USA - grandMA3 consoles made their Super Bowl Halftime Show debut at Miami’s Hard Rock Stadium where they joined a complement of grandMA2 consoles to control video elements, stage effects and the LED wristbands worn by approximately 65,000 spectators.
Super Bowl LIV featured one of the most talked about Pepsi Halftime Shows in years with Shakira and Jennifer Lopez turning up the heat with their high-energy, bilingual performances on the main stage.
Jason Rudolph, a lighting director for the halftime show for the last decade, was equipped with a pair of grandMA3 light consoles and four grandMA3 processing unit M to control all the video elements in the show as well as the LED lighting not from moving head fixtures.
“We pixelmapped the KNV LED cubes on media servers and fed that via Art-Net to the grandMA3, where I merged it so that I could control the cubes either via the console programming or via content,” Rudolph explains. “The media server were controlled via MA-Net, and we sent out sACN for data distribution to the system.”
Eric Marchwinski of Earlybird Visual, LLC programmed PixMob on a grandMA2 in session with Rudolph so the latter could trigger the crowd’s LED wristbands during the show. Montreal-based crowd lighting company PixMob helped spectators feel like part of the show with illuminated wristbands synchronized to the super-charged music.
Production designer Adam Biscow of Nashville’s Strictly FX, LLC used two grandMA2 light to control all of the stage effects. Twenty-two cryo units were mo
USA - Vari-Lite has announced that its new Vari-Lite VL5LED Wash fixture is now shipping. Originally debuted at LDI 2019 in Las Vegas, Nevada, the VL5LED Wash is the successor to the Emmy-winning VL5.
With an RGBALC colour system, onboard motorized zoom, and LED blade lights, this compact VL5LED Wash brings a host of modern features to a familiar form factor.
“Often imitated but never duplicated, customers continue to use both the original VL5 and the VL500 many years after the end of their original production because of their love not only for the unique look of the front face, but the high quality of the wash and the compact build of the fixture,” explains Martin Palmer, senior product manager, Vari-Lite and Strand Luminaires at Signify. “The new VL5LED Wash carries over the size and quality of light from the original VL5, but with features for a modern market.”
The heart of the new VL5LED Wash is the RGBALC colour system, which provides lighting designers with a wide range of rich colour options, including both pastel and saturated colours from a single fixture. To simplify programming of this fixture, the innovative SmartColor Control system adjusts the six-colour engine using traditional CYM+CTO mixing control. These vivid colours are then reflected on the Dichro*fusion blades that bring the vintage stylings of the original VL5 along with the variable diffusion first seen on the VL6500 Wash.
For further creative options, the VL5LED WASH adds a separate ring of LEDs that light up the Dichro*fusion blades a different color than the
UK - P&J Live at TECA, the North of Scotland’s new events venue, has invested in over 700 Prolights fixtures to provide in-house production services for events ranging from conferences to gala dinner dances.
P&J Live’s deputy operations manager technical, Steve Morrison needed a moving wash fixture to provide flexible, high-quality lighting during events. He specified 140 Prolights PixieWashXB units after being impressed by their versatility, size and quality of light output.
The additional 560 LED fixtures included RA2000 moving LED profiles, Eclipse HD LED ellipsoidals, Eclipse 1K and 2K LED Fresnels, StudioCob LED PARs, Lumipix 16H LED battens and SmartBat Plus battery uplighters.
Steve commented: “These little LED fixtures are really useful to create atmosphere and table lighting for a gala dining experience. Their flexibility is exactly what is required throughout the spaces. Using the Lumipix battens to under-light white scrims has created a more intimate look for dinner dances to great effect. Our production team is really pleased with the end result.”
USA - After debuting last year at The Strat in Las Vegas, Celestia, a Cirque du Soleil-type entertainment show, has emerged as one of the city’s top North Strip attractions. With a troupe of performers highlighted by ‘an otherworldly lighting design’ by Tom Sutherland of DX7 Design, the fast-moving circus-style production is a carnival of thrills.
The LD entered the project somewhat late as part of a creative team hired a relatively short time prior to opening night to ‘cast their eyes over the production’ and enhance the show’s look.
“They had brilliant acts and a state-of-the-art theatrical tent but there was no real glue or production value,” Sutherland states, explaining that the new creative team only had a few weeks to implement their ideas, which included an extra build and additional lighting fixtures. “We stripped out some rigging, put in some extra upstage positions and built a big semi-circle truss around the back, which is the centrepiece of the entire set really. I think we put it all together in under a month.”
