UK - At PLASA Focus Leeds, Prolight Concepts Group unveiled a new distribution partnership with Lucenti. On show from the Belgian lighting manufacturer were the Blackwave pixel bar series and Vinci DMX-addressable festoon lamps.
Blackwave is a IP66-rated series of pixel-mappable bars controllable by Art-Net or sACN. The fixtures have a 120° viewing angle and a black front cover, with clear, frosted, rounded or square covers also available.
The system is configured by using one controller for up to 64 bars arranged in groups of eight (1m bar) or 16 (0.5m bar). The strips are easy to link via the Blackwave combined power and data cables, and benefit from automatic patching, configuration and a bi-directional feedback and monitoring using the www.klstr.tech technology.
The 1m and 0.5m bars are designed to be used in demanding environments like stages, clubs and on the move with rental companies. The double chambered lightweight metal housing provides enough strength to interlock multiple bars, additionally, they feature a back rail to ensure easy mounting and a variety of rigging possibilities with the multitude of accessories available.
Meanwhile, the Vinci DMX addressable festoon lamps have PETE housing and come in a variety of styles. Combined with the Vinci controller (also IP-rated for outdoor use), these lamps are easy to operate with powerline communication technology. Both power and data can be sent along a standard festoon harness up to 240m.
Alongside the showcase from Lucenti, Prolight Concepts exhibited fixtures from LEDJ and e
Europe - Ayrton has introduced Cobra, its first phosphor laser source, IP65-rated luminaire, based on the concept of Dreamspot 18K which it first presented at Prolight+Sound 2016.
Several years of development have gone into designing and finalising this luminaire, which offers a next generation speckle-free laser source, designed for rendering a D65 white point that allows perfect colour reproduction.
Cobra pushes all the limits when it comes to beam definition, with native contrast never before achieved by a digital light source, an incredible beam angle of 0.6°, and an extreme range of focus, XT-Focus, which permits the beam shape to be adjusted according to the operating distance.
Cobra is the only luminaire on the market capable of illuminating an object several kilometres away, with an output of 386,000 lux at 20m and an unprecedented 38x zoom ratio and a zoom range of 0.6° to 23° due to its proprietary optical system with 13 lenses and a 170mm frontal lens.
Cobra adopts a particularly minimalist style, is extremely well-balanced due to the luminaire’s simplified waterproofing, known as EasyProtect-65, and the continuous rotation of the pan and tilt movement, which together multiply the possibilities for creating complex effects (Multi-I.R.S.) and makes this luminaire a universal tool capable of meeting any challenge in all conditions.
Cobra is equipped with a highly innovative colour section including a CMY mixing system and a multi-position instant access wheel equipped with six corrective filters, 21 complementary colour
Europe - Hans Zimmer hit the road this spring on a much-anticipated tour. Delayed due to the pandemic, his 19-piece band and an orchestra delighted fans all over Europe.
The lighting design was delivered by John Featherstone from lighting and visual design studio Lightswitch. John and his team pushed for an all Robe moving light rig for the tour which started production rehearsals in Berlin with 250 Robe fixtures onboard ahead of the first European leg, with lighting equipment supplied by German rental specialist, Satis & Fy.
Featherstone explained how the design process originally started back in 2019 / 2020 with Hans curating his creative ‘dream team’ which included renowned Broadway set and scenic designer Derek McLane, video designer Peter Nigrini, choreographer Barry Lather, and of course, himself. “Hans is a master at putting collaborators together,” stated Featherstone, and in this case, hand-picked a team of experienced practitioners known for their flair and style, all of whom brought their own dynamics from different disciplines to the Zimmer-sphere.
The lighting team was rounded out with Featherstone’s daughter Hailey Featherstone as lighting director and Chris Herman as programmer. “I was really fortunate to have such a fabulous team working with me, they really embrace collaboration and making this job great and rewarding,” he noted.
It was the breadth, richness and detail of the music that inspired the team as a starting point for the lighting design.
