UK - Martin by Harman and UK distributor Sound Technology will be at the Liverpool Institute for Performing Arts (LIPA) on 20 November for a showcase of the latest Martin products, including the award-winning MAC Encore Performance, MAC Encore Wash and new JEM Glaciator Dynamic.
Demos will begin at 11am, 2pm and 4pm in LIPA's Art School Studio Theatre.
This will also be an opportunity to discover details of the recently announced MAC Allure Profile LED moving head and ELP LED Ellipsoid Series.
Europe - Lights Control Rigging (LCR) has provided 20 Chroma-Q Color Force II fixtures for Bloc Party’s Silent Alarm Tour, to create a spectacular back wall wash.
The set design for the show features five individual cyc panels spaced apart, which together display the Silent Alarm album artwork. Color Force II LED battens at the top and bottom of each panel flooded the back of the stage in vibrant colour, with the units' strobe effects used during some of the faster paced songs.
LD Ryan Hopkins, who's also a director of LCR, comments: “It was great to have our Color Force II’s at my disposal for the tour. They provided incredibly bright colour across the stage. I was very impressed by their seamless blending across the entire artwork and I am really happy with the results.”
USA - The Dave Matthews Band (DMB) is on the road again in the USA promoting their latest album Come Tomorrow with another visually provocative production design by Fenton Williams.
Fenton combined creative energies with Aaron Stinebrink from lighting rental specialist TMS - also the tour’s lighting vendor - on the lighting design, and the pair specified over 100 Robe fixtures to be at the heart of the show.
Forty MegaPointes, 48 x Spikies, 16 x BMFL WashBeams and 10 x BMFL Spots are helping to create the vibes for this highly successful tour.
Fenton has worked for DMB since 1991 taking on various job roles and has been the video and lighting designer / director for over 20 years. Aaron joined the team in 2003 and the two have worked together on lighting DMB’s dynamic and intricate live shows ever since.
UK - Production Services Ireland (PSI) capped a busy Halloween period by supplying technical infrastructure and support for Belfast City Council's Halloween Monster Mash and Samhain Live Halloween TV special, which was filmed in Derry/Londonderry.
PSI specialises in lighting, rigging, audio and video - for sale and hire. In the build-up to Halloween, the company also supplied riggers for the visiting U2 and ELO productions at Belfast’s SSE Arena, and full technical production for Harlem Gospel Choir at the Ulster Hall and a major public event in Lisburn.
Monster Mash afforded PSI an opportunity to deploy its Adamson PA inventory, which the company acquired in April when it became a certified reseller and rental partner. It also supplied lighting, video, rigging and staging for the themed event that welcomed thousands of people to the Titanic Slipways.
Sound reinforcement for Monster Mash featured 24 Adamson S10 full-range cabinets and 12 S119 subwoofers, powered by Lab.gruppen PLM20K44 amplification. PSI supplied a mix of Robe, CLF Lighting and Showtec fixtures, together with an Avolites Tiger Touch II for control, as well as four Litec Flyintower 13-2000 towers and a 10m x 7m stage.
In Derry/Londonderry, the brief demanded production support across a number of locations, as well as feeds for local TV channel TG4, BBC Two Northern Ireland and BBC Foyle live broadcasts. PSI provided sound, lighting, video, rigging and staging for two stages at the Craft Village (a reconstruction of an 18th Century Street and 19th Century Square), a stage at
Poland - Bazyliszek, a new interactive dark ride situated in the Magical Forest zone of Poland’s largest theme park, Legendia, was recently opened to the public as part of a comprehensive rebranding and overhaul. Having collaborated once before on the Antwerp Comics Station theme park, the ride’s designers, Alterface, brought in Belgian design studio Painting with Light to help create a thrilling visual backdrop for Bazyliszek.
Drawing on their wealth of experience in the field of theatrical lighting, Painting with Light specified 80 Chauvet Professional mini ERS-style Ovation Min-E-10CWZ fixtures and COLORdash Par-Hex 7 units to create a multifaceted and exciting visual accompaniment to the ride, which went on to win the European Star Award for Best New Ride in 2018.