Created by executive producer Brian Burke and live-production company Intrigue Shows, Celestia is a galactic journey filled with daring acrobatics, athletic dance, and aerial feats, all told through live music and cutting-edge technology that includes Elation Professional lighting effects.
As part of the improvements, DX7 Design purchased Elation Dartz 360 LED moving heads to mount on the semi-circle truss to wrap the stage in 180 degrees of lighting effect. Thirty-two Dartz 360 beam/spot units
USA - SNHU Arena in Manchester, New Hampshire, has filled many roles since it opened in 2001. Not surprisingly, being in the heart of the state that holds the first-in-the-nation presidential primary, it has hosted rallies for virtually every candidate in this century who’s aspired to take up residence at 1600 Pennsylvania Avenue not to mention sports, concerts, and conventions of every type.
On Wednesday 5 February, the spacious arena assumed a somewhat different appearance. Instead of swelling with crowds of 10,000 or more as it does for political rallies and concerts, it welcomed a more intimate gathering for a sales event for IT services provider Connection. Once inside the arena, the conference’s thousand or so guests were immersed in a welcoming environment that featured an Events United lighting, video, audio, and scenic design anchored by over 70 fixtures and 56 LED panels from Chauvet Professional.
“We worked with the venue staff to transform the SNHU Arena into a blank canvas by draping off 90% the side seating,” said Tim Messina, Events United owner. “This gave us the ability to work with a 90ft vertical trim height, but still have people feel that they were in a smaller space.
“Our goal was to make this event all-encompassing for the guests in attendance, as well as for those watching the live stream that was sent to Connection’s remote sites. Our team did this through the use of lighting, video, and scenic elements, from the lit banners on the sides that transitioned to the video wall on the stage, to the overhead moving
USA - Theatre lighting design specialist Tyler Micoleau recently collaborated with New York-based Public Theatre’s Public Works programme, lighting a production of the musical Hercules, a world-premiere presentation of a stage musical adaptation of the Disney film, developed in a collaboration between The Public Theatre and Disney Theatrical Productions.
To add poignancy, the venue chosen was the outdoor Delacorte Theatre in New York’s Central Park, and helping Tyler to achieve his objectives were 34 Fusion by GLP FP7 Par and 20 Fusion by GLP FS10 Stick battens, operating alongside the repertory house rig.
Tyler has a long history of working on productions with Lear deBessonet, founding director of Public Works, and has designed four productions for The Public Theatre at the Delacorte.
The LD said: “Musicals are not the typical production at the Delacorte Theatre and I needed additions to the repertory lighting package that could contribute the colour changing and dynamics more typical to musical theatrethan a straight play. While in recent summers, The Public Theatre has had some colour changing LEDs and a small inventory of moving lights, they haven’t had weather-resistant (IP65 or better) ratings.”
Both he and Alex Brandt (the lighting supervisor of The Public Theatre) had also been interested in seeing what kind of IP65-rated equipment was currently on the market as the latter was tired of having his electricians constantly swapping out gear due to wind and rain damage.
“In order to get the lights integrated into
UK - Commemorating the 50th anniversary of Peter Mumford’s prestigious career, last December saw the ALD host an evening In Conversation with Peter Mumford where he was bestowed with a Fellowship of the Association, in recognition of his outstanding contribution to the art of lighting design.
On presenting the award, Lucy Carter commented: “I’ve got a lot to thank Peter for, because 25 years ago when I was a dance and drama student, I didn’t even know about lights in performance and it was watching Peter’s designs for contemporary dance that I suddenly saw this new medium and is essentially why I’m a lighting designer now. I’m sure that Peter is still inspiring us all and inspiring a new generation as well.”
The event to reflect upon his career was held at the National Theatre on the night following his own press night as lighting designer for Three Sisters. Peter’s collaborator and programmer, Victoria Brennan, led an insightful conversation about his work in retrospect across the five decades. Peter’s initial caveat was, “While I don’t like being nostalgic, I think that since it is 50 years since I left the Central School of Art to begin working professionally there is no harm in being reflective.”