Hans had arranged 12 vibrant new suites of his great
USA - Scorpions recently released the19th studio album of their, over 50-year, band career. After several weeks at the Zappos Theatre at Planet Hollywood, Las Vegas, they started the Rock Believer world tour in early May beginning with a special concert at Madison Square Garden, New York.
Austrian Manfred Nikitser has been accompanying the internationally successful band as lighting designer since 2016. In addition to the lighting design, Manfred also created the complete show design (stage set and video) for both the Sin City Nights residency in Las Vegas and for the subsequent tour.
Manfred selected the remote follow-spot system from Dutch manufacturer Follow-Me: Follow-Me 3D SIX. The centre piece of this redesigned show is a pyramid-shaped drum riser in front of a semi-circular stage set made of custom-made metal grilles, which houses numerous spotlights and blinders. The atmosphere created evokes a classic rock ’n’ roll look.
Back in 2019, when Manfred used a Follow-Me system for the first time during the final concert of the Austrian cult band Erste Allgemeine Verunsicherung in the Wiener Stadthalle, he was quickly convinced of the advantages. “Thanks to Follow-Me, one person can control several lamps, which can reduce personnel costs but more importantly, allows the follow-spot operator to focus 100% on tracking while the dimmer and colour can be controlled from the desk,” he says.
“In the early stages of the Scorpions production, there were still a few bugs that we had to learn how to deal with. The system is now working reli
UK - During last week’s PLASA Focus Leeds, Entec UVC SafeClean presented its research on creating COVID-free environments and busted some of the myths surrounding pathogen eradication.
Entec UVC SafeClean specialises in environmental germicidal disinfection, effective against COVID-19 variants as well as all other viruses. During the seminar at the Bury Theatre, Entec Group chairman Nick Pendleton presented scientific research on creating COVID-safe environments. He opened up by asking the audience several questions relating to their own personal COVID experience, and some 80% stated they expected COVID disruptions to continue, and almost as many said they had been involved in an event affected by COVID. “I was very surprised to receive such a strong view that the risk and problem had not gone away,” reflects Pendleton.
Aided by a portable Goldensea UVAIR 216 ultraviolet purification unit, in the seminar hot seat were Dr. David Lawrence, a member of the Royal College of Physicians and former GP, and consultant Adrian King of Strategia Group, who among his many roles is Visiting Researcher and Lecturer at Imperial College London Business School. They were led by Pendleton through a list of 11 COVID-related topics, ranging from an explanation of the different forms of UV and the importance of correct product selection; the role of HEPA ventilation filters; why viral load wasn’t discussed more; the effectiveness (and fallibility) of other device deployment (and poor selection), and most importantly, how UVC can help avoid future lockdowns and at the
USA - Butch Allen and André Petrus lit Nigerian superstar Burna Boy’s two-hour One Night In Space show at Madison Square Garden on 28 April.
The massive lighting design for the sold-out concert turned the venue into a giant lightbox that stirred the imagination with outer space images. Yet for all its multi-faceted flourishes, the design process followed a basic formula.
“Burna Boy’s music provided the road map, and we followed it,” said Allen, noting that the end result was a design based on “visual harmony” between the image, atmosphere and the artist’s performance.
Lighting the way on that road map and contributing to that atmosphere were Madison Square Garden’s house lights and an impressive rig provided by 4Wall Entertainment that featured 68 COLORado PXL Bar 16 fixtures from Chauvet Professional.
The motorised RGBW COLORado units with their 200ﹾ tilt were critical to creating the show’s spaceship vibe. Using the fixtures to outline the outer edge of the “starship stage” and circular “spaceship trusses”, Allen and Petrus reinforced the theme of the concert. “They were our nod to close encounters,” Allen said of the battens.
Elaborating on the symbolic theme of the evening (the first ever MSG concert headline by a Nigerian artist), Allen said, “It was like a 190ft starship carrying all of us through our one night in space.”
