UK - SGM has appointed Anthony Van-Sertima as the new business development manager at its UK branch. Anthony was first introduced to SGM in 2005 and has loved the products ever since.
“In the UK, the network of lighting people is close and friendly. Having extensive knowledge in lighting and production, I’ll be on hand to provide the link between lighting designers and the brand; a friendly, familiar face,” said Anthony about his new role at SGM.
Anthony foresees a huge growth phase for SGM, and is thrilled to be part of that journey.
“It’s not like other manufactures are falling short, but SGM is a few years ahead of competitors, having developed purely LED based technology a few years before the other major manufacturers,” said Anthony. “Also, in terms of the IP-rating, it is an exciting time for SGM as the demand for outside light installations is increasing, particularly here in the UK, but also globally,” said Anthony.
Ian Kirby, director at SGM UK, brought Anthony aboard exactly because of Anthony’s background and extensive knowledge. He is likewise extremely positive about Anthony’s influence on SGM’s expansion into the theatre market. “Anthony brings a wealth of experience in lighting design and production. He is perfectly placed to help SGM develop its marketplace in production and theatre,” said Ian.
USA - Critics have hailed Great Hall as a monumental triumph of architecture. Effortlessly balancing form and function within its spacious confines, the two-story room alternately awes and inspires with its towering Corinthian columns, Romanesque arches, double staircase and a gold-ornamented ceiling that exudes the unbridled optimism of its 19th century designers.
Setting off the room’s design and making a powerful visual imprethe US Library of Congress’ ssion on visitors from the moment they walk through its bronze doors is the gleaming white Italian marble that makes up most of the Great Hall’s surface area.
Although beautiful, the marble made the design process more complex for Elizabeth Coco on 1 November when she lit the American Film Institute golden anniversary celebration at the Great Hall. Coco was able to meet this challenge with help from a collection of 120 Chauvet Professional WELL Fit fixtures supplied by Atmosphere, Inc.
Given that the anniversary event, which featured keynoter Morgan Freeman, took place inside the great hall with its marble surfaces, Coco had to light the room as well as the building exterior in all white to accent this distinctive feature. Although white lighting can be stunning, it can also pose issues for a designer.
“White is such a non-descriptor,” said Coco, a USA 829 union designer. “It can be warm or cold. It can be amber, straw, pinkish, slightly lavender, or even slightly blue in hue. Also, colour matching LEDs to be the SAME variation of a pastel colour is very difficult because of how
USA - Occupying the former site of one of America’s largest shoe factories, Craddock Terry Hotel in Lynchburg has reflected that industrial heritage in its interior design.
The hotel also boasts a distinctively modern flair with richly coloured light that washes its front columns courtesy of Iluminarc Colorist 8Qa Panels installed by Jon Daggett of Castle Lighting.
Daggett positioned 10 of the IP65-rated RGBA panels across the base of a 135’ section of the three-story building to light the columns that separate its large factory windows. Reaching up to the top story 32’ above the ground, light from the Colorist 8Qa Panels sets off the original design of the early 20th century structure, creating a sense of its scale and conveying its rock-hard power.
“The Colorist Panel 8Qa was a perfect fit for this project, because of its shape, footprint, and punch,” said Daggett. “We wanted a light that conveyed very rich saturated colors, given the powerful image that this building projects. The output of these fixtures is more than up to the task, and of course they’re outdoor rated. We replaced some older LED units that had been lighting the outside of the building with the Iluminarc fixtures for this project, and there was no comparison.”
Power was already run for the previous outdoor fixtures at the hotel, so Daggett and the Castle Lighting team integrated the Colorist panels into the existing outdoor-rated junction boxes. However, they did change the position of the outdoor units when installing the Colorist fixtures.
UK - Technical production specialist Central Presentations (CPL) and producers Constructive Communications delivered full technical production for Construction’s Got Talent, a team-building / gala dinner conference event with a difference for leading independent construction and property services company Wilmot Dixon.
This was staged in the Noble Suite at the Pullman Hotel on Euston Road, London, with tailor made format partly inspired by TV talent show competitions on a quest to discover the company’s own undiscovered talent, which was interspersed with presentations and speeches.
Lee Gruszeckyj led the CPL team who worked with Constructive Communications’ project manager Ken D’Souza.
