Color Kinetics Incorporated, specialists in LED illumination technologies, and Targetti, a leading Italian designer and manufacturer of architectural lighting fixtures and systems, have announced an OEM partnership. Through this partnership, Targetti will incorporate Color Kinetics’ patented Chromacore LED technology into a new line of custom fixtures. The two companies also plan to co-develop new Chromacore-based ‘designer’ lighting fixtures.
The new product line, which is planned for launch in the second half of this year, will enable Color Kinetics’ full spectrum colour and lighting effects to be incorporated into any décor through an array of Targetti’s fixtures. Besides aesthetic benefits, LEDs offer a host of practical advantages over conventional light sources that make them an extremely energy efficient, long-lasting, low maintenance and versatile source of light.
According to Color Kinetics’ George Mueller, this partnership will significantly extend the market for LED-based illumination, which experts predict could become a $50 billion industry.
Vertigo Rigging has installed the Broadway hit musical version of The Full Monty into the Prince of Wales Theatre for its West End run. Vertigo are past masters in the art of rigging large West End musicals. Others having included Beauty & The Beast, The Lion King, Notre Dame de Paris, Mamma Mia and many more.
Vertigo’s Full Monty team was led by the unflappable Ken Mehmed. The team worked closely with master carpenter Micky Murray and production managers Stuart Crosbie and Simon Marlow for producers Sacha Brookes. Vertigo used 40 Lodestar motors to rig the flown elements of the set, designed by John Arnone. These were dead hung in the theatre’s roof once positioned correctly in a very precise operation. A substantial proportion of the stage scenery is flown, so the PoW grid is very tightly packed with flats and set pieces, and the rigging had to be spot on. One of the more unusual pieces is a rotating silver slash curtain, which comes in and turns before flying back out again.
Vertigo also installed an industrial-style false proscenium arch, resembling a steelworks and setting the atmosphere for the story. The film on which the musical is based was set in Sheffield in the 1980s, with the steel industry spiralling into spectacular decline. The stage action, however, is set in Buffalo, New York, where another group of unemployed steel workers decide to beat the welfare by forming a male strip troupe and going for ‘The Full Monty’.
The stage-based sections of set - also tough, heavy and stressed - slide back and forth. Vertigo rigged four specia
Specialist AV company, Blitz Communications has secured two theatrical firsts for the new Queen musical We Will Rock You, opening in London's West End on 14 May. The show marks the first time that Blitz's new HRS high-resolution videographics system will be used which will be linked to the biggest video screen ever installed in a theatre.
The HRS system will allow graphics, pre-recorded video sequences, live action shots and scenic backdrops for the show to be displayed on a giant LED screen measuring 10.2m x 4.8m. Blitz brokered the deal for production company Lighthouse to obtain the LED screen, which cost £1million and was shipped over from Hong Kong. It is made of LVP1010C Quarter Bin LED panels and divides into eight separate smaller screens. Four of these operate at floor level on individually powered, steerable trucks. Another four are flown using an automated motionsystem that allows both horizontal and vertical movement.
During the production the screens can operate in various separate formations to allow split image displays to the front or rear of the stage. Alternatively, the four flown screens resting on top of the other four on stage can form one huge seamless image. Blitz are also supplying the live action cameras and video production equipment, creating a TV studio under the stage.
We Will Rock You opens at London's Dominion Theatre. The production has been six years in development and is a collaboration between members of the rock group Queen and Ben Elton. The show is designed by rock n' roll veterans Willie Williams and Mark Fisher,
West End theatre members of BECTU have voted to accept a pay rise worth 11.3% on average.
In a ballot of BECTU members throughout London’s commercial theatreland, 71% voted in favour of the offer. Members are now set for a further pay rise in October 2002, worth 4%, or inflation plus 1%, whichever is greater. The two-stage offer put to members was tabled by employers, the Society of West End Theatres, in response to an earlier ballot in which 96% of union members in the sector had voted in favour of industrial action. "This is a significant first step in the union’s campaign to end low pay among theatre workers," BECTU organizer Mark David-Gray told us. Originally, the employers had tabled a pay rise of only 1.6%, prompting a determined campaign by BECTU to fight low pay in the West End. Since then its membership in theatreland has increased by more than 30%.
XL Video - specialists in touring and live event video production - supplied a full digital touring package to the successful Pop Idol tour - one of the fasting selling tours in the history of UK popular performance!