Pre-programmed and time coded by Petrus at his Nashville studio, the fantastical show energised the entire arena without distracting the live audience or detractin
Germany - In 2018, Cameo celebrated its debut in the NicLen rental park with the Zenit Series. Since then, the dry hire provider has been adding Cameo products to its line-up year after year. Now, in addition to the Zenit W600 and W300 outdoor wash lights and the Opus Series moving heads, the dry hire range also includes the F Series Fresnel fixtures.
With investments in OTOS H5 beam spot wash moving heads, NicLen has also recently added Cameo’s new IP65 hybrid highlight to its inventory – the first supplier worldwide to do so. In addition to the OTOS H5, NicLen has completed its portfolio of Cameo F Series products with the F1 Fresnel spotlights and the F2 FC, and it also offers the new Zenit W600 SMD, an even brighter version of the successful Zenit outdoor wash lights.
With the OTOS H5, Cameo is directly addressing the needs of professional lighting designers and rental companies looking for a fully road and rider-ready hybrid fixture for indoor and outdoor use. The OTOS H5 features a combination of high light output (19,000 lm), IP65 certification, three-in-one hybrid flexibility and a low weight of only 33 kg, making it the lightest product in its performance class.
The Cameo OTOS H5 is now available at NicLen, and the hybrid spotlights got in their first usage in early April, during the christening of the new AIDAcosma cruise ship in Hamburg.
“With the OTOS H5, we deliberately invested in a hybrid moving head that can be used flexibly in the outdoor sector and thus meets the increased demands of the market,” explains NicLen CEO
USA - ADJ has announced the immediate availability of the new Jolt Panel FX and Jolt Bar FX. Both of these flexible fixtures combine intensely bright while strobe LEDs and zone-controlled vibrant colour mixing LEDs. Designed for concert productions, festival stages and rental houses, as well as for permanent installation in large nightclubs and performance venues, these fixtures can be used to generate a wide variety of effects.
The Jolt Bar FX is a professional linear LED lighting fixture featuring a central strip of 112 x 5-Watt cool white SMD LEDs, surrounded on both sides by a total of 672 x 0.3W RGB color mixing SMD LEDs. Both types of LED are grouped into independently controllable zones (16 white and 32 color), which means the unit can also be used to generate strobe chases and colored ‘eye candy’ animated pattern effects.
The Jolt Panel FX is a complementary panel LED lighting fixture that incorporates 48 x 5-Watt cool white SMD LEDs, surrounded on both sides by a total of 800 x 0.3W RGB SMD LEDs. Again, both types of LED are grouped into independently controllable zones (6 white and 40 color), allowing for the creation of eye-catching animated chase patterns.
The white LEDs are extremely bright and, when combined in multiples of 48 on the panel and 112 on the bar, generate truly intense strobe effects. Both units offer strobe speeds variable between 0.35Hz and 25Hz as well as multiple effect options: ramp up, ramp down, ramp up-down and random, in addition to regular constant strobing. The white LEDs can also be used without strobing
Europe - Prolights has updated its Jet family with two wash moving lights, the Jet Wash 7 and the Jet Wash 19. These are compact and fast LED fixtures, with 20W Osram RGBW sources - the smaller fixture, the Wash7, has 7 emitters while the Wash19 has 19 LED emitters. Their wide zoom range goes from a narrow 4º beam to a wide to 56º wash.
The Jet Wash range has many similarities to the Astra family, with fewer features that make it more affordable whilst keeping reliability and performance to a maximum.
Their advanced colour mixing system has precise and advanced control with outstanding white temperatures and saturated tones. The white CCT pre-sets go from 2,800K - 10,000K, and the internal colour system provides +/- green correction, tungsten emulation and a virtual colour wheel with macros.
Just like the Astra range, there is also a linear crossfade channel from any white to a colour value and a virtual CTO on colours.