A 10 metre-wide stage with free-standing printed graphic wrap set / backdrop including the event’s own Got Talent logo was installed, complete with small thrust for the competitors and presentations. Meanwhile, at the back of the room, a Judges’ Stage with its own graphic wrap was built at 800mm high, so just raised above the dinner tables.
All the staging was also designed and built by CPL specifically for the event.
The four judges each had an iPad for which CPL created a custom touch screen interface featuring a big red digital buzzer.
Five LED screens were rigged on a scaffolding goal post structure above the stage, each with a judge’s names displayed, and each iPad was linked to its relevant screen. An additional iPad was supplied to the judges – shared between the four - with a golden buzzer surface which they could hit i
Europe - The Rolling Stones’ live shows are still known for their dynamics and power, and the recent No Filter tour featured a stunning lighting and video design that captured the essence of their performance and underlines the indelible legacy and huge influence of their music.
Lighting designer and creative director Patrick Woodroffe of Woodroffe Bassett Design (WBD) worked closely with stage architects Stufish on developing the look and feel of the No Filter tour, which used four grandMA2 full-size consoles, one MA grandMA2 light, five MA NPUs (Network Processing Units) and four MA 8Port Nodes.
Woodroffe explained: “We had very little lead time once the tour had been confirmed but worked with a great team from Neg Earth on lighting, and Solotech on video. Stufish and Jeremy Lloyd put together the scenic design and concentrated very much on the detail of rigging and mounting all the various elements to produce a composition that was both stylish and practical.”
The lighting was programmed and run by longtime Stones lighting director Ethan Weber. He said: "There were always discussions, prior to the start of any Stones' tour from the 90's through the mid 2000's, about which lighting console(s) to use. It's now a given that the show will be run on a grandMA. It's an enjoyable console to programme and run, has great reliability and availability, is powerful and looks good sitting out there and the support you get throughout the world from the MA Lighting network and other users is hugely comforting.“
“We rely on grandMA2
UK - Battersea Dogs & Cats Home’s annual Collars & Coats Gala Ball returned for its ninth year earlier this month, with Hawthorn on hand - or should that be paw - to deliver full technical production for the star-studded occasion. Taking place at Battersea Evolution, a Smart venue, the creative technical production expert provided lighting, sound, video and staging for the charity’s biggest fundraising event of the year.
Even with a guest list packed with some of biggest names of stage, screen and sport, it was Battersea’s four-legged friends that stole the spotlight at the Gala Ball. Battersea’s legendary Guard of Honour, a red carpet lined with the home’s dogs and their handlers, kicked off proceedings before guests settled down to a dinner by Smart Hospitality.
Guests of the two-legged variety were kept well entertained throughout the evening with both a silent and live auction as well as performances from Mica Paris and reggae and pop legends UB40 featuring Ali Campbell, Astro and Mickey Virtue.
Hawthorn used this year’s event branding as inspiration to deliver a stylish production design. Following the concept of A Night of New Beginnings, the versatile space was transformed into a literary heaven by the Battersea Special Events Team and florist Maison de Fleurs, adorned with floral displays incorporating book pages.
With this concept in mind, Hawthorn’s design needed to feature a much softer element than in previous years. For this, the company enhanced the room with extra tungsten sources and fitted
USA - Success has not spoiled Louis The Child, nor has it made this pair of Chicago-bred DJs any less daring when it comes to reshaping their distinctive brand of EDM music. Since bursting on the scene two years ago with the highly original and spacey tune It’s Strange, the duo has continued to jump head first into the creative cauldron. Rather than resting on their laurels, they show a fearless willingness to experiment with novel eclectic synths, push percussion assemblages to the limit, and in general do whatever it takes to reach new musical heights.
The same Louis The Child philosophy is at play when it comes to lighting their shows. Going into their 32 -city Last To Leave Tour, which started 12 October, the pair told the team at Creative Production & Design (Austin, TX) that they wanted a lightshow that looked radically different from the one that had been so well received on their previous tour.
The CPD team readily obliged, coming up with a design that drew much of its vitality from a new, convention-defying fixture, the Maverick MK Pyxis from Chauvet Professional.
“Given the nature of Louis The Child’s music, we wanted a show that stood out,” said Justin Jenkins, owner of CPD. “Standing out becomes a lot more doable when you have a fixture that does things that nothing else does, which is how I’d describe Pyxis. When I first saw this fixture, I knew that its centre beam, independent pixel ring, infinite pan and tilt, zoom and other features really made it different.”