He notes: “When you begin you only look forward. Maybe two or three decades in you have to recognise you have a past. At first you reject this, it’s a bit like a mid-life crisis, but then you realise that through that early period of acceleration you have developed a style - a visual continuity however diverse
USA - ADJ has announced the availability of its most compact wireless LED uplighter to date, the Element ST HEX. Building on the success of ADJ’s popular Element Hex, the new model features powerful output, and compact design as well as a full colour touch screen display for easy setup and DMX addressing.
Featuring four 6W HEX (red, green, blue, amber, white + UV) LEDs the fixture offers smooth colour mixing with an almost limitless palette. The inclusion of both amber and (cool) white LED elements means that it can be used to create white light with a wide variety of colour temperatures. Meanwhile, the UV LED element not only allows for the creation of the classic ‘blacklight’ effect where white and fluorescent materials glow vividly, but it can also be combined with the other primary colours to create hues such as hot pink, electric purple and lime green that aren’t possible using tri/quad colour uplighters.
Although the fixture allows for full colour mixing, through altering the intensity of all six of the primary LED colour elements, it also comes pre-programmed with 63 built-in colour macros. These allow for easy static colour washing to be setup without the need for any external control and also help to speed up DMX programming. Pre-programmed colour chase patterns are also included
An internal fixed lithium battery with a capacity of 6.6AH (amp hours) is capable of generating 73.26WH (watt hours) of power. This is sufficient to drive the LEDs for up to 15 hours using a single LED colour on full brightness, which can be increased to as
UK - The Lastminute.com London Eye dazzled its vast visiting crowds this year with a first-of-its kind, eight-metre tall Christmas tree adjacent to the attraction. With plans to transform the tree every hour into an attention-grabbing light show to music, the Merlin Entertainments team turned to TLS Lighting, for a bespoke LED lighting solution that would fully pixel-map the tree’s surface.
Merlin Entertainment’s David Rigby explains: “We wanted large scale pixel-mapping and TLS Lighting created a custom-designed and manufactured lighting system in a conical shape that was supplied to us as plug and play. We know we can always trust TLS Lighting to create exactly what we need with the feature sets we are looking for. They don’t let us down.”
The tree twinkled with almost 4000 RGB LED light modules and was adorned with a total of 64 strings of lights, varying in length from two to eight metres in length to achieve what Rigby describes as the “perfect look across the whole tree”.
With each pixel individually controllable, the Merlin entertainments team had full command of the 11,520 control channels and programmed the coordinated light shows via a High End Systems Hog 4 lighting desk which streamed control to TLS Lighting PixNet controllers using ArtNET protocol.
Rigby adds: “We get a very good service from TLS Lighting. We work with technology that we will constantly push boundaries with. More pixels, more power, more brightness. Its very hard to find a company that will work with you at that level and support you. That’s the
World - For the current world tour by Charli XCX, lighting designer Elliott Mountford is enjoying the power and consistency of the VL2600 Profile luminaire from Vari-Lite.
The tour is in support of Charli XCX’s third studio album Charli. Having worked with Charli and creative director Jed Skrzypczak through the summer, Mountford knew what was required, but also the limitations. “Charli hates key light,” he says, “so most of my show is backlit, with a very silhouetted look. I love big, backlit looks in white, but they have to be super-wide for every audience member to see the effect.”
In achieving this, Mountford was impressed by the VL2600 Profile’s powerful output and wide zoom range. “I wanted great contrast between the lights and the rest of the rig - we had 100-plus strobes that they had to compete with,” says Mountford. “They cut through everything. My side-lights were workhorses for making sure Charli was illuminated, even during the brightest scenes. The brightness and the zoom are insane,” he explains.
Asked if the VL2600 Profiles had met his expectations, Mountford says: “Yes, they certainly met expectations. They went above and beyond to impress me each time I used them in the show. They totally out-performed any other similarly-sized spot that I’ve used.”
USA - Michael Brown is a lighting designer who loves to experiment and take some creative risks in the quest for imagining new and exciting performance environments and that’s exactly what he did for the US leg of Bon Iver’s recent tour, part of the campaign for new album i, i, where 49 x Robe MegaPointes and 25 x Kinetic Lights custom moving mirrors were at the core of his design combining the diverse visual disciplines of art, architecture and concert lighting.
Michael has worked with the band since 2012, following a chance backstage encounter a few years earlier with lead singer Justin Vernon. It’s been a fertile and stimulating partnership, for which they implicitly trust in his creative judgment.
