USA - When lighting designer Trevor Ahlstrand was in search of a powerful yet compact lighting fixture to form the bulk of the floor package on Kane Brown’s current Live Forever tour, Elation Smarty Hybrid effects grabbed his attention before he ever laid eyes on the light itself.
“I was at a demo and it really caught my eye - how wide it filled the room and the crisp gobo projection,” the designer says. “When I looked to see what light was making the effects, I was surprised to see a fixture whose footprint was so small. I knew I needed a small fixture for Kane Brown so decided to take a closer look.”
Brown is a breakout success story who came to fame on YouTube several years ago and has seen his popularity grow ever since. Live Forever, which kicked off in Duluth, Georgia on 10 January, is the artist’s first headlining arena tour and his first collaboration with Ahlstrand, who serves as production and lighting designer.
Ahlstrand worked with lighting and video vendor DCR Nashville to secure the Smarty Hybrid fixture, which he uses in an impactful lighting design. “We use 20 Smarty Hybrids in the design and they fit nicely in the setup,” he says, noting that “Live Forever is Kane Brown’s biggest production to date. “They make up the bulk of the floor package and the output to size ratio of the fixture is excellent. We get a variety of looks out of them.”
Twelve Smarty Hybrid units, positioned on a ramp at the backside of the set with a further eight located behind a wall of strobes, give an arra
Grand Cayman - Seven Mile Beach gives visitors plenty of reason to smile. The famous landmark on the western edge of Grand Cayman Island was the site of the Humour Me Comedy Tent at the Kaaboo Cayman Festival. Supporting the likes of Saturday Night Live’s David Spade and Chris Rock Show alum Wanda Sykes was a collection of Chauvet Professional Maverick and Rogue fixtures, deployed by Chris Lisle Lighting Design.
“It was important for us to add colour and movement to the comedy stage that was consistent with the exciting looks we had on the two music stages,” explains Erik Parker of Chris Lisle Lighting Design, which was responsible for lighting all stages at the festival as well as its grounds.
The Humour Me stage rig featured Maverick MK1 Spot and Rogue R2 Wash fixtures, which were supplied by AI. Flown on a long truss structure that ran over the centre of the comedy tent, the Maverick units were used for downlighting and specials, as well as aerial effects, while the Rogues were positioned mid-stage and downstage and relied on for colour washing and audience lighting.
Wherever they went through the Kaaboo Cayman grounds, visitors were able to feel the upbeat festival vibe, thanks in no small measure to the ubiquitous and colourful site lighting. Roughly 500 Chauvet Professional COLORado fixtures, supplied by The Design Oasis, were positioned throughout the festival’s sprawling grounds and were used to bathe trees, outdoor art and other scenic elements in a lush variety of vibrant colours evocative of the Caribbean.
Malta - The X Factor competition made its debut in Malta and quickly broke a long-standing record to become the most viewed programme on Television Malta.
Lighting for the series was entrusted to Nexos Lighting & Video who worked together with the rigging and technical team. Lighting designer Anton Borg Olivier joined the team to work on the live broadcast finals, helping to manage the increased TV lighting requirements and deliver that extra kick to the show.
Nexos Lighting & Video supplied 22 x Claypaky Mythos 2, 14 x SuperSharpy, 18 x A.leda B-EYE K20 and 16 Claypaky Sharpy for the duration of the series, with an additional eight Alpha Wash included for the final show. “The Claypaky fixtures were the backbone of the lighting rig,” says Olivier. “Claypaky fixtures were chosen for their rich colours, power and reliability.”
It was imperative that the design team used fixtures with a high output and high CRI to stand out against the 40m x 8m video wall. “The Mythos 2 impressed us with the richness of the colours, power of the beam and the fixture’s flexibility,” says Olivier. “The versatile characteristics of the luminaire allowed me to change from colour to white lighting to suit the TV cameras easily during the show.”
The versatility of the fixture is underpinned by its 4-50˚ zoom range and a fixed ‘pipe’ effect of 2.5˚. “We used the Mythos 2 for spot moving heads with gobos, as well as effects beams with impressive aerial throws,” says Olivier.
Rigged around the top video wall over the st
Australia - In celebration of their third studio album, Lo La Ru, five-piece Australian band The Rubens performed for audiences across the country last November and December. The tour saw the band play Brisbane, Sydney, Adelaide, Fremantle and Melbourne as well as eight regional cities across Australia.
Lighting designer Tim Beeston of Melbourne-based Flash Bang Productions was “delighted” to have Ayrton’s new Mistral-S spot luminaires on the tour, which were supplied by South West Solutions (SWS) of Yarraville, Victoria.