Bazyliszek is a legendary folklore figure in Poland - a complex and highly venomous reptile that can turn people into stone with a single glance. Painting with Light's creative director, Luc Peumans, thus attempted to translate and transpose these dramatic folklore connotations into a comprehensive and emotive lighting concept in support of the three-minute mixed-media ride, where multi-mover vehicles glide visitors through five different zones with seven distinctive scenes.
To achieve the necessary depth for the individual scenes, Peumans utilized the mini ERS-style Ovation fixtures. The warm white and cold white tones, 19° to 36° zoom and excellent dimming features assist in creating the impression of depth and contrast as visitors slowly move through the ride.
Germany - Under the catch-line All you need to be, Nature One called its dance-loving audience to the Pydna former rocket base in Hunsrück between 3-5 August. As in previous years, over 50,000 people joined the pilgrimage, engaging in four days and three nights of pure EDM fever, with 350 acts participating on a total of 23 floors.
For the largest floor - the Open Air Floor - lighting designer Thomas Gerdon of Gerdon design produced the entire visual concept. Gerdon, who has been working on various floors of Nature One since 2003, faced a fundamental change this year: for the first time, a conventional stage was used on the Open Air Floor, and for this the designer immediately had the idea of GLP’s new modular KNV LED system of GLP in his mind.
However, since the KNV system was not yet on the market at the beginning of August, GLP was able to meet the designer's request with a sufficient quantity of field test units. Thus, Nature One became the first German event in which this modular strobe / blinder / pixel fixture had been used in such large numbers
"The presence of a large stage was definitely the most striking visual innovation on the Open Air Floor," confirms Thomas Gerdon. "We absolutely did not want a proscenium 'peep-show’ style stage, which is why we worked a lot with broken-up LED surfaces to create vitality and variability."
The most important and most striking design element was the KNV Cube. 32 fixtures, placed in blocks of two on top of each other, were installed on the stage, and their flexibility of control was th
USA - As part of the LA-based Legends Football League, the Nashville Knights are a 7-on-7, tackle football team that incorporated into the league in 2018. Playing their inaugural season in the Nashville Municipal Auditorium, the Knights wanted to offer an in-game experience that would create a lasting connection with their fans.
Needing to supplement the production gear inside the multi-purpose event venue, the Knights worked with Elite Multimedia Productions who oversaw a complete game-day audio, video and lighting design.
“We try to design our in-game experience to be similar to what they do in the NFL to heighten the experience for our fans and provide a deeper connection to the action on the field,” says Candice Leisengang, operations manager. “When we started looking for production companies, we really needed someone who had the ability to do live audio, camera’s and video screens, plus we needed to implement an instant replay system. The Elite Multimedia team, led by Harry Shaub, was absolutely incredible and they really helped us walk through all the possibilities.”
“Our initial concept for the video portion of the production design was to have the screens hanging above the field, almost like a hockey rink,” says ToniAnn Santana. “As we started working with Elite Multimedia Productions, we decided to place the screens in the end zone so that everyone in the arena would be able to see the high-definition 4K video. Harry really took the time to educate us on the technical side, and it looked great.”
With the LED video d
Poland - Design and installation company ARAM has outfitted a new e-sports studio in Poland with a flexible Elation lighting system. The studio, at Polsat television in Warsaw, is equipped with the latest in studio-optimised LED luminaires designed to provide players and viewers with the best e-sports experience, whether watching the event on TV, online or in person.
The custom Elation lighting solution includes everything from dynamic white-light LED array panels and high-quality white light ellipsoidal spots to full-colour batten, par and LED moving head luminaires that deliver a wider spectrum of chromatic and effect options. Incorporated in the rig are some of Elation's newest luminaires, including Artiste series LED moving heads.