Jenkins told CPD’s Kendall Clark,
UK - Overlooked by a dominating Nelson’s Column and The National Gallery, U2 premiered material from new album Songs Of Experience amongst a set of their greatest hits, at a free show for 7,000 fans in London’s Trafalgar Square on Saturday 11 November.
Introduced by the Mayor of London, Sadiq Khan, MTV Presents Trafalgar Square was the curtain-raiser to the following evening’s 24th annual MTV Europe Music Awards (EMAs) at The SSE Arena, Wembley, where the Irish four-piece were honoured with the Global Icon award.
Both events were graced by Stageco’s dedication as staging provider with Wim DeWolf and Mario Dockx handling the R&D, while Dirk De Decker managed both projects. For the U2 event, the Stageco crew of seven [plus local crew], headed by Stefaan Vandenbosch, negotiated one of the busiest tourist areas of the city to erect the company’s now-classic transparent canopy roof. The choice came directly from the event’s production manager, Chris Vaughan, who successfully implemented the product on other events earlier in 2017.
Along with the band roof, the three-day build saw Stageco construct 16 vertical 460-type towers of varying heights and widths, each accommodating 1m and 0.5m wide LED strips designed to transmit lyrics, slogans and graphical content to augment U2’s live set. The company also built four towers for PA and lighting, bridged by horizontal trussing which served the dual-purpose of suspending black drape while offering additional stability.
“Organising and co-ordinating some 20 trucks to come o
Europe - Thirty-Six Robe BMFL Spots were workhorse moving lights on the recent Rolling Stones No Filter European tour, part of a spectacular and epic lighting design created by Patrick Woodroffe.
Patrick and associate designer Terry Cook of Woodroffe Bassett design (WBD) worked closely with stage architects Stufish on developing the show’s overall aesthetic.
With many moving lights on the rig, they sought a high-powered fixture to occupy four 'slots' just below the tops of four imposing 23m high by 11m wide monolithic video towers which define the performance space.
"Patrick and I needed a multi-functional fixture and knew the positions would be hard to access and given the complexity of CDM rules and regulations and the requirement that crew be able to access the fixtures safely - a lot of thought went into the process," explained Terry. “We decided on BMFLs because they are high powered, intense multi-functional moving lights with nice sized front lenses (giving rise to the much-loved quality fat beam) that are also reliable."
The lights were used to shoot into and illuminate the audience, to create classic huge aerial looks and to beam down onto the stage and band as they worked that
While video was always going to be a major part of No Filter, it was decided at the outset not to have one large surface, instead they went with four towers – giving a more interesting look and additional depth to the performance space, as well as being ideal as classy portrait IMAG scenes for featuring the four Rolling Stone band mem
Turkmenistan - Internationally renowned lighting designer, Durham Marenghi used more than 800 Claypaky fixtures to deliver the two large-scale lighting designs for the opening and closing ceremonies of the 2017 Asian Indoor and Martial Arts Games (AIMAG), produced by Balich Worldwide Shows, held this year at the Olympic Stadium in Ashgabat, Turkmenistan.
The ceremonies, broadcast on the 17 and 27 of September to 57 countries worldwide, featured giant projection-mapped sets, pyrotechnics and sweeping light displays. For the opening ceremony, over 7,600 performers told the history of the Silk Road through music and dance, culminating in the lighting of the games' 'cauldron' which burned throughout the 12-day event.
Marenghi, the designer behind the lighting for the Rio Olympics last year, specified a large Claypaky lighting package for the AIMAG ceremonies. The rig comprised Claypaky Scenius Unico, Claypaky Mythos, Claypaky Sharpy, Claypaky Sharpy Wash, Claypaky Alpha Profiles, Claypaky Alpha Beam 700 and Claypaky Alpha Beam 1500 fixtures.
"Lighting alongside projection is a delicate balancing act, as the light levels we use are very low," says Marenghi. "For AIMAG we didn't go above 350 lux. This means that the lights we used needed to be very accurate and optically sound to create the beautiful imagery required in these large-scale productions. Claypaky has shown time and time again that their optics and reliability are well suited to these challenges."