Video director and XL crew chief was Ruary MacPhie and the medium of video played an important role in the show’s look, a creative collusion between Peter Barnes’ lighting and set design and Kim Gavin’s overall artistic direction. XL supplied four Sony D35 cameras for live camera playback - two in the pit on a track-and-dolly system, one at FOH and the fourth, hand-held onstage. Realtime show action captured by these was primarily beamed onto two soft screens either side of stage. The main onstage screen consisted of 40sq.m of Unitek 25mm pixel pitch LED, located upstage centre, supplied direct to the production by GL UK. It split to form an entrance/exit for the performers, and was rigged upstage of another ovular shaped soft screen, framed by and moulded into the set.
The XL Video team’s main challenge was the hectic first half when they were dealing with a tightly cued sequence featuring multiple play-ins from the hard drives, effects from the Magic DaVE digital video effects generator plus the live camera feeds. MacPhie mixed the visuals using a Grass Valley GVG 1200 mixer/switcher. Blink TV, the large screen entertainment specialists supplied onscreen material for the pre show and interval period.
The newly formed Stage Electrics Wales has reported a strong start to the year, especially in the live TV sector. St David’s Day 2002 saw the Welsh branch supplying lighting, rigging and mains distribution for the Welsh television broadcast of S4C’s annual talent competition - 'Can-i-Gymru' or 'A Song for Wales'.
Cardiff-based Apollo Television brought in lighting designer Martyn Rourke and designer Phil Williams to transform the Afan Lido leisure centre in Port Talbot into a TV studio for the two-hour live broadcast. Over 18 Lodestar motors were used to fly the entire rig in the venue that had a restricted weight loading. Stage Electrics’ project manager for the event Tim Routledge commented: "In conjunction with structural engineers and with the knowledge of our rigger, Gary Smith, we were able to monitor the deflections in the roof beams once the load was applied, to decide on whether the entire rig would have to be dead hung and the motors dropped out. Fortunately this was not the case in the end, which was a great relief and saved considerable extra work." Over 200 generics and 30 Martin Macs were controlled on an Avolites Pearl by Martin Rourke. To create an ‘industrial feel’ to the show, the stages were constructed out of scaffold to give several platforms, up to 18’ high, for presenter links, band areas and the backing singers platform.
The BBC also used Stage Electrics Wales to supply the production lighting services for its orchestral tour of Wales in March entitled - 'BBC Music Masters'. The company has also annou
ShowCAD Artist show control systems have recently been installed in Luminar Leisure’s Chicago Rock Cafes in Basildon, Ilford, Redditch, Swansea, Tamworth, Trowbridge and Wrexham. The installations were carried out back-to-back by Lynx Lighting of Yeovil over a very busy two-week period.
ShowCAD is already installed in many Luminar venues including the Liquid chains and, like ShowCAD, Artist implements MIDI, MIDI Show Control, SMPTE, digital and analogue input/output protocols. Additionally, Artist software can control 5000+ DMX channels and, operating on a Windows platform, the software also utilises standard PC protocols and functions.
In the Chicago Rock venues, the systems are programmed to run on Artist’s Real Time Clock and therefore will run all day, every day completely automatically, with the scenes and cues programmed to change to suit the hour of the day or night. However, the operators also have the ability to override the systems via digital input panels and MIDI interfaces in order to take manual control, for example during live music events. Combined with the Real Time Clock and a fully programmable audio input response for each individual scene, Artist’s ability to run multiple cues and cue-lists simultaneously and to communicate using the digital and MIDI inputs, make the system uniquely fitted for this type of installation.
A further benefit during the installations has been the ability to access Artist remotely, making changes and alterations to the shows by modem links without having to make site visits. Artist’s versatility
Yamaha's Commercial Audio Division has announced the shipment of its first DM2000 digital mixing console to 2nd Sense Broadcast Ltd, based at Millennium Studios, Elstree. The console, bearing the serial number 0001, is the world's first professional installation and 2nd Sense managing director Andy Hewitt took the opportunity to host two open days for current and potential new clients to coincide with the DM2000's arrival. The open days also provided an opportunity for other engineers and members of the Institute of Broadcast Sound to see and hear the console at work in the newly completed video edit and production suite.