As one of the few technical production companies specialised in e-sports, ARAM has stood behind the design and technical production of some of the largest e-sports shows in the world, experience that has given them unique insight into how an e-sports project should be tailored and delivered. “E-sports is an industry with a particular set of needs and requires different show formatting,” states ARAM co-owner Rafał Mrzygłocki. “Although the type of lighting required is generally the same as any other television studio - generally high quality white light - player lighting was also a factor to consider, meaning we had to be careful not to obstruct the players’ vision or interfere with their communication. As for the audience, they must be able to enjoy the action inside the game.”
The Polsat studio was comple
UK - Lighting designer Derek Jones utilised Chroma-Q’s Vista 3 lighting and media control system to deliver his lighting design for Sir Cliff Richard's recent tour celebrating 60 years in music.
With a career spanning 103 album releases, 123 single hits and the equivalent of 20 years spent in the UK charts, the 58-18=60th The Tour saw Sir Cliff play his greatest hits across six decades in some of the UK and Ireland's leading concert halls, including two nights at the Royal Albert Hall.
As a Vista user for nearly a decade, Jones was keen to utilise the next generation capabilities of the Vista 3 software for his show design.
He comments: "I've been using Vista for nearly a decade now and have seen its evolution. As an LD I've always found it very intuitive and simple to use, so I was really excited to switch to Vista 3 and, after trying it out with success, was totally comfortable using it on a major tour such as this."
With Richard's music being presented as a 20-minute section for each decade in chronological order, Jones’ design incorporated a mixture of traditional and high-tech show elements to faithfully recreate the stage lighting of each period - giving the shows a nostalgic feel of stepping back in time to each actual music era.
The '50s and '60s sections featured stripped back lighting with no movement or textures and a paler colour palette. Moving lights were introduced during the '80s, and by the '00s the show featured a full moving lighting rig.
The rig included MAC Auras providing band key lighting and ful
UK - Film and TV crewing specialist Studioforce was appointed by Shiver, an arm of ITV Studios, to support the delivery of this year’s Pride of Britain Awards.
The event was held at the Grosvenor House Hotel on 29 October and Studioforce provided stage hands, lighting technicians, carpenters, scenic supervisors, scenic artists and followspot operators.
The company worked closely with Shiver’s freelance production designer Paul Houston, supplying a team of experienced freelancers to work alongside the lighting and set design teams to create the Pride of Britain Awards’ set and backdrop.
The tight timeframe presented the Studioforce crew with its largest challenge. With just 48 hours to complete the entire project, from unloading the first piece of equipment from the truck and building the set, to running the show, completing the de-rig and the last truck leaving the venue.
Studioforce also provided experienced crew to assist the show’s primary lighting supplier PRG and screen provider Anna Valley, and follow spot operators for during the show itself.
Marie Hession, the Pride of Britain Awards’ production manage, comments: “It was a pleasure working with the Studioforce team. Having a company that is also able to provide the additional labour for other departments ensured the load in, set and lighting install and de-rig were seamless and in the lead up to the event having one supplier to liaise with made life much easier.”
The Pride of Britain Awards 2018 was broadcast on ITV on Tuesday, 6 November to honour British
Belgium - Once every two years, Brussels’ Grand Place becomes even more breath-taking as its cobblestone surface is transformed into a magnificent carpet of colour by over a half million flowers. Artfully arranged in an intricate design, the floral panorama flows gracefully, softening the gilded baroque buildings that surround it to create a vista of almost mythical beauty.
Like most enchanting creations that seem to spring forth naturally, the Biannual Flower Carpet at the Grand Place is in reality the result of intensive planning and hard work. In 2018, a team of 200 volunteers laboured for six hours to install the carpet the day of the event. Illuminating their efforts and tying the floral display into the square’s historic buildings was a carefully developed lighting design by Geoffrey Oelbrandt of Studio Artfex that included Chauvet Professional Rogue R3 Wash fixtures, supplied by Deltarent.