He first encountered the Kinetic Lights winch system in 2017 while researching cool art projects for the Eaux Claires Festival in Wisconsin for which he was the creative director/ visual arts curator for all four years - 2015 to 2018 - that the event has run so far.
Bon Iver’s Justin Vernon and Aaron Dessner from The National are the main curators - for music and all aspects - of the entire festival.
Christopher Bauder and WHITEvoid - the company presenting the project side of his work – had a lot more experience of utilizing the kit, and both Justin Vernon and Bon Iver’s production manager James Dean were also onboard.
The 3D geometry that defined the band’s touring lighting rig was created by five identical overhead chevron trusses comprising 32ft long wings connected by a 90-degree corner block, which resembled a di
USA - As the San Francisco 49ers and Kansas City Chiefs battled it out for the NFL Championship, the Pepsi Super Bowl LIV Halftime Show brought a little Latin flavour to Miami’s 65,000-seat Hard Rock Stadium on Sunday 2 February, thanks to an explosive show by Jennifer Lopez and Shakira, aided by Puerto Rican rapper Bad Bunny and Colombian star J. Balvin, and a cast of near 170 musicians, dancers, and performers.
This massive production - an eagerly awaited annual event - was broadcast live by Fox to 100m viewers worldwide, all of whom witnessed a lighting show which had at its centre over 120 Ayrton Perseo IP65-rated multi-function profile fixtures.
The spectacular production was created by the Super Bowl team headed by show designer, Bruce Rodgers of Tribe, Inc. and lighting designer, Bob Barnhart of 22 Degrees. “We quickly decided the Ayrton lighting rig would be the centrepiece of the whole design,” said Barnhart.
Rodgers’ stage design included four runways of light upstage of the main stage, delineated by 52 Perseo fixtures which would also outline the circular main stage. He also installed 24 further Perseo fixtures on either side of the tunnels to light the teams as they made their pre kick-off entrances onto the field.
“The upstage ramps were the background of the show for us,” says Barnhart. “It’s very hard to get elevation in a set in the middle of a field with only 8-minutes set-up time, so we depended on those four long rows of lights to give us a really strong background.”
One section of the upstag
USA - The Bronxville Union Free School District encourages their students to participate in a number of extracurricular activities including the performing arts programmes produced by the High School, Middle School and Elementary School departments.
Wanting to supply their student technicians with the latest in production technology used to accentuate the performing arts, The Bronxville School Foundation awarded a grant submitted by student technician AJ Radik for the addition of Siren Series LED followspots from Altman Lighting.
“I’m a junior at Bronxville UFSD and I started doing tech for the theatre productions back in the sixth grade,” began Radik. “I am mainly focused on the sound and lighting designs of the productions and last year as we were doing a production of Little Shop of Horrors, one of our old spotlights starting smoking and became inoperable for safety reasons. Afterwards, I spoke with the director of the production Pamela Simpson and she suggested that we write a grant to the Bronxville Foundation for new spotlights, so I did.”
Supported by the Bronxville community to award grants for high-impact projects that the District budget cannot fund, The Bronxville School Foundation has provided opportunities for new initiatives in technology, curriculum, teaching techniques and innovative classroom design. Knowing their willingness to also support the arts, Radik was hopeful that the grant might come through for the benefit of all the student technicians working behind the scenes.
“Our school has a sort of hybrid tech cl
USA - A majestic ‘magical’ 50ft tree is at the heart of the Wildwood Grove Tree Experience, a multi-media creation from LifeFormations and The Imagination House at Dollywood in the The Great Smoky Mountains, Tennessee.
A collection of 650 pixel-mapped and illuminated butterflies controlled by Weigel software animate the 50ft wide expanse of the venerable tree’s branches, while music by Mike Avila and an alluring story narrated by the park’s cofounder, Dolly Parton, add to the enchantment. Accentuating the entire scene is a vividly coloured Susan Rose lighting design that features 16 Chauvet Professional Ovation E-910FC ellipsoidal fixtures supplied by Bandit Lites.
Deftly mixing colours, light angles and slightly off focus gobo patterns, Rose creates a captivating vista that adds depth to the tree and its rocky surroundings, giving them a dreamy edge that conveys endless possibilities. Her lighting seamlessly changes colours, intensity levels, and orientation during the show to create a flowing stream of engaging looks.