“I designed a ladder system incorporating mirror balls and small spot beams,” explains Beeston. “The Mistral-S with its small, light profile was the ideal fixture for my ladder system. We also compared it against a very well-known profile fixture and, with its flat field, the Mistral-S was definitely the better instrument.”
Beeston used eight Mistral-S fixtures, hung on four ladders along with eight mirror balls beneath each one, and used them either for beam looks, projecting onto the mirror balls to create big mirror ball bounces, or as the back spot for the show. However, for the first half of the show these were all hidden by a large Rubens silk backdrop to be revealed by a spectacular kabuki drop in song 10.
“Everything about the Mistral-S impressed me,” says Beeston. “They are so bright, but it’s the colour mixing that is most impressive. The deep colours you can pull out of them, without taking away too much brightness, is incredible. In fact, I was just dumbfounded on how a feature-rich an
UK - LED manufacturer Global Design Solutions (GDS) has met with Korean Gyeonggi province delegates to sign a memorandum of understanding for the investment of $2m into South Korea.
The agreement will see GDS, which has offices in Korea’s Gyeonggi province, make a ‘significant investment’ into the Asian country. A hundred jobs in both Bristol and Korea will also be created as a result of the signing over the next five years.
The event took place at Bristol’s Leigh Court and was joined by UK international trade secretary Liam Fox and South Korea’s assistant governor for economy and labour in Gyeonggi province, Shin Whoan Park.
Park comments: “This collaboration between GDS and Gyeonggi will serve as a chance to jointly advance into the Asian and European market. I believe this investment will become good practice of global cooperation at both the country and business level.”
GDS CEO, Richard Cuthbert, adds: “I am very much looking forward to working with the team to nurture and grow the GDS group for the benefit of UK trade and manufacturing as well as growing the South Korean economy.”
Fox concludes: “Supporting UK companies to invest in overseas markets is a core component of what my international economic department does and it has real benefits for people here at home in the UK. GDS’ investment in South Korea is the perfect example of this, helping them to achieve year on year growth of 30% and creating new jobs for people in the South West.”
Since 2017, the GDS
Australia - The Eurovision – Australia Decides national final recently took place at the Gold Coast Convention and Exhibition Centre. The winner, Kate Miller-Heidke with her song Zero Gravity was chosen by the combination of a public televote (50%) and the votes of a professional jury.
Paul Collison, lighting designer for the show, voted for three grandMA3 light, one grandMA3 full-size, one grandMA2 light and five MA NPU (Network Processing Unit) for control, plus MA 3D for visualization of the show.
He commented on his choice: “We loved using the new grandMA3 hardware. Even though we’re still on grandMA2 software, the grandMA3 hardware has breathed new life into the well-established grandMA2 platform. The more ergonomic layout of the surfaces made the long days more tolerable, and incredibly accurate touch screens increased workflow efficiency.
“It is hard to imagine even trying to use a product other than MA to control a lighting system like this. Though it wasn’t an overly complex show, the seamless way that multiple users can be homogeneously integrated means that any operator could assist with the focus of lighting positions or make subtle changes from the various surfaces we had located around the arena.
“The idea of the show is simple”, continued Collison. “Make it look like the Eurovision Song Contest, with ten percent of the lights. We had a great set design from Mark Dyson and encapsulated 100 moving lights in it. Above the stage were four concentric circles of trussing that flew in and out on Kinesys
UK - The 1975 toured in support of the release of their third album A Brief Inquiry into Online Relationships, which is their third consecutive number one album.
Lighting and visual designer Tobias Rylander enjoys a productive ongoing dialogue with the band - in particular lead vocalist and creative director Matthew ‘Matty’ Healy, whose thoughts and ideas are at the essence of every live show’s design.
This tour featured four dramatic moving elements – three large portrait shaped video cubes and a ‘blade’ piece derived from their logo – all of which were automated using a Kinesys system supplied by Christie Lites UK.
Tobias has worked with the band since 2013 and their first album release. At the time he was working with visual and lighting artist LeRoy Bennett at Seven Design Works in LA, and the band approached the team after liking Roy’s work for Nine Inch Nails.
They wanted something daring, different and innovative. Tobias took the brief and immediately clicked imaginatively and intellectually with Matty.
The 1975’s show designs will often have a visual thread to a previous iteration or campaign, and this gave rise to the three video cubes as an ‘answer’ to the monolith towers used on the road in 2015-16 for the ILWYS (I Like it When You Sleep) tour. He was thinking in terms of turning these inside out or upside down on this tour.
The Blade is a 1975 live show centrepiece and has been omnipresent in some shape or form as a vital element of visual identity, so they are constantly finding new and m
New Zealand - Packed houses greeted UB40 on their 40th anniversary summer tour of the Southern Hemisphere in January and February.