Hewitt, a former BBC sound engineer, was one of a number of sound engineers approached by Yamaha's R&D department two years ago to help specify the next generation of Yamaha digital audio mixing consoles. The result of those consultations, which took place simultaneously with pro users throughout the world is the noise free 24-bit / 96kHz DM2000 hailed as a complete, multi-platform mixing system for the commercial audio market.
Hewitt has always liked the Yamaha marque: he partly attributes the strong growth of 2nd Sense Broadcast to the three original Yamaha O2R consoles installed six years ago, the desks providing an affordable and professional quality facility to clients at a time when budgets were being trimmed down. 2nd Sense Broadcast now have an ever growing list of high profile clients including Channel 4, all the BBC channels and the ITV network.
A limited number of ISCE (Institute of Sound & Communication Engineers) members is being invited to DNH's beautiful lake-side factory at Kragaro on Wednesday, 26 June. With an early start from Stansted, the full day will include tours of production, test, demonstration and design facilities, possibly resulting in a unique ISCE-branded loudspeaker unit. For further details of the visit, please contact Michael Leaver at the e-mail address below.
Booking details are availabale from the Secretariat on +44 (0)151 639 5211, or from Michael Leaver at the e-mail address below.
Proel S.p.A. has announced an agreement reached between the company’s Sound Reinforcement Division and Laboratorio Musica Vanis Dondi, developers of the L.i.S.A. Linear Source Array system. The agreement between Proel S.p.A and Laboratorio Musica will bring about the development of a completely new line of pro audio products, developed jointly between Proel and Laboratorio Musica, and based on the technical success of the L.i.S.A system - the first high power line array system to be made in Italy.
Recent projects for the L.i.S.A. system include a tour of Italy with Franco Battiato and the recent MTV Independent Day in Imola.
Spectra, one of Northern Europe’s leading lighting companies, has been chosen as the official lighting and technical supplier for the Eurovision Song Contest 2002. The Estonian Television broadcaster, ETV has commissioned the event which will take place in the newly-built Saku Suurhall, in Tallinn, Estonia, on May 25. ETV estimates that 120 million viewers will watch worldwide.
Spectra will supply a full range of lighting and video equipment, together with technical coordination and crew. The company will have 26 people working on site in the month running up to the event. This is not the first time that Spectra has handled such a major technical project. Swedish television company, SVT, chose Spectra as the official lighting supplier and technical coordinator for the 2000 Eurovision Song Contest which took place at the Stockholm Globe.
The spec will include some 800 lanterns, of which about 300 will be intelligent moving fixtures, mounted for the stage lighting alone. In what will mark it out as a unique event, 15 High End Catalyst systems will be employed in the production, the largest Catalyst production ever. Three operaters on seven lighting control desks will control everything. The lighting will be pre-programmed in Spectra’s new WYSIWYG studio.
‘The Deep’, the world’s only Submarium, is Hull’s £45.5 million Millennium Commission lottery project. Opened on 22 March by Prince Andrew, the complex was designed by Sir Terry Farrell with Lighting Technology working alongside Waterman Gore to provide the ‘above tank’ lighting. A totally new concept in visitor attractions, the Submarium is a dramatic fusion of aquaria combined with a descriptive voyage through the worlds Oceans.
’The Deep’ boasts the deepest water tank in Europe. This and the 11 tanks are home to seven species of shark and thousands of other fish. These range in size from the ‘Endless Oceans’ tank which holds 2.3 million litres of salt water to the smaller ‘Jewel’ tanks which hold just 1 cubic metre. The interior spaces are strongly influenced by the physical nature of the ocean and maximum use is made of the three dimensional spaces. At the building's core, a concrete structure containing the main fish tank recreates the conditions found in the Pacific.
For the above tank lighting, Waterman Gore called in Jonathan Hilton of Lighting Technology to work alongside their US consultant, Chris Baldwin, in order to establish the lighting concept. As such, the structure and the lighting installed above the various tanks by Lighting Technology, has been designed to create a sensation of immersion within the ocean environment. In order to create this impression, an array of ‘variable focus’ fittings were selected from the Astralux range of marine searchlights. Within the confi
Imagination - one of Europe’s largest independent design and communications companies, has opened an office in Stockholm. The company has appointed Bo Albertsson, former marketing director at Ericsson Mobile Communications, as the managing director of this new Scandinavian operation. Albertsson, took up the position in March coinciding with the official opening of the office.