The new fixtures have an intelligent cooling system and three fan settings for noise-sensitive environments. Their newly designed shell makes them lightweight and easy to carry.
UK - Spectators who saw this year’s Allam British Open in Hull witnessed some of the world’s greatest squash players compete for the $165,000 (US) prize.
With squash enthusiasts all around the globe also able to tune in to the event live via SquashTV, as well as via the official Facebook page of the PSA World Tour, organizers were keen to create a riveting production. Toward this end, Firefly AV was brought on board to award the tournament with a sporty visual flair. Helping them in this endeavour were Chauvet Professional Maverick MK2 Spot and MK2 Wash fixtures, along with Rogue R1 Washes and R2X Beams.
The squash facilities at the University of Hull’s Sports Complex provided an appropriate setting for the event in which World No.1 Mohamed ElShorbagy would defend the title he won in 2019. (COVID forced the cancelation of the 2020 competition, which is close to marking its 100th anniversary.)
While the glass-walled courts offered great spectator viewing both at floor and balcony level, the challenge for Firefly was to create a lighting concept which would heighten the intensity of the event for spectators on location, whilst also providing stunning looks for viewers at home without distracting the players.
The solution was to incorporate an all Chauvet Professional rig that was both hung from suspended trussing and positioned on the floor. From here, Firefly's lighting designer John Richards could programme a number of different scenes and visual effects through his Chamsys MQ500M lighting console to provide illumination of the courts, a
APAC - Pixotope has announced partnerships with several key broadcast companies in South Korea, Hong Kong, Taiwan, China, Japan, The Philippines, India, Malaysia, Myanmar, Thailand and Singapore. Following key staff appointments, the deals follow a number of successful virtual production collaborations using Pixotope in the region.
Together with Pixotope, new distributors TechTwist Corporation, Elevate Broadcast, DB Productions, Great Wheel, Starlight, Bright Media, DongHwa, Mitomo, Kadinche, Jadason, Getop and StageFor will facilitate the adoption of Pixotope’s virtual technology in new regions and broadcast sectors.
Dennis Breckenridge, CEO of Elevate Broadcast, notes, “Pixotope has not only technical superiority but a business model enabling the adoption of virtual technologies into many new markets. We feel that the ease of use, open standard support for plugins, high-quality output, but most importantly, the ease of use helps set Pixotope apart.”
Soko Aoki, CEO at Kandiche Co comments, “Having successfully created projects using Pixotope for quite some time, we think the solution is the perfect fit for the Japanese market, and are thrilled to be working with them here in Japan and sharing their technology.”
Andrew Tan, VP of Sales (APAC) at Pixotope says, "As well as expanding our own team, we're delighted to be working with our new channel partners in the APAC region. To say Pixotope is growing is an understatement. The company has sustained a long period of expansion that matches the global demand for high-level, virtual produ
UK - Avolites has announced new appointments to strengthen its operations in North and South America.
Returning to Avolites, Francisco Yañez Valdivia has been appointed as territory manager for LATAM. Based in Santiago de Chile, Francisco’s role will focus on driving a new phase for Avolites in the region, following the recent launch of the Diamond 9, along with the company’s continuous development of its software platforms Ai, Titan and Synergy.
Francisco has over 10 years’ experience using Avolites products across different positions, including lighting technician and operator, product manager and sales engineer. Avolites’ presence in South America is already very notable, with a substantial userbase of Avolites products.
Stephen Baird-Smith will assume the role of special projects and territory manager for North America. Having worked at Avolites for the past 14 years, Stephen is an Avolites product expert that has a full understanding of customer’s needs and how Avolites products can address these needs.
The new structure will also see the promotion of Ronald Carrington as territory manager for the UK and Ireland. During his more than five years at the company, Ron has seen the introduction of new Avolites products including the Diamond 9.