One of the largest challenges faced by Marenghi and his lighting team was illuminating th
South Africa - The country’s first strictly dry hire company, Guquko Technical Rider, has been established by a young entrepreneur, Phumzile Sibanyoni. Guquko is the Zulu word meaning ‘to turn around’ or ‘to reform’, a pertinent name for a company that hopes to bring a fresh wind of change to the industry.
Making an investment of 12 Robe Spiiders, 24 Longman 4 Ups and Prolyte stage decks purchased from DWR Distribution, the objective of the company is to rent out high ticket line items that are specified by lighting designers on a daily basis.
“Because we were just starting out, we looked at gear that would be beneficial to the growth of Guquko,” said Phumzile. ”The company has started trading and with the Robe Spiiders currently high in demand on shows, their units are out already creating revenue.”
Duncan Riley of DWR says, “Phumzile was wise enough to see the gap in the market for a professional dry rental company who don’t do shows and who only rent out gear. It’s a trend in Europe.”
Phumzile started working in the events industry in 2014. She offered a service which covered a broad spectrum including staging, technical equipment, décor and catering. She realised that by focusing solely on equipment hire, she would create a niche in the market, and be able to assist rental companies with the supply of well-kept gear and excellent service.
Her career has included working at Eskom for 10 years as a senior plant operator. “I have always worked in a male-dominated industry,” said Phumzile. “I’ve always
UK - The Association of Lighting Designers (ALD)’s latest event took place at the Arts Theatre, courtesy of Chauvet and White Light, suppliers of the event’s lighting. ALD Members were invited to see cult rock musical The Toxic Avenger and to hear from the show's lighting designer, Nic Farman, and programmer / production electrician, Clancy Flynn.
Over the summer, events have included an evening with Ambersphere at London’s National Theatre, alongside insight tours to the West End’s latest rock musical, Bat Out of Hell Olivier Award-winning Jesus Christ Superstar at London’s Regent’s Park Open Air theatre, and to 42nd Street at the Drury Lane theatre.
Matt Cowles, Ambersphere’s technical sales manager, stresses the importance of meeting ALD members in this environment. “For us at Ambersphere, the chance to chat with technicians and lighting designers is invaluable in getting our products seen and fully understood.”
Chauvet’s Tom Wilkes, UK South territory manager, stresses, “It helps ALD members to keep up with the ever-changing landscape of new kit. During the event we can have open conversation with like-minded industry professionals as to how to use the kit to its full advantage and hear each other’s own success stories.”
The ALD organises and promotes insight events as a means of propagating excellence and shared information within the profession. “The events are an investment into the future of lighting design,” maintains ALD meetings sub-committee member, Alex Allan. “The ALD m
UK - Audio specialist tube UK returned to the familiar urban territory of Manchester’s Albert Square to help deliver the city’s 2017 Christmas Switch On ceremony, which officially fired up the city’s Christmas lights for the run up to a fun-packed festive season.
tube has been involved with the Switch-On since 2001 and has seen it grow massively in that time, so the audience now fills the entire square and the event involves multiple road closures and the traditional hoisting of Manchester’s own huge LED clad Santa onto the front of the Town Hall to oversee the proceedings!
The d&b sound system spec’d for the show was designed by tube’s John Redfern and based on the required crowd coverage and the needs of the multiple acts appearing onstage in the hour-long entertainment extravaganza headlined for the first time by a DJ – Sigala. He was joined by Pixie Lott and X-Factor favourites Yes Lad.
Radio Key 103’s breakfast hosts Mike Toolan and Matt Haslam compered, assisted by Coronation Street star Brooke Vincent, and the onstage action also included production numbers performed by the casts of four high profile musicals - Guys & Dolls, Shrek the Musical, ELF the Musical and Little Women. These either are or will be playing in Manchester for the festive period.
All artists were accompanied by backing tracks run via one of tube’s QLab systems, with Sigala playing his set live. The QLab was also used to play out a series of beds running in the background – radio-style – accompa
France - The second edition of the Fun Radio Ibiza Experience, organised in association with Ushuaïa Ibiza Beach Hotel, took place on 14 April 2017 at the Accor Hotels Arena in Paris. Around 17,000 people gathered at this huge EDM event which transformed the venue into a massive dance floor to the sounds of top DJs Robin Schultz, Nervo, Sam Feldt, W&W and headliners, Afrojack and Hardwell.