"Despite the beautiful historical location, it’s a remarkable challenge to generate a technical production for a flower carpet of 70 by 24 meters,” said Oelbrandt, who also lit the 2016 Biannual Flower Carpet. “The technical installation has to merge into the surroundings, being very discreet, while still producing a maximum effect."
Although the load-in for the event was relatively short - all was installed in one day - the programming of the LEDs on the square’s buildings took two days. "The last night before the opening, we finalised the entire show," says Oelbrandt. "Our LO Glenn De Clerck and the entire team at Studio Artfex deserve a gre
USA - “Versatile, sexy, bold, and effective” is how BML-Blackbird’s lighting designer and director Chris Ragan describes his work at Lockn’ Festival, for which he used a combination of cyan, purple and amber lighting.
Ragan spec’d 34 Robe BMLF Spots, 38 Robe Spiiders, 24 Robe Mega Pointes, 14 Robe Color Strobes, 10 Mac Vipers, 26 Chauvet Rogue FxB, and 36 LED par - all provided by BML-Blackbird.
“I thought the Robe ColorStrobes were a powerful fixture. It was my first time using them and I was pretty impressed. And, of course the Mega Pointes are great for the amazing prism features,” says Ragan. “The BMFLS are great for powerful audience sweeps as they have the ability to cover a large concert field. I rely on the Mega Pointes to frame the stage along with their prisms while the Spiiders and colour strobes are used for wash and pixel tricks.”
This year, Ragan set out to use similar fixtures that he uses on the famed Dead & Company tour but with a branded festival look. The overhead trusses were Hard Edge infinity looking trusses with LED pars as toners that are a play on the Lockn’ logo.
Chris Ragan has been the lighting designer for the Lockn’ Festival for the past six years and shared that this year Robe sponsored a very chill space that they shared with Meyer Sound called the Roadie Lounge. “It was a great spot for traveling crews to connect and cool off. I hope Robe is back next year!”
USA - When planning for their current tour in support of their sixth studio album, Attention Attention, hard rock band Shinedown asked their lighting designer Carter Fulghum for more saturated colours and darker looks.
Fulghum created a deeply evocative lightshow with low backlight and sidelight. To balance the penetrating mood created by these fixtures, he added intensity with the help of 38 Chauvet Professional Rogue RH1 Hybrid fixtures supplied by Bandit Lites.
Flying the 330W moving beam/spot fixtures on four 8ft x 9ft diamond-shaped pods, Fulghum is using them for downlighting, specials and powerful colour accents that dramatize key moments in the concert. “We have eight Rogues arranged in two rows of four in the centre of each pod,” he says. “Using them to cover the stage, we create a powerful impression. Their gobos and prisms are adding an extra sense of texture, which is important to setting the kind of dramatic mood we’re after. Of course, we can change that mood quickly, especially when we go from a beam to wash. The brightness was also important to us, given the level of impact that we want our lighting to have on the audience.”
In addition to the 38 Rogue fixtures being flown on the overhead pods, Fulghum positions six of the units around the drum kit. Using these fixtures for sweeps and aerial lighting, he provides visual amplification for the drum solos that punctuate the band’s performance.
Although the overall look of Fulghum’s lightshow remains consistently intense throughout the tour, he does make chan
Europe - Astera’s Titan Tube was awarded a PLSN’s Gold StarProduct Award.
Titan Tube, which also won the PLASA Gold Award for Innovation, is a battery powered linear light tube that can be pixel mapped and controlled via its backside display, wired and wireless DMX or via and an app. It’s a high-end version of the original Astera PixelTube that has been specially re-engineered for the film industry.
With 72W of total power that can be used for up to 20 hours, TitanTube offers a combination of Red-Green-Blue-Mint and Amber LED chips that produce a CRI/TLCI between 96 and 98. It also has a boost mode which allows it to almost triple its output for just under two hours.
Titan Tube comes with a large range of mounting accessories as well as a new charging and transporting case featuring the PowerBox: a removable power supply that also transfers data for DMX control and longer installation.