“In line with our global expansion ambition, the Americas region is very important to Avolites,” says Paul Wong, managing director at Avolites. “Francisco’s appointment will play a significant role in advancing our presence across the LATAM region. Together with Stephen’s and
USA - The Bob Burton Centre for the Performing Arts is a 532-seat live performance venue in Fallbrook, California that serves as a joint community/school facility with Fallbrook Union High School. Used for everything from high school productions to local theatre, dance, and music performances, the venue’s aging stage lighting rig was recently upgraded with Elation Professional fixtures as part of an energy reduction grant project
Production and installation company Pyxis Industries of Wildomar, California, worked with the venue on the energy efficient lighting upgrade, which included Netron data distribution, as well as Magmatic brand atmospheric effects.
Chad Costanzo, president at Pyxis Industries, has had a long-term relationship with the venue and explains the project. “The school received an energy savings grant – funding for California schools to pay for energy reduction projects – and applied the funds to an upgrade of their lighting rig which was over 20 years old. Part of the grant requirement was that the upgraded system had to be more energy efficient than what they currently have. The school had a lot of incandescent fixtures and naturally wanted to go LED.”
Besides the energy savings factor, the lighting system needed to be quite flexible as the venue is used for a variety of purposes, both by the school and outside artists. Seeking to replace a number of outdated incandescent fixtures with something more modern, Chad worked with Elation’s Southern California rep, Richard Wilson, to arrange a demo of several possible soluti
USA - It is all fitting that the image of the waif Cosette sweeping Thénardiers' Inn serves as the basis (in slightly cropped fashion) for the emblematic image of Les Misérables. Here, within the grimy walls of this old chop house in Montfermeil, the conflicted forces that at the heart of the musical are crystalized: from the pitiless justice of Javert who seeks to punish the hero Valjean, to the blackmailing mendacity of the Thénardiers, who conspire against him.
From his perspective as a lighting designer, Christopher Robin found Thénardiers' Inn to be one of the most powerful scenes of the play. “I am moved by the look of The Inn,” he said. “It’s a dusty and grungy place that captures the poignancy of this story.”
At a recent production of Les Misérables at the Greensburg Salem School outside Pittsburgh, Robin reflected the remorseless pathos of this spot in all its intensity with help from a collection of Chauvet Professional Maverick Storm 1 Wash fixtures supplied by Star Design Event Services.
“I wanted to be able to throw lots of side light as if from moonlit windows and ambers for the candle-light lighting in the inn,” he said. “I loved using the Mavericks to play with amber and white together. They seemed to be meant for this scene.”
Robin used the six Maverick Storm 1 Wash fixtures in his rig s as side booms, positioning one unit at the end of each electric right at the legs. “With the atmospherics, the side light reads very well,” he said. “The six Mavericks themselves could wash the stage
USA - Full Flood Inc. has chosen Ayrton MagicBlade FX lighting fixtures for NBC’s new, eight-episode American Song Contest, the domestic answer to the popular and long-running Eurovision Song Contest. Volt Lites supplied the MagicBlade FX units, which are exclusively distributed in North America by ACT Entertainment.
Hosted by Kelly Clarkson and Snoop Dogg, American Song Contest will feature 56 live original song performances by artists from all 50 states, five US territories and the nation's capital. It debuted on 21 March 21 and wrapped with a finale featuring the winning performance on 9 May 9. Episodes are also aired on NBC.com, Peacock and Hulu.
Lighting designer Noah Mitz and lighting director Will Gossett, both from Full Flood, are using 144 Ayrton MagicBlade FX for American Song Contest, which shoots on the Universal Studios lot in Los Angeles. “That’s by far the most MagicBlade FX fixtures we’ve ever used in an array such as this one,” says Gossett. “We’ve used MagicBlades on other shows in linear arrangements to border scenery or align with trusses, but it’s great to have such a visual impact in the vertical plane like we do on this show.”
Each MagicBlade FX fixture features seven squared 65mm transmitting lenses and a revolutionary FX optical zoom system. The RGBW high-output LEDs can be individually controlled to create airborne virtual scenery or illuminate sets and performers.