“The Paris show is a little taste of resistance,” says show director, and founder of High Scream, Romain Pissenem. “To stand up and dance and have fun is the only response we can show to the threats to which our city has been subjected.”
Helping Pissenem bring the spirit of Ibiza and the Ushuaïa vibe to Paris were over 200 Ayrton lighting fixtures, including over 100 MagicBlade-FX, 50 MagicPanel-FX and 50 MagicDot-XT. The fixtures were supplied by Ayrton as part of a collaboration between the Parisian manufacturer and these masters of spectacular party nights to bring the party to Paris.
“The Paris event is important because it is a big show and everyone’s expectations are high,” says Pissenem. “Plus, it is my home town and I want to give it something special. At Ushuaïa we have seven different shows - a separate one for each DJ - with a new show every day of the week; and every year we create seven new productions which get bigger and better each year.
“In Paris, we have just one chance, once a year, to give people the best party possible. So, when people walked into that massive arena this year, even those who came to the f
Brazil - Four Robert Juliat Lancelot 4K HTI followspots took pride of place front-of-house at Brazil’s Rock In Rio Festival this summer. Held over two weekends at the Cidade do Rock at Rio de Janeiro’s Parque Olímpico da Barra, this festival saw headliners Aerosmith, Guns ‘n’ Roses, Bon Jovi, Maroon 5 and the Red Hot Chili Peppers play to over 700,000 across seven nights.
The Lancelot followspots were supplied by Robert Juliat’s Brazilian rental partner LPL Lighting Productions Ltda, whose Caio Bertti worked in association with Daniel Ridano of Robert Juliat’s Brazilian distributor, Lighting Bits Ltda and the festival’s lighting designers, Patrick Woodroffe and Terry Cook of Woodroffe Bassett Design.
The Lancelot fixtures were rigged in full view of the audience on stylish, modern lighting and sound towers - skilfully designed for minimal impact on audience sightlines and to give a real architecture to the festival site on the aerial camera shots - which arched gracefully over the enormous crowds that make up one of the world’s largest music festivals. The huge throw distances and equally big names on stage called for the precision and finesse of Robert Juliat followspots to illuminate some of rock’s greatest bands in front of the massed fans and television cameras.
“We chose Lancelots for the stadium shows partly because of their brightness, but also because they are the followspots that most lighting designers would like to see on their shows,” says LPL’s director and lighting designer, Rafael Auricchio. “The performanc
USA - Work Pro introduced a new range of hardware lighting consoles, LightShark, at LDI. Billed as the first DMX-based hardware lighting console range to offer wireless, browser-based control from a multi-touch smartphone or tablet, with support for up to three connected devices simultaneously, LightShark sets a new standard for features and usability at its price point, says the company.
The LightShark range comprises the LS-Core and the LS-1 console, both developed and designed entirely within Work Pro's lighting division. The LS-1 “brings together the best features from the world of innovative software-only lighting control and marries them to an intuitive, ergonomic assignable hardware control surface”. The LS-Core omits the LS-1’s hardware control surface, but offers exactly the same lighting control software, processing power, and smartphone/tablet-based software control interface.
Alongside all of the features users expect from a modern, fully featured lighting control system (including detailed control of colour and gobo options via palettes, comprehensive grouping options, CueList operation with up to 1200 Cues and Lists, customisable automation via an elegant, easy-to-use graphics-based Executor window, and special effects such as fanning), LightShark offers intuitive control over a total of eight 512-channel DMX Universes, plus built-in support for an ever-growing library of lighting Fixtures. A Fixtures editor is also built into the console for those that wish to modify or customise Fixture control templates.
“The LS-1 console
USA - SGM released an all-in-one IP65-rated LED luminaire, Q-10, at LDI.
With an output of 60,000 lm, this RGBW unit has the functionalities of a strobe light, a flood light, a pixel light, and a blinder with a non-fading continuous output. At the same time, the powerful and low-noise Q-10 is practically maintenance-free and comes with a user-friendly display, wireless control, and integrated handle making is easy to operate, transport, rig, and to focus, says the company.
As with all the other IP65-rated luminaires in SGM’s product range, the Q-10 comes with the SGM thermal management and is kept free of externally induced particles on internal optics and light sources. The internal built-in patented SGM dehumidifier further protects the fixture from moisture, smoke fluid, pollution, humidity, and any other factors that can generate corrosion.