UK - Hawthorn has invested in Eaton’ Zero 88 FLX and FLX S series consoles.
The decision partly customer led, as Adrian Searle, Hawthorn’s asset operations director, explains: “[It was] partly due to the fact that we can all clearly see the benefits of the FLX feature set and appreciate the fact that Zero 88 hardware and software has a history of making complex programming tasks exceptionally straightforward.”
The new batch of FLXs is replacing some of those older consoles which have served well for many years but are now not ideal for controlling the proliferation of LED based fixtures on the market. Searle adds that FLX is great for its corporate events work which involves a lot of LED light sources where the operator/designer needs to be creative, often with precious little time to programme and integrate them into a show. He says: “FLX is perfect for this scenario with its colour picker and the quick and easy set up.”
The latest batch of Hawthorn FLXs were purchased for some of their venues at the 2018 Edinburgh Fringe Festival - specifically Assembly and Summerhall - which was a great success.
They are in regular rental stock and in active service on all types of applications, from educational and am-dram shows to corporates and industrials. More recently they have been out with an am-dram society production in Sheffield; lighting a philharmonic orchestra for another client and several conferences - illustrating their versatility.
Europe - There are three days left for the entertainment lighting industry to respond to the EU Commission’s revised version of the Ecodesign regulation.
The consultation period ends on 9 November (Friday) and the draft is open for one last review before the final parliamentary vote. Those who wish to respond should follow this link or visit plasa.org for instructions.
Whilst the outcome overall has been positive, European entertainment industry bodies have proposed four ‘small but essential’ amendments ahead of key talks in December.
The European Entertainment Ecodesign Coalition (EEEC) - comprising PLASA, PEARLE, the ALD, DTHG, the IALD, OETHG, SLF, STEPP and VPLT - and other national and international organisations released a joint statement highlighting their concerns. Their proposed amendments are:
• Exemption for lighting fixtures from standby power mode and networked stand-by power mode
• Exemption for white light sources for specific needs
• Widen the range of wavelength for 'green' used in colour-tuneable light sources
• Further lamp bases to be exempted for use in professional entertainment lighting products
The proposals' signatories say in a statement: "The current EU Regulation includes an exemption for ‘studio lighting, s
Austria - Austrian LD Martin Kames and his crew at Martinkames.com have worked with a number of prominent musicians, including Hatebreed, Kreator, Machine Head, Parkway Drive, Heaven Shall Burn and David Hasselhoff.
In 2017, Kames took his passion for blending music and light a step further, when he teamed up with guitarist Bernth Brodträger to form CueStack, a band that “intrepidly bridges the gap between sight and sound”. With Brodträger on the guitar, Kames on synths and both sharing vocals, CueStack serves up a techno-driven blend of metal and electronic music that’s tightly woven around light and video.
“We fuse visuals with the music to challenge conventional boundaries,” explains Kames. Helping CueStack in this endeavor are two ChamSys MQ100 Pro consoles with one extra Wing and one Mini Wing.
“I have been using ChamSys since 2005, when I encountered the company’s consoles during a tour in England,” says Kames. “Frankly, I would not use anything else, so ChamSys was an obvious choice for CueStack. Even our very name CueStack comes from the ChamSys function. We are dedicated to making lighting and video one with the music. Even the name of our band itself shows our commitment to using technology to achieve this fusion.”
Recording from Gasometer, a 3,500-seat venue in Vienna, CueStack released three music videos to date, the most recent of which, Beyond The Veil, came out in November. “The video supporting this song is our most lighting-themed video. I am quite proud finally to be able to design lights an
UK - Ayrton’s Ghibli LED spot luminaire made its opera debut at the Garsington Opera Festival.
Founded in 1989, the annual Garsington Opera Festival takes place over seven weeks in June and July at the Wormsley Estate, home of the Getty family, amid the beautiful natural setting of the Buckinghamshire countryside.