“Lighting gives an extra dimension to the impact of the Wildwood Grove Tree Experience,” said Rose. “The layers of colour and shadows that we create help make the tree pop and gave people another level to engage with the show.”
Key to helping Rose create these looks are the Ovation E-910FC fixtures, she hung four apiece on four poles located 50 to 75ft from the tree. Using lens that range from 14 to 19 degrees, she relies on the RGBA-Lime ellipsoidals to hit the tree with a wide range of coloured light from diff
UAE - AO Drones recently delivered an airborne show in Dubai for a video campaign promoting Motorola’s reimagination of its Razr flip phone in the Middle East and Africa. The resulting video quickly attracted over 200,000 views through Motorola’s social media channels.
The teams from AO Drones and AO Creative, part of AO Technology, worked in collaboration with Motorola and netizency, the digital marketing agency, to design the visual content, including animated logos and brand names. AO Drones’ design team even created an animation of the Razr flip phone opening, closing and rotating in the sky.
Vinayak Shenoy, head of marketing, Middle East and Africa for Motorola’s parent company Lenovo, said of the Razr launch event, “We felt that this drone show symbolises what this product is all about - a great blend of technology and art. The beauty of 120 drones rising in the air all together, the whirring of the drones and the beautiful formations is something I’m going to remember for a very long time.”
AO’s founder and executive producer, Marco Niedermeier says: “From the beginning we asked, what was the intention? It was to create great content for social media and get maximum shares and engagement. So we looked after the whole production - the drone show, the film - but without an invited audience on-site.”
Adding a further dimension to the video, camera drones provided striking ‘fly-through’ footage, taking the viewer up and into the drone formation, even passing directly through the Motorola logo. “It’s not just fil
Russia - An assortment of Claypaky lighting fixtures are to be found in Salekhard, the only city located directly on the Arctic Circle.
Systems engineer Vladimir Spravtsev of DNK Corporation installed Claypaky Axcor Profile 600 HC, A.leda B-EYE K20, Axcor Spot 400 HC, Axcor Beam 300 and Stormy CC fixtures in the city’s Cultural and Business Centre. Artem Bogatyrev was the project manager.
Spravtsev was tasked with refurbishing the lighting in the concert hall portion of the building, known for its stunning architecture. “We needed to install fixtures that were multifunctional, that could be used for performances ranging from folk artists to classical music,” he explains. “We chose Claypaky lighting because we know Claypaky’s reputation as a reliable manufacturer. The company’s products are in great demand for Russian show production.”
The Axcor Profiles 600 HC will act as front lights for shows in the concert hall while the A.leda B-EYE K20 and Axcor Spot 400 HC fixtures are mounted in the grid. Axcor Beam 300’s and Stormy CC’s will be used for lighting effects.
“The lights are working fine, and the customer is very satisfied,” Spravtsev reports. “We are planning several theatre halls and plan to use Claypaky equipment in them as well.”
Bogatyrev gives kudos to Alexander Polovinkin, technical director of the Centre, “for his support and faith” in the project.
UK - Television lighting rental specialist Version 2 has announced the appointment of Joe Marter as account manager at its Reading operation.
Marter entered the television industry with Aurora, starting in a technical role which progressed to project management supporting LDs such as Chris Rigby and Gurdip Mahal. Joe passed through the BBC Wood Norton training academy giving him a solid understanding of studio lighting techniques. Marter most recently worked with event lighting company TSL, where he was able to further hone his customer support skills.
As account manager at Version 2, Marter will be liaising with lighting directors, gaffers and production managers to offer support and advice on all aspects of the production process.
Managing director Nick Edwards comments: “Marter has not only a proven in-depth equipment knowledge but he also understands the importance of strong customer support. Having previously worked alongside Marter, it’s a pleasure to be welcoming him to the management team here at Version 2.”
USA - Dollywood, the popular theme park in the Smoky Mountains of eastern Tennessee, debuted a new area in June 2019 - Wildwood Grove - at the heart of which is a magical Wildwood Tree illuminated using Elation Professional luminaires with lighting design by Susan Rose.
The Wildwood Tree comes to life each evening during a light and sound experience created by The Imagination House for Dollywood and narrated by Dolly Parton herself. Designed and built by LifeFormations, the 50ft tree’s gnarled trunk emerges from a rock base before spreading into a beautiful green-leaf canopy covered with 650 custom RGB LED butterflies, controlled and programmed by Weigl Controls.
