 Media Server offers multi-layer video effects.
Spectra+Sweden provided equipment and technical help, under the direction of production manager Lars-Ola Melzig. Their equipment list included 12 Studio Spot 575s, 12 Studio Beams, 12 Studio Color 575s, 12 Studio Spot 250s and a Cyb
UK - Trilogy, Doncaster's latest nightspot, features an interesting lighting scheme, with equipment supplied by Robe UK to installers Willpower to kit out three rooms - The Crest, The Temple and The Chamber - at the new 2,100-capacity venue. The lighting design was created by Robe UK's Nathan Wan, working closely with Trilogy's owner, Gary Hunt of Brook Leisure.
In each room, the lighting needed to complement the room themeing, and also had to be flexible and eye-catching: "It was great to get onboard with and work alongside the interior design team from the early stages," says Wan. The club's overall design was led by Hunt, who adopted a hands-on role throughout the project.
This interesting medieval-styled Chamber is also the main dancefloor. The lighting had to be dynamic to cater for a wide range of musical styles. They took a completely customised approach in the, with all lights are hung from a large bespoke chandelier centrepiece which Robe UK designed and had fabricated. The chandelier evolved from an original neo-Gothic idea of Hunt's to blend with the themeing - which includes a life-size, fully armoured knight. Hunt was adamant that he did not want people entering the Chamber and seeing a conventional-looking lighting rig in the ceiling.
The chandelier is based on three circles of trussing, dropping downwards at three different levels, with a frosted core designed by Wan, and 78 LED spikes. The latter were specially developed by Robe UK to give the structure full colour-changing capabilities. All chandelier metalwork and fixtures are powde
Spain - On 17 December, Andrew Lloyd Webber's musical Cats opened at Madrid's Teatro Coliseum de Madrid, with Fourth Phase, London providing the lighting rig. Already lighting the Madrid productions We Will Rock You and Phantom of the Opera, Cats reaffirms Fourth Phase's presence in the city. Working with lighting designer Howard Eaton, Fourth Phase provided a selection of lighting equipment including 90 moving lights, as well as conventional luminaires, control and dimming.
Taking advantage of developments in lighting technology (the moving light was still on the test bench in 1981), Eaton has devised an all-new lighting design for Cats in Madrid. In addition, his lighting company, Howard Eaton Lighting Ltd, has provided a variety of special effects equipment for the show, including fibre optic cloths, fog machines and pyrotechnic hardware. He explains: "We've worked very closely with Fourth Phase on this project. Having built up a relationship with the company over the years, I know how reliable and responsive Fourth Phase is. It took Alan Thomson and his team less than 10 days to complete the job - from getting our order to delivering it safely to us in Madrid."
Eaton is something of an old hand when it comes to lighting Cats. He served as production electrician for the original show alongside Alan Thomson, who was then chief electrician at The London Theatre. He also lit the New York and Sydney versions, and the American tour. "Things have changed a great deal since that first production. Advances in technolog
UK - Theatre and broadcast sound specialist Orbital Sound has recently collaborated with JFMG to create a new frequency plan in the UK. Designed to ease RF licensing nationwide, it has also been devised to augment the potential of RTS Telex's range of BTR 700 and 800 wireless intercom systems.
Paul Gill, principal engineer at JFMG Ltd explained: "The old frequencies were creating frustration for users who found that we couldn't issue a licence at many venues due to the risk of causing interference to TV reception. With the increasing popularity of the BTR wireless intercom it was imperative to find a solution that better meets the needs of the industry but safeguards other services."
The foundations for this breakthrough were presented at a meeting recently hosted by Orbital at their central London HQ. Given clear understanding of the operational deployment and the equipment's technical characteristics by Orbital's head of communications, Tim Sherratt, JFMG set to work. Gill commented: "It was clear that we would have to work with existing frequency bands as a new variant of the BTR would be impractical and would leave existing users stranded. Even so, I was confident that a huge improvement could be achieved by simply re-organizing the channel map on two fronts. Firstly to achieve greater flexibility - the old plan was often unable to make use of the spectrum that was actually clear for use at a particular location. Secondly to move BTR frequencies into what we call 'sweet-spots' of the TV channel. These are small sub-bands or slots within a TV
Brazil - Martin Professional's Brazilian distributor, ProShop, has delivered the company's new MAC 550 profile spots to rental company LPL, who immediately put them into use on two prestigious events. One show featured Brazilian musical legend Roberto Carlos, who performed for 150,000 spectators in Rio de Janeiro's Maracana Stadium and an estimated television audience of 50 million people.
LPL delivered 24 new MAC 550 profile spots for the show. Mounted on vertical risers between large columns on a massive stage, the 550s provided everything from energetic pop-laden looks to more subtle, mood-generating impressions. Days later, the MAC 550 helped ring in the New Year on Brazilian television TV Globo's taping of its annual New Year's Eve show. Broadcast on 31 December, the show was expected to draw an audience of some 80 million. LPL supplied a host of MACs to TV Globo, the world's third largest TV group, including 22 new MAC 550 profiles. Other lighting included 12 MAC 500 profile spots, 12 MAC 600 washlights and four MAC 2000 washlights, as well as other automated lighting. The lighting director at TV Globo, who co-ordinated all lighting for the New Year's event, is Cesio Lima.
The 400W MAC 550s are making their mark on the touring and special events market, say Martin, thanks to their graphics and gobo animation system, multiple colour wheels, motorized zoom and powerful light output.
(Lee Baldock)