Garsington Opera is renowned for the quality of its productions, and engages the very best performers and musicians from around the world. It is important, therefore, to match this quality of performance with the quality of the production and equipment.
The aim therefore was to replace some lighting fixtures with those which made less noise during the finely tuned performances, something they were particularly keen to achieve given the peaceful surroundings. Technical manager, Stephen Hawkins and his production electrician, Sam Floyd, began actively looking for quieter models and joined forces with lighting designers Malcolm Rippeth and Mark Jonathan to find a solution. “It was essential we had a quiet moving light as the acoustic at Garsington is vibrant and we needed to reduce fan noise,” says Jonathan.
“We talked to several major manufacturers before settling on a few close contenders,” says Rippeth. “White Light organised shoot-outs at their premises and again at the Royal Opera House for us to make detailed comparisons. Our main criteria were that the replacement not only had to be quieter than the existing fixtures, but must be equally as bright without losing any of the features.”
The result of s
UK - Event production specialists proudly supported the team at CoppaFeel, donating a comprehensive event equipment and logistics package for Festifeel, the annual boutique music and comedy festival, held deep within the arches below Waterloo at House of Vans London.
CoppaFeel are the UK’s first breast cancer charity to build awareness of the signs and symptoms amongst young people, providing invaluable support and advice aimed at driving home the importance of regularly checking your boobs - a simple procedure that could one day save their life. The team works to equip younger people with the tools and knowledge to be proactive about their own health allowing them the best possible chance of detecting cancer early and enabling them to make informed decisions about their health.
Installing a full production package that included lighting and rigging plus video and projection, the LFPS team transformed the venue to accommodate a host of live performances, with comedy from the likes of Zoe Lyons, Shappi Khorsandi and James Hancox, live music including Rae Morris and The Big Moon and DJ sets from Melanie C and Groove Armada plus a lesson in Irish dancing from B*witched!
Coppafeel founder Kris Hallenga says: "We were so lucky we got to work with LFPS for this year’s Festifeel. Nothing was too much stress, too ambitious or unachievable for them and they got fully behind the event and the cause. Because of LFPS our event looked incredible and we’ve had nothing but amazing feedback on just how brilliant everything was. We really hope we get to work w
Sweden - The final tour by Swedish disco group Alcazar concludes at Stockholm’s Cirkus venue on 31 December. Lighting designer Palle Palme applied his golden magic dust to the mix and created “a stunning lighting show with 58 x Robe MegaPointes proudly dancing to the disco-disco beat”.
Palle, who works worldwide on theatre, ballet and musical shows, was asked to imagine something special for this landmark occasion. It was the first time he’s worked on an Alcazar tour and also the first time he’s specified and used MegaPointes in a design.
At the start of his career as a lighting professional, he wanted to work at the Swedish National Theatre and also to light legendary singer Ulf Lundell, both of which he had achieved by 2002. After that, one of the bands he most wanted to light was Alcazar - because they took ‘disco’ to a different level and he thought they would be huge fun, as well as their shows having a reputation for high production values.
The 90-minute set is a colourful collage that careers through a mash of greatest Alcazar hits plus medleys of some of the disco sounds of the last half-century. It also includes a moving tribute to the late Avicii, “We Love You DJ”.
Palle reveals that he’d been wanting to use the MegaPointe ever since he’d first seen a demo at the end of 2017. He was just waiting for the appropriate show, and Alcazar was an ideal opportunity.
His starting point for the lighting design was the slick contemporary set design created by Tino Rivero which includes risers, a central staircase and
UK - Directed by the Olivier Award-winning Marianne Elliot, Stephen Sodenheim and George Furth’s musical Company has recently returned to the West End. Playing at the Gielgud Theatre, the show has opened to critical acclaim and has already announced an extension to March 2019. White Light was called upon to supply the lighting.