With an expected lifetime of 50,000 hours, this rectangular full colour SMD LED luminaire keeps the same accurate colour calibration of the remaining SGM Q series and the avoidance of colour shifts. It incorporates a total of 4,096 SMD LEDS evenly distributed between RGB SMD LEDs and white SMD LEDs, delivering best-in-class optical colour mixing as well as a linear colour temperature control ranging from 2,000K to 10,000K.
With the wide 110° beam angle, the Q-10 offers a wide even-field coverage, making it ideal for cycloramas, wall washing, large objects and areas, and stage lighting. It comes with eight individually controllable segments, generating wide-ranging colour effects and pixel-mapping co
USA - Czech manufacturer Robe Lighting showcased its MegaPointe fixture for the first time in the USA at LDI 2017 in Las Vegas.
The moving light was presented with a 2017 PLSN Gold Star Product Award for Best New Hybrid Light and was the focus Robe’s lightshow which featured 42 x MegaPointes and a number of LEDBeam 150s, onePATTs, Divine UVs, Spiiders and pixelPATTs, while a freestyle mirror suit dancer performed hourly at booth 715. The stand design and the show’s choreography were conceived by Robe’s creative team led by Nathan Wan and Andy Webb.
Robe North America CEO Bob Schacherl described the show as “our busiest and most energised LDI to date”, adding: “The turnout of clients was amazing and validates our sales and marketing approach for the North American market.”
Robe’s architectural division Anolis had its own dedicated space on the booth and showcased the new Divine and Ambien product ranges plus other products like ArcSource.
The team from Robe North America was joined by a contingent from Robe International to welcome visitors to their stand from across the US, Canada, Central and Latin America. The company also reported a perceptible increase in European visitors this year.
In addition to the MegaPointe Live show, Robe featured two black-box demo studios at the stand for detailed close-up demos, including a preview of the Tarantula, the next arachnid (Spiider family) fixture.
Robe lighting s.r.o. and CEO and co-founder Josef Valchar commented, “It was another fantastic show for us and LDI is without
South Africa - Robe Lighting showcased its MegaPointe moving head in South Africa in November.
The launch was attended by the company’s international sales director Harry von den Stemmen and product manager Ondrej Hegar, who presented the product in Johannesburg and Cape Town, while DWR Distribution also hosted a launch event in Durban.
Von den Stemmen says: “Industry professionals are raving about the feature packed, ultra-compact yet extremely powerful light and the quality of the product. I see the same evolution coming for the South African market, and there have been enthusiastic reactions and comments to its recent launch, like everywhere else.”
Hegar agrees: “The fixtures have been really well received across the globe and we have had positive feedback on the unit. Already specified on a huge amount of shows and tours in the upcoming year, the MegaPointe will definitely be an industry standard.”
Christopher Bolton from Keystone Productions has worked in the lighting industry in South Africa for the past 23 years and attended the DWR Durban launch. “Most of the time when a new fixture comes out it looks cool with the promise of new features,” says Chris. “Often, though, the fixture is unable to execute these features perfectly. Enter the Robe MegaPointe. Wow! Superb! How you fitted all that in such a small 22kg fixtures baffles my mind. Congratulations. Thank you to Nicholas Barnes and Michael Taylor-Broderick from DWR for hosting us.”
Ireland - Galway-based stage lighting equipment supplier Cue One Ireland has invested in the Chroma-Q Color Force II luminaire for servicing its theatrical and corporate events clients.
Cue One Ireland wanted to replace its existing battens and dimmable fluorescents stock with an all-in-one fixture and after looking at various colour-mixing battens on the market, Cue One Ireland's managing director Kieran Cooney placed an order for eight Color Force II 48 battens.
"We chose the Color Force II for the quality of light and colours produced, particularly its ability to achieve difficult pastels,” he reports. “The end results stood out against a number of other cycs and battens that we looked at."
Since investing in the fixtures, Cue One Ireland has supplied them for a number of high-profile theatrical and corporate events.
Kieran adds: "The Color Force II fixtures have reduced the stress and anxiety in achieving the lighting results our clients desire. The feedback from them has been fantastic. Many designers are complementing the wide range of colours that can be achieved with the fixture, as most other battens on the market are very "rock 'n' roll" with their colour palette. The fixtures have even had to be be dimmed in some cases, as sometimes they are too bright.”