American Song Contest has “a uniquely-shaped performance environment” by production designer Julio Himede in the
Europe - Claypaky has launched a new company initiative, CP Green – Spotlight on Sustainability, to approach the topic of environmental sustainability ‘with even greater focus and in a more systematical way’.
To coordinate all the corporate initiatives, integrate them across the whole organisation and secure the execution of the changes, a sustainability team, led by Claypaky executive Andreas Huber has been formed.
“Sustainability became a high priority in Claypaky as we aim pioneering sustainable entertainment products and operations for a safe and better world – driving sustainability is a crucial part of fulfilling our company ambitions and goals,” says Marcus Graser, Claypaky CEO.
“My mission is orchestrating the sustainability and environment activities and foster lasting connections across the company inspiring and engaging colleagues across the Claypaky organisation in their work to support the sustainability and environment activities.” Says Andreas Huber. “I will listen to ideas from any colleague on how we can improve further”.
In cooperation with Spinlife, an initiative of the University of Padova, a scientific and strategical approach has been adapted in the project which is structured in three main phases: Quantification of the company’s current carbon footprint; definition and implementation of a multi-year strategic carbon management plan to reach carbon neutrality, and definition of the concrete steps for the compensation and reduction of the company's carbon footprint.
In the first phases, the
Germany - Robert Juliat brought a number of new product releases to Prolight + Sound, Frankfurt.
Leading the field was the introduction of Sully 4C, a new variation - a colourful classic LED zoom profile and Fresnel spots with four-colour mixing - based on the success of the Sully white LED family launched in 2020.
The Sully 4C Series is an affordable, versatile product range with no compromise on build quality and overall performance. It places a new, factory-calibrated four-colour LED source (Red, Green, Blue, Lime) at the centre of a full package of lighting tools for an adaptable solution that delivers even coverage in every model type. The range includes a removeable lamp compartment (T650SX 4C) as a quick and easy solution to upgrade RJ 600SX tungsten profiles to coloured LED sources; a Profile series (650SX 4C) that offers the same zoom range as the 600SX Series and Sully White LED range; and a single lens Fresnel or Pebble luminaire (315L) to complete the full set.
Integrated into all new Sully 4C models is a new software platform, RJ C3, the Colour Creative Control, which has been specifically designed to offer multiple functions and control in a user-friendly way. Operators can choose from a variety of presets and options to select their required modes of colour control, colour temperature adjustment, colour mixing, colour filter simulation and even calibrated white sources. High quality dimming and adjustable response times are also possible alongside a DimShift function which allows colours to follow the Planck curve on dimming.
Europe - Genesis’ much-rescheduled The Last Domino? tour had in its lighting inventory 64 Ayrton Karif LT ultra-compact 300W LED beam-spot fixtures.
The lighting and production design was co-created by Patrick Woodroffe – also show director - and Roland Greil of Woodroffe Bassett Design, and Jeremy Lloyd from Wonderworks who is responsible for the technical integration. Lighting programmer was Marc Brunkhardt.
Woodroffe and Greil had a number factors to consider for what potentially could be Genesis’s last tour. “The band has a rich history of pushing the limits when it comes to lighting and show design, so we needed to come up with something that maintains their reputation for being at the forefront of show design.”
The team decided to take a theatrical approach, giving every song its own visual identity with a unique look and feel, and simultaneously paying tribute to the band’s unique looks and innovations over the years. “We wanted a stage that was very versatile where we could change the whole look, feel and the visual identity for each song, be very intimate or very big, or modern or old school, and then with those adaptable tools we could tell the visual story of the show and create the perfect picture frame for each song and their performance on stage,” says Greil.