"In my role as marketing director at Ericsson, I had been Imagination’s client for five years. I have always been a great admirer of the company and their unique approach to building brands. I think there is tremendous potential for Imagination in the Scandinavian market and I’m delighted to be joining them at such an important phase in their development," said Albertsson. Imagination (Scandinavia) AB will be supported creatively by Imagination’s headquarters in London.
DIVAS is a new company, specializing in the design, project management and installation of visual and audio systems to all areas of the professional entertainment business. The DIVAS team consists of four individuals - Tony Day, Damian Brunetti, Darrin South and Steve Nicholls - who have all worked together on various projects in the past.
The company will design, specify and install lighting sound and AV schemes, either working directly with end users or working under the umbrella of large sound, lighting and AV companies. DIVAS has already been working in a miscellany of environments including clubs, bars, shops, cinemas, ice arenas, leisure centres, stadiums, hotels, churches, museums, ballrooms and live music venues. One recently completed project was the sound and lighting systems spec and installation at Flicks club in Sleaford, Lincs. The club is housed in a former cinema retaining many original features. Working directly for owner Phil Broughton, DIVAS designed and installed a Logic Systems sound system, a Coemar, TAS and MAD moving light system and kitted out the DJ booth with Denon and Technics gear. They also specified the first ever new ShowCAD Artist control system in a club environment.
Full story in April's issue of Lighting&Sound International.
Production rigging experts, Flying Squad Aerial Rigging, were appointed by London-based brand experience agency, LIVE, to assist in the realisation of Robin Thompson’s set design for Barclays Human Resources event at London’s Excel Centre. As the largest single Human Resources event ever staged by Barclays, it stretched across four halls of the Excel centre, covering more than 8000sq.m and was attended by over 1,000 employees.
Working closely with Stage One and Robin Thompson, Flying Squad supplied and installed a staggering 1.2kms of trussing and 126 motors. With Rory Mckeown as project manager and Bryan Wilson as crew chief, Flying Squad accurately configured the structure underpinning Robin Thompson’s design into three sections: auditorium, reception and workshops. Ten individual workshop areas were constructed around the perimeter of the vast semi-circular auditorium. To give the auditorium a more intimate feel, Flying Squad blacked out the entire area and rigged over 1km of black serge drape, behind which another 370 metres of white fabric was suspended. The black drapes were flown out using a total of 18 motors for a dramatic reveal effect - the audience’s surroundings changing from black into brilliant white as the presentation ended and the workshops began.
Stage One realised Robin Thompson’s set design for the stylish main stage. It consisted of two 5m x 3m rear-projection screens with surround flattage, presenter staging and applied graphics to offer an impressive effect. The lighting rig, designed by Martin Locket of Essential Li
The Roundhouse is a well-known and curious live performance space, located near London's trendy Camden Lock and less than a mile away from Autograph Sound Recording, the sound design and audio equipment hire specialists. The site became legendary for punk and glam rock in the 1960s and 70s, where The Rolling Stones, Jimi Hendrix and Pink Floyd made their names and The Doors played their only UK gig. This North West London venue is once again becoming an established home to quality live presentations and Autograph are proud to be taking part in its revival.
Throughout the company's 29 year history, Autograph has been associated with The Roundhouse on many occasions, supplying varying size systems for some of it's momentous shows and more recently Bounce, the highly successful modern street dance extravaganza. For its first ten years Autograph was a neighbour to this historic venue, their office and warehouse space was located in The Stables, 500 metres along the Chalk Farm Road, now habitat to one of London's liveliest weekend markets. This spring, The Roundhouse, an old steam engine repair shed, will be home to another notable event. The Royal Shakespeare Company are returning to the venue for the first time in 33 years, to embark on a four month residency, performing three of Shakespeare's late plays, The Winter's Tale, The Tempest and Pericles.
Autograph has supplied an extensive sound and communications system, Designed by Mic Pool and co-ordinated by Charlie Horne, for this ambitious theatrical season performed in the round. Equipment supplied includes Sennheiser
On the evening of Wednesday 24 April 2002, Lightfactor/LightProcessor, Lights Camera Action, Vari*Lite Europe and the Society of Television Lighting Designers (STLD) will host an open evening at the Fairway Trading Estate in Greenford Middlesex, just off the A40/M.