Company tells the story of Bobbie whose friends and family can’t understand why she isn’t married. At her 35th birthday party, she questions the pressure to find the right person and finally settle down. The show is lit by Olivier and Tony Award-winning Neil Austin, who comments: “This is actually the second time I’ve lit Company, having worked on a version in Sheffield about eight years ago with Daniel Evans. It’s a show I love and was delighted to be asked to do it again. What’s brilliant about Marianne’s version is that she’s swapped the gender of the protagonist from male to female, from Bobby to Bobbie. As a result, it completely transforms the piece, giving it extraordinary currency and clarity.”
To create his design, Neil worked closely with set designer Bunny Christie. He explains: “Bunny came up with several designs, but the one we settled on was a series of open-fronted cubes the smallest of which is around 9’ by 9'. A five-sided box is a lighting designer’s worst nightmare, and we’ve got nine of them! I added LED light boxes to the front fascia of each box to be able to blend or contrast to the interior, as well as LED tape around the inside of the box to help light the ac
UK - The UK entertainment technology industry is valued at £1.28bn in 2017/18 and its value is predicted to grow over the next five years, according to a new research report by PLASA.
The study - said by PLASA to be 'the most comprehensive study of the entire entertainment technology industry in many years' - is available to download from plasa.org. It delves into each market sector’s performance and also looks at the effects of macro-environment trends and employment.
According to the findings, all sectors have experienced growth, particularly AV and audio, which represent 38% and 27% of the market share respectively. AV is currently valued at £490m and has an increasing presence in many sectors including architectural and retail. Audio is valued at £340m due to its usage in installations and sports among others.
The suppliers surveyed showed a positive sentiment about the future of architectural & commercial, concert & touring and themed attractions; performing arts, DJ and studio sectors were also listed. The future of the industry is also positive, with half of those surveyed expecting the value of the industry to increase in the next five years.
PLASA managing director, Peter Heath, comments: “It’s great to learn that the entertainment technology industry is in such good shape. And with the industry diversifying and adapting, it is clear that leading professionals from all sectors are more than capable of steering live enter
USA - Brian Dowd has joined GLP US as sales director. Dowd has previously served as vice-president of sales at ACT Lighting for over 12 years and has also been a regional sales manager at TMB. Throughout his career, he’s worked as an electrician, rigger, designer and production manager.
GLP US president Mark Ravenhill comments: “It is fantastic to have Brian join us at GLP. Having known him for many years, his knowledge of the industry and his ability to consistently grow markets will be a great asset to the company as we move forward.”
Dowd adds: “I was attracted to GLP because they do not follow the pack. My role at GLP in the America’s is to create growth in the marketplace. There are some very exciting opportunities out there, and I am looking forward to them all.”
USA - The University of Kentucky’s Big Blue Madness – the annual televised open practice event for the university’s basketball teams – is a highlight for basketball fans and students, who camp out for days to get tickets to the event.
Bandit Lites once again provided the lighting package for the televised celebration, where the 2018/19 season kicked off with dance routines from both the women’s coach, Matthew Mitchell, and the Kentucky cheerleaders along with epically staged introductions as the players were introduced to the sold-out crowd before a scrimmage.
Bandit Lites supplied more than 100 fixtures including GLP X4S, Robe BMFLs, GLP X4 Bar 20, Chauvet Rogue RH1 Hybrids, Claypaky B-EYE K20, Suntrips, Robe PATT 2017 and Mega-lite CircaScoops.
LD Aaron Swetland tackled the design for the projected #1 ranked basketball team’s event, lighting the two runways midstage upstage corners where the players made their entrance. While initially envisioning a larger backdrop, Swetland soon learned the runway space was not actually seven feet, but rather three feet.
Undaunted, Swetland said he “wanted to add sparkle for the camera and to create ambiance, crafting a border along the side of the runway”.
One addition to this year’s design that helped with the ‘sparkle for the camera’ were the recently acquired Mega-lite CircaScoop LED fixtures. Swetland shared he liked all the built-in toys and advised Lighting Programmer Alex Gagnon to keep things the required blue and white and to make it all twinkle.