Karif LT’s role in this was to help build a versatile, dynamic backdrop in conjunction with an array of 12 rotating LED panels of varying heights. “The panels had high resolution LED screens on the front which could be quite overwhelming,” explains Grei
Australia - Working with Western Australia’s Botanic Gardens and Parks Authority (BGPA), Plan E Landscape Architects recently enlisted Engineering Technology Consultants (ETC), Light Application and Show Technology to design an architectural lighting display for Kings Park using Martin Professional Exterior LED fixtures.
Kings Park is a 990-acre park in the centre of Perth that features sprawling areas of manicured green space, natural bushland, a botanic garden and multiple memorials. One of the park’s most notable features is Fraser Avenue, a picturesque path lined with lemon-scented gum trees planted in 1938 and equipped with in-ground lighting to highlight the trees.
When the existing fixtures came to the end of their serviceable life, the BGPA hired Plan E Landscape Architects to coordinate a replacement capable of producing a wide range of colours and effects while utilising the existing in-ground cabling infrastructure. To meet these requirements, Plan E collaborated with ETC to design an updated lighting installation featuring Martin Exterior Inground 410 LED fixtures.
“When Matt Bancroft from Light Application approached me for a solution, knowing the precinct very well and the high level of prestige at stake, I knew our offering needed to be of superior quality, so I recommended the Martin Exterior Inground 410,” said Mike Bird, technical sales, Show Technology. “Light Application are no newcomers to using Martin architectural products, having installed numerous successful projects throughout Perth with Exterior 500 and 1000 imag
USA - Country music singer and songwriter Luke Bryan wanted to make a spectacular impact for his first Las Vegas residency shows at the Resorts World Theatre, so he hired show designer / director Brian Burke and lighting / set designer Tom Sutherland from DX7 Design to work their visual magic on his much-anticipated performances throughout 2022.
As the show design started to evolve, Tom and his team discovered that the house lighting rig at the new 5,500 capacity Resorts World Theatre venue features large quantities of Robe moving lights, all of which were supplied by Solotech, who completed the install and also co-ordinate the venue’s on-going technical services.
Tom lost no time in getting 108 x Robe MegaPointes on the lighting plot for his main effects lights, together with 54 x Tarrantulas – Robe’s largest LED wash beam – and 17 x BMFL WashBeams which are all running on the theatre’s four RoboSpot systems.
All these fixtures were just what Tom needed to develop the “full throttle” rock ‘n’ roll show he envisioned to stun audiences and present Luke Bryan to his fans.
Tom and Brian Burke have collaborated on several other projects including for Westlife’s most recent live shows and enjoy a great creative synergy.
Opting for an epic widescreen look, the upstage LED screen was 100ft wide as Tom knew he had the fire power to blast right through that with MegaPointes and Tarrantulas.
Downstage of that were a three-tier moving set based on a series of diamond shapes which is a cornerstone of the show environment
UK - The new production of Life of Pi in London’s West End was the recent winner of five Olivier Awards, including best lighting design. To bring his design to life, lighting designer Tim Lutkin chose to use three core Martin fixtures; the MAC Encore, MAC Aura XB, and JEM Glaciator Dynamic.
All fixtures were supplied by Sparks Theatrical, with Tim Lutkin’s team including associate LD and programmer Elliot Smith, and production technician Theo Chadha.
“The MAC Encore CLD is the only moving head profile used in the production,” Tim explains. “We’re using two as manual follow-spots, and a further 18 in the rig acting as the workhorses of all the lighting.
“We’re using absolutely all their versatility; as follow spots with a soft edge, for traditional theatre shuttered framing, for beautiful water effects, and big deep colour washes. We even point them into the house with their sharp star gobo for concert-style aerial effects.”
The MAC Encores are paired with 18 Martin MAC Aura XBs, themselves the only wash fixture used in the production. Tim notes, “They sit so well together in terms of brightness and colour balance.”