The gathering will offer an opportunity for demos of the latest technology from these three companies - including the VL1000 and VL2000 series of luminaires from Vari*lite; Strand, Mole Richardson, Dedolight and Panavision high definition camera technology from LCA; Paradime digital dimmers, SGM moving lights and other brands from Lightfactor’s extensive product ranges, as well as a great chance to network with other industry people, including members of the STLD, ALD, BSKTS and BSC. The day will also include a tour each company’s premises and a chance to meet with the manufacturers and suppliers.
Please call Paul de Ville at Lightfactor for directions and further details - Tel: +44 (0)20 8575 5566.
UK-based loudspeaker specialists Celestion has announced a series of moves designed to enable the company to better leverage its unique technologies in the global marketplace. The company is exploiting more fully the economies of scale presented by being part of the multinational Gold Peak organization, moving production of its high volume professional loudspeaker products to its own off-shore manufacturing plants.
As part of this process, the company has managed an exhaustive and detailed collaboration exercise to ensure that Celestion’s UK build processes and sonic quality have been fully replicated in its extended off-shore manufacturing facility. Launched at this year’s NAMM show, Celestion’s Inverted Neo speakers are the first of a series of innovative, technology-led professional products that will continue to be built in the UK. The company is also looking to move from its ten-acre site at Foxhall Road to a more specialized facility in the Ipswich area.
Commenting on the reorganization, Celestion sales and marketing director Michael Tuck said: "We are entering an exciting period for the Celestion brand, combining the leading name in professional loudspeakers with continued investment in R&D and some extremely competitive pricing. By remaining focused on the needs of our customers, we are confident of significant growth in the marketplace, maintaining Celestion's position as a leader and innovator in the professional loudspeaker industry."
Sarner is working on a unique multi-million pound travelling exhibition of Russian Yachts, which is set to open in Hamburg at the end of this year. ‘Treasures from the Tsars Imperial Yachts’, depicts the evolution of the Imperial Navy from 1703, when Peter The Great launched his first ship, through to 1918 and the era of Nicholas II - it includes more than 400 original artefacts, jewellery and ships from the palace of Peterhos and the Central Naval Palace in St Petersburg.
Intellectual property management company, Eagle Crown Productions, who have the rights to this stunning collection, first met with Sarner to discuss the venture almost three years ago. As a result, Sarner have been responsible for every element of the exhibition design and concept; visitors enter by walking onto an imposing aft deck of an imperial yacht; once inside there are displays of panoramic archive film; reconstructions of living quarters, scale models and clothing, with audio, lighting and smells employed to make the exhibition as life-like and interactive as possible.
Sarner directors Mike Bennett and Ross Magri, who bought out the company last year, comment: "We have worked on a concept that uses the best techniques of theatre combined with the disciplines of exhibiting artefacts from this unique collection. The ships were literally floating palaces and the exhibition shows all aspects of what life was like on board these amazing vessels for the sailors, working shipman and the Royal family." Plans are currently in place for ‘Treasures from the Tsars Imperial Yac
Martin Professional has announced that it will continue to expand its production capability with the establishment of a manufacturing facility in China. Production is expected to begin by the start of the year 2003. As an important part of the company’s strategy to maintain its competitiveness in the lower-priced lighting segments, the new Martin facility will be geared toward the production of Martin’s DJ range of lighting products. The facility will be located in the Chinese city of Zhuhai in the southern part of the country.
Martin will maintain full control over the facility’s production and level of product quality. Martin Professional President and CEO Kristian Kolding commented: "The DJ market has traditionally been an important segment for us and with this new facility it will continue to be so. The factory in China will allow us to maintain an aggressive approach in this competitive market.
"We are determined not to turn to OEM as a competitive approach due to the lack of control involved. At this new facility, although we will obviously benefit from the low Chinese labour costs, we will maintain control over quality and will produce a line of products that live up to the same high quality standards that Martin customers have come to expect."
Production is expected to begin by the start of the year 2003.
The Broadway staging of the revival of Rodgers & Hammerstein's 1943 musical Oklahoma! opened on 21 March at the recently renovated Gershwin Theatre, New York. The classic musical about the American West hasn't been seen on Broadway since the late 1970s, but it's now back by way of the well-reviewed London production directed by Trevor Nunn and produced by Cameron Mackintosh.