Lighting designer and lighting programmer for four separate seasonal experiences is local resident Susan Rose. She has previously designed lighting for Dollywood shows and spent nearly a year on the Wildwood Tree project. “When I started on the project the tree didn’t even exist yet so we really started from the ground up,” Rose comments, adding that she was given a sample piece of the tree trunk to see how light would react on it.
Bandit Lites also got involved in the project early on, she says, and were critical in setting up demos and helping her look at the various lighting possibilities. “I knew we needed outdoor-rated lights to fight with Mother Nature and we needed something with good intensity to shine through at dusk. Bandit recommended we go with Elation and as I was already an Elation fan and it was also in our budget range, I took a closer look.”
Spain - Technology experts from around the world descended on Barcelona for the annual Cisco Live EMEA conference in January to learn, share and drive the digital future.
For the third consecutive year, Christie Lites UK was commissioned by production company GPJ to design, supply and crew a lighting solution for the conference’s main stage and party area.
It is a major project, with Christie Lites UK working alongside production managers, technical managers and lighting designers to design a lighting and control package. This year, the team specified more than 850 fixtures and a crew of 27 experts, as thought leaders shared visions and performers including Nile Rodgers entertained the crowds.
GPJ’s head of technical production, Mark Bannister, worked alongside GPJ production managers John Carss for the main plenary and Isobel Webb and Dave Whitty for the party area to realise the project. Christie Lites UK account rep Andy Strachan managed the delivery of the lighting solution to the event.
“GPJ US and Christie Lites have built up a good relationship over the last decade in the States, and we were keen to develop that with Christie Lites UK, and that is a decision that has delivered huge benefits over the last three years of working together on Cisco Live,” says Mark Bannister. “The kit is well prepped and the crew work seamlessly with the other departments on site. Simon Grant’s design and Christie Lites’ delivery in the Party Area was breath-taking, and helped the team deliver the best-ever Cisco Live party - as rated by t
Indonesia - British pop rockers Suede played Soundrenalin in Bali. Sharing the stage with alt rockers was a wide range of artists, from the hard driving Indonesian metal band Jamrud, to local R&B legend Glenn Fredly.
Tying this diverse musical offering together visually on two stages, while still creating looks that reflected the different personalities of each of the more than 40 artists who appeared at Soundrenalin, was a challenge, according to festival lighting designer Iwan Hutapea. It was one he met with help from two ChamSys MagicQ MQ500 Stadium consoles.
“The diversity on the stage was impressive,” says Iwan, owner of Etcetera Lighting. “We designed the lighting rig to be very flexible. As for the console, we used ChamSys, not just for its capabilities, but also because it is very user friendly for programming and networking, which made it easy to add ArtNet.”
When Iwan ran the boards during the festival he was grateful that he could work with playbacks and pre-set faders without swapping between modes, which made it easier to busk. “We did a lot of busking, because many of the bands gave us their song lists only at the last minute,” he says. “This is when you really appreciated that the ChamSys is so user-friendly.”
Iwan also appreciated how easy it was for LDs who have never worked with the MagicQ MQ 500 Stadium to familiarise themselves with the new console. “ChamSys was the festival console, so visiting LDs were given the opportunity to use it of course,” he says. “It was really a very straightforward
USA - City Theatrical’s Multiverse wireless DMX/RDM technology was recently used to provide wireless DMX/RDM for the lighting installation by Dynamic Productions USA for Super Bowl LIVE presented by Verizon at Bayfront Park, a week-long, free-to-the-public fan fest leading up to Super Bowl LIV in Miami, Florida.
A total of six Multiverse Transmitters and 20 Multiverse Nodes using Multiverse’s dual band 900MHz/2.4GHz technology were used to create six zones of wireless DMX throughout this 32-acre park from January 25 through February 1, 2020.
“Multiverse worked great for us,” says John Fitzgerald, lead technician for the project from Dynamic Productions USA. “When starting to design this show, Multiverse was the best option for us to get data around Bayfront Park. It made our load in process much quicker as well.”
Each Multiverse Transmitter 900MHz/2.4GHz was used to broadcast within a single zone, using a Panel Antenna. Multiple Multiverse Node 900MHz/2.4GHz units, each with a Yagi antenna, were set up within each zone to receive DMX data. All antennas were installed at the top of truss towers around the park to maximize the distance of the wireless broadcast and reception despite unique project challenges concerning radio spectrum congestion, distance, duration of use, and tropical weather.