Projection is used extensively in the production with Tim explaining how the combination of projection and lighting work together for maximum effect. “We’re using projection for high-contrast, detailed images, whilst the Aura XBs provide a saturated subtle background, and the Encores at their different angles add depth and a beautiful vibe. It’s the combination of projection and lighting toge
USA - LD Steve Lieberman was putting the finishing touches on his design for The Looking Glass stage at Insomniac Productions’ Beyond Wonderland, when things suddenly changed just a few weeks before the festival opened. Instead of being outdoors, as originally planned, the stage was moved inside to the San Bernadino Nos Event Centre’s Orange Pavilion.
“Essentially, it was a full redesign at the 11th hour,” said Lieberman. “Our office really stepped it up in terms of completing the revisions and getting them over to Insomniac and 4Wall to execute. All parties involved performed at the highest levels. The rig looked fantastic when I walked in.”
The thousands of fans who came to The Looking Glass stage to see progressive techno and house artists like Joris Voorn, Len Faki and Nox Vahn would readily agree with that assessment. Lieberman and his team turned the large clear span pavilion into a raw, brooding and palpably intense underground club evocative of a hot converted warehouse in Brooklyn or Detroit.
“Music at The Looking Glass is a bit darker and edgier, and this was reflected in our design,” said Lieberman. “It’s not about specific ‘looks’ here as much as it’s about a ‘style’ of operation. When you’re here you’re immersed in that style. We had no video, and no guest technical staff, in keeping with the underground feel. Culturally, this genre of music lends itself to an edgy style, with sharp edges, precise angles, and monolithic features.”
Helping Lieberman create this distinct mood was a collecti
Europe - Follow-Me 3D systems recently toured internationally with Woodroffe Bassett Design and Roland Greil for The Last Domino Genesis tour.
Roland co-designed the lighting together with Patrick Woodrofe (show director The Last Domino tour) who has also been the LD for Genesis and Phil Collins’ solo tours in the past. For Roland this was an important and challenging honour, describing himself as “the new kid on the block” with his first collaboration as co-LD for Genesis with their Last Domino tour.
The WBD team felt it important to use a remote follow-spot system as this would be far more versatile than classic follow-spots. Due to WBD’s previous positive experience with Follow-Me 3D Systems on tours such as Rammstein, it was an easy choice to make: “The system gives the possibility to integrate an unlimited number of manufacturer independent light fixtures and has been proven to be very reliable,” says Roland.
“A Genesis show is challenging by its own in a very positive way. This specific band has pushed the boundaries within our industry since the 70’s and therefore you have to keep up with this momentum and create a show which is up to those expectations and standards. Just think about their involvement in Vari*lite for example. Even though challenging for Patrick and myself it has been very rewarding to collaborate on this show and create something, that the whole team is proud of.”
The tour’s Follow-Me tech, Bianca Mastroianni adds, “A Follow-Me system is a very powerful addition to a lighting rig.”
UK - As part of a progressive upgrade, the Royal Albert Hall has added 26 x Martin MAC Ultra Performance framing spots to the 18 x MAC Encore Performance CLD they acquired in September 2019 - respectively replacing older generic and discharge moving lights. Both orders were fulfilled by theatre lighting specialists, White Light, with all Martin lighting products sourced from their UK distributors Sound Technology.
According to RAH lighting designer Richard Thomas, this is the third straight swap out to Martin lighting over the past four years, as prior to that a complement of MAC Vipers had also been chosen as replacement wash lights.
“However, we are not driven by brands,” he stated. “We pick the lighting based on what’s best for us. In the case of the MAC Ultras we looked at a number of top brands but this fixture ticked all the boxes.”
Both the MAC Encore and MAC Ultra sales were led by White Light business development manager, Jonathan Haynes.
“I think [the RAH] was aware of just how many MAC Encores there were in the field, including installations in other key London theatres. This has given them a top-notch rig as they continue to do bigger and better things by renting their lighting to incoming shows. They have definitely made a significant investment.”
His company also has a service agreement with the venue and maintains all its equipment. “I have had a long relationship Rich Thomas and [head of production and technical] Ollie Jeffery and they have remained very loyal to White Light.”
When the concert hal