Fourth Phase supplied the entire lighting system for the show, working closely with lighting designer David Hersey to realise his creative vision. Darren DeVerna, vice president of Fourth Phase's parent company PRG, has a long-standing professional relationship with David and headed the Fourth Phase team. The production features a combination of conventional and theatrical lighting, new colour mixing technology, animation and fog effects equipment, plus dimming and control systems.
Fourth Phase is one of the newest members of Vari-Lite's international dealer network, and lighting designer David Hersey is using 15 VL2202 spot luminaires and 23 VL2402 wash luminaires to create dramatic effect. "The Vari*Lite luminaires are used primarily as roving specials, allowing the right light to be in the right place at the right time," Hersey said. "During the dream ballet sequence, they come into their own and use live movement to enhance the choreography."
Coe-tech Ltd has announced three major new international distribution deals, all of which were cemented with the manufacturers at the recent Frankfurt and Rimini exhibitions. Coe-tech is now the exclusive UK distributor for French lighting control specialists Ariane, Italian theatre, club and architectural lighting manufacturers Teclumen and for Stage Tools from The Netherlands, manufacturers of trussing, metalwork and all associated accessories.
Coe-tech’s Ian Brown told us: "I’m delighted to bring these quality brands aboard the Coe-tech portfolio. They will further strengthen our current product ranges, enhance our competitiveness, and allow us to offer an even more diverse selection of quality equipment to our clients." The new ranges will also complement Coe-tech’s existing long-running distribution deals with Studio Due and Futurelight. "The scope of Coe-tech’s work is constantly growing," states Brown, "and is specifically expanding in new areas like retail, general leisure and the architectural sector."
Until recently, Coe-tech was the exclusive UK distributor for Coemar luminaires and whilst Coemar have now set up a direct UK sales operation, Ian Brown stresses that Coe-tech will continue to specify Coemar products where appropriate.
The past year has seen a close working relationship develop between two leaders in the field of theatre sound design. Aura Sound Design Ltd and Orbital Sound have collaborated on a number of high-profile west-end shows, including Mahler’s Conversion, Private Lives and most recently the highly acclaimed revival of George and Ira Gershwin’s My One And Only, which recently premiered at Chichester Festival Theatre and is now playing to packed houses at The Piccadilly Theatre in London.
Fergus O’Hare, one of Aura’s directors, wanted to incorporate a number of new products into his sound design for the show, and turned to Orbital to provide the solutions. Fergus commented: "By championing new technology, we’re able to offer producers, directors and cast technically advanced solutions which improve a production on several levels. From enhancing sound quality through to augmenting dramatic effect, streamlining on-site communications, improving aesthetics and helping productions to be more profitable, technology can push the creative boundaries of sound design to new limits."
The show’s system centres around the Yamaha PM1D digital assignable console and incorporates some notable firsts such as Sennheiser’s miniature SK5012 wireless transmitters, the RTS Radiocomm BTR700 wireless intercom system, and eight of Meyer Sound’s MM4 loudspeakers. O’Hare explained: "I’d noted the use of the PMID on a number of musical productions and the recent software upgrades, particularly the Recall Safe mode, have fu
Online Learning 2002 Europe - an event addressing the issues of online learning - was held recently at London’s ExCel. CT London was commissioned by GMA Events, the exhibition and conference organizers for Online Learning, to provide a total of seven bespoke areas split by their respective technology and conference requirements. CT had also been asked to service the needs of those who were to exhibit during the event, which covered visitors and delegates from some 38 different countries.
CT provided audio visual hardware including projection, lighting and audio, with feeds for use with translation booths for international delegates attending the numerous Q & A sessions. The company also covered two separate break-out rooms in the ExCel conference centre and one area in the main exhibition hall, again utilizing vast stocks of projection, audio, VT and data hardware. CT also provided a bespoke hardware solution in the main exhibition hall for two Software Simulation ShootOut sessions: these saw four different software simulation-building tool companies working in real-time creating content authoring tools focused on making the overall task easier for use. CT achieved the end result by providing projection, audio and switching capabilities for the contestants who each provided their own IT hardware.
Given the location of the event and its number of international visitors CT was asked to provide both dedicated and temporary Internet Connections in the main exhibition hall. CT also provided IT hardware for use in a one day Technology workshop. CT took an ethernet conne