The Color Force II fixtures were supplied to Cue One Ireland by Chroma-Q dealer, A.C. Entertainment Technologies (AC-ET).
Kieran continues: "The service I have received from A.C. has been top notch as always. We're really happy with their recommendation of the Co
USA - Harman Professional Solutions is introducing a full-featured LED moving head - the MAC Encore Wash - at LDI 2017 in Las Vegas.
Set to be released for sale in January, the unit will be available in two dedicated colour temperature variants: WRM for 3000K warm incandescent emulation, and CLD for 6000K neutral daylight. The WRM is a replacement for the discontinued MAC TW1, while the CLD is a LED-based alternative to the MAC Viper Wash DX. Both variants can also be used as replacements for tungsten or HMI based Fresnel fixtures.
“When we released MAC Encore Performance a few months back, we instantly had lighting industry influencers praising this new benchmark fixture in high quality LED lighting,” said Markus Klüsener, product manager - stage lighting, Harman Professional Solutions. “With the introduction of MAC Encore Wash we now have a fixture family that offers a premium solution for all stage lighting requirements.”
The company is expected to make more product announcements over the weekend.
UK - Steve Warren is working in partnership with Chroma Q distributors A.C. Entertainment Technologies (AC-ET) to develop sales of Chroma-Q's lighting fixtures range.
This partnership follows the recent appointment of Steve’s company, Lighting Distribution Consulting, to assist the development of Chroma-Q’s international sales and distribution channels outside of North America.
The latest generation of Chroma-Q LED products have won multiple awards and garnered much praise from users for their high performance. These include the new Color Force II colour-mixing LED cyc and wash light, the Inspire colour-mixing LED house light, and the Space Force variable white LED soft light.
USA - Claypaky is releasing a new range of the Axcor 300 family of moving LED fixtures at LDI 2017 in Las Vegas. It comprises of a spot, a wash and a beam, all driven by a white LED engine with a rated power of up to 180 Watts.
The Axcor Spot 300 has 17 gobos on two wheels, including seven dichroic rotating gobos. Weighing just 20kg and measuring a little over 500mm, this unit incorporates features that are not often found in models of this size, like a rotating prism, a motorised iris, a soft edge filter, a 16-bit dimmer, and a 8-40° zoom.
The Axcor Beam M 300 has an even more compact body, measuring less than 500mm, and is able to emit a super-concentrated solid beam with a beam angle as small as 2° and a surprising light output. The wealth and quality of its colours and aerial effects, its electronic focus and its 140mm diameter front lens make the Axcor Beam 300 a suitable beam moving light in any application area.
The Axcor Wash 300 has a 140mm front PC lens and linear 5.5° - 42° zoom. Producing colours is its speciality: it is fitted with all the components you need to produce any shade of colour you desire, with a light diffusion uniformity comparable to higher-end models.
USA - In 1997, race car driver Geoff Bodine put the pedal to the metal and reached 197.479 miles per hour on the famed Atlanta Motor Speedway. No-one has ever equalled that speed on the big course since, but the action was probably even more blistering on the weekend of 22-24 September, as nearly 100,000 fans descended on the site for the Imagine Festival.
Nowhere was the action hotter than on the Inferno stage, where Deadmau5, Flux Pavilion, The Floozies and other stars jammed under the intense output of Chauvet Professional Rogue fixtures supplied by 4Life Entertainment.
Designed by Incendia, with consultation provided by 4Life Entertainment, the stage featured eight Rogue R2 Spot, 16 Rogue R2 Beam and 24 Rogue R1 Wash fixtures. Drawing on the output of these fixtures, the rig provided an eye-popping level of brightness that blended well with the incessant pyro blasts that gave the stage its “Inferno” name.
“This was the EDM, funk dance heart of the festival,” said Spencer Lavoie, owner of 4Life Entertainment. “Given the nature of the acts we had on stage and the massive pyro effects we had all around us, we didn’t want a lighting rig that faded into the background. A big reason for choosing the Rogues was their punchy output.”
Lavoie also wanted to ensure that the stage’s video wall stood up to its surroundings so he built it with 64 bright PVP S7 LED tiles. These tiles were arranged to construct a front façade on centre stage.
“Rhizome NYC came in to VJ and produced a wide range of killer inhouse graphics ba