While the Panel and Yagi antennas were attached on the top of truss towers, the team was able to install the Multiverse Transmitters and Nodes within waterproof cases at the bottom of the towers. This allowed for easier access and overal
Singapore - Ayrton’s Diablo profile fixture is gaining increasing popularity in the Singapore region. Creative Technology Asia Pacific and Yale-NUS College are just two of the latest organisations in Singapore to invest in this compact LED fixture which were supplied by Ayrton’s exclusive distributor for the region, Total Solution Marketing Pte.
Audio-visual company, Creative Technology Asia Pacific (CT), initially purchased 16 Diablo-S fixtures for its rental stock, but after experiencing the great capabilities and performance of their newly acquired Diablo-S, decided to purchase another eight fixtures to increase the CT offering to 24 units in total.
As one of the world’s leading suppliers of specialist audio visual equipment to sports, corporate, exhibition and entertainment industries, CT had specific reasons for its choice: “Diablo is a smaller wattage fixture that is on par with other big brands, and in a shootout proved itself to give a higher return per dollar than the others,” commented the company. “It has the versatility, good build quality and ease of maintenance which is so important for a rental house. It also has a rich set of features and, with its small body and great output, is much easier for our technicians to handle, day in and day out, on the road. In terms of size versus power and functionality, what you see is definitely not what you get . . . in a good way!”
Ayrton was delighted to hear that Yale-NUS College, a well-respected international arts college, has also chosen Diablo-S fixtures for its Blackbox Theatr
UK - Robe played a major role in delivering the lighting design for the Total Production International (TPi) Awards 2020, staged on Monday, 24 February, at the Evolution venue in Battersea.
Around 350 Robe moving light fixtures were used inventively by lighting designer Nathan Wan, associate LD Andy Webb and Robe’s own creative team, for whom the pressure was on to ensure that the 1,700 plus attendees and award winners were treated to stunning and memorable visuals for the evening. Wan and Webb worked closely with the video team from Visual Edge.
Robe took the opportunity to offer selected NRG (Next Robe Generation) initiative students the chance to work hands-on on a high pressure, high-profile gig including Becky Gaskill from the Backstage Academy who was Nathan’s assistant LD for the main room.
The theme for this year was a 1970s disco dancing vibe - inspired by legendary New York nightclub Studio 54.
With that as a starting point, Nathan’s lighting scheme was also developed to show off the scope and creativity of Robe’s latest technologies, in particular illustrating the power and versatility of Robe’s newest product releases - the Esprite LED Profile with transferrable LED engine and the Tetra2 moving LED batten.
An arched shaped LED screen along the back of the stage provided a physical focal point this year, while the video graphics and content were a neo-deco nod to Studio 54’s stylised graphics which themselves dated back to 1927, when the building first opened as an entertainment venue.
Nathan wanted to recrea
USA - English indie-electronic band Metronomy is wrapping up their current North American tour with a lighting system supplied by Bandit Lites. Known for their distinctive sound and flair for visuals, Metronomy is comprised of Joseph Mount, Oscar Cash, Anna Prior, Olugbenga Adelekan and Michael Lovett and recently released their sixth studio album Metronomy Forever.
“Tour manager Victoria Simpson was our initial contact and responsible for bringing Metronomy and Bandit Lites together for the US tour,” said Bandit Lites client representative Shawn Lear. “Vix’s organisation, advance work with contracts, routing and all the minute details coming from overseas is first-rate. It is truly a pleasure to work with her, and I only hope we cross paths again.”
Following discussion with the band and drawing on the album artwork, lighting designer Jaz Hewitt crafted a system that melded the fluidity and blending of lights and colour, as well keeping focus on the band and immersing fans in a multi-sensory experience.
GLP X4 Bars were placed along the floor in a curve, creating a cone of light around the band. Additional X4 Bars create backdrops of colour fades and double as side lighting, saving crucial space in the trailer pack while avoiding compromising the design’s integrity.
“Because we have less space than the design we had in Europe, it was important to work with Bandit and Victoria Simpson, our lovely tour manager, to learn about trailer space, case sizes and how we could make the design more compact.”
JDC1 add the