The band was doing so well and having so much fun on the tour that they added a final show on 8 February at the Central Energy Trust Arena Stadium in Palmerston North, New Zealand. Sourcing local suppliers, the band’s management contacted Sight & Sound Services, which provided them with a collection of Chauvet Professional Maverick, Rogue and STRIKE fixtures, supplied by MDR Lighting. It was a choice that met with the enthusiastic approval of UB40’s LD Brock Coddington.
“I was extremely impressed by the entire rig,” said Coddington. “It went really, really well. The Mavericks provided excellent punch, and the colours were fantastic. The Rogues were a great fit on that stage. The STRIKE 4s were great LED blinders. All and all, I was very impressed by the Chauvet range and would happily use them again.”
Coddington relied on his mix of 16 Maverick MK1 Spot and 16 Rogue R2 Wash fixtures to cover the range of emotions in UB40’s sweeping set, which covered songs from throughout the band’s celebrated career.
The Maverick and Rogue fixtures were positioned across the back of the truss totems, in addition to being flown overhead. Coddington distributed his Maverick units evenly across the stage, while keeping most of his washes stage left and right. From these positions, the Maverick and Rogue fixtures were able to create a captivating array of crossing patterns at different eye levels. This look, wi
USA - Lumileds has appointed Dr Jonathan Rich as chief executive officer. Rich most recently served as chairman and CEO of Berry Global, a Fortune 500 specialty materials and consumer packaging company.
Rich succeeds Mark Adams, who is stepping down as CEO and from the board of directors but will remain in an advisory role to the company. “I am very pleased to be joining Lumileds and am looking forward to building on the company’s differentiated lighting technology foundation to increase the value we can deliver to customers across a broad set of industries,” said Dr. Rich.
“Mark Adams has made significant contributions to Lumileds during his tenure, leading the transition to an independent company and cultivating a culture of innovation and customer focus,” said Rob Seminara, a senior partner at Apollo and chairman of the board of Lumileds. “On behalf of the Board of Directors of Lumileds, we would like to thank him for his service to the company and wish him the very best in his future endeavors. We are very excited Jon will be joining Lumileds to drive the next phase of innovation and growth.”
USA - FedExForum, one of the nation’s premier arenas in the NBA and North America, recently updated its arena lighting with a lighting package designed and installed by Bandit Lites. Home to the NBA’s Memphis Grizzlies and the University of Memphis Tigers men’s basketball team, the installation comes as part of the arena’s recent updates.
Bandit Lites installed a package comprised of HES Solaframe 3000, Chauvet Rogue 3 Spots, Claypaky AXCOR 300 Beams and Chauvet Ovation E-260WW w/ 10° Barrels.
“As FedExForum was one of the earliest projects that I and Roth Edwards personally installed, I was thrilled to once again be a part of the team trusted to update their system,” says Bandit Lites director of sales and installation Chris Barbee. “Both John Cameron Carter and Roth did a phenomenal job reimagining the lighting system.”
Bandit’s team mounted four HES Solaframe 3000 on each side of the catwalk running the length of the arena, illuminating the entire court. Each fixture is outfitted with two custom team gobos which, when coupled with the fantastic optics and colours, offer vivid looks for the design team.
“With the high output that the Solaframe 3000 allows, it was a great tool to use within this system,” says Barbee. Other fixtures installed include Chauvet Rogue 3 Spots equipped with custom team gobos used in conjunction with the Solaframe 3000s to up the ante of dramatic looks.
“Coming in at under 40 pounds, I was thoroughly impressed with how much the Claypaky AXCOR 300 Beams could do when hung that many
Belgium - Woven in and out of English, German, French and Dutch language fables since the early medieval period, the anthropomorphic trickster Reynaert the Fox has succeeded in eluding capture for centuries.
Keeping the legend of the fox alive was Expedition Reynaert, an immersive bike tour in Belgium that culminated in a captivating museum experience, complete with an informative exhibition and engaging performances.
Central to bringing the legend of Reynaert to life was local design studio CREATE.eu, which specified 24 Chauvet Professional Ovation E-260WW, 8 STRIKE 1 and 12 Maverick MK2 Wash fixtures as part of their comprehensive visual concept. CREATE.eu relied on lighting to reflect the varied environments that participants experience during their visit to the museum. At the same time, the studio’s designers also made sure to provide theatrical lighting support during the live performance part of the event.
Central to providing illumination of the different houses within the central area - a mock-up village - were the Ovation fixtures, which were positioned from hidden ceiling trussing. Thanks to the 230W LED tungsten emulating light source, chief designer Olivier De Baere was able to create flat and even distribution over the facades, which succeeded in awarding the space with a theatrical touch.
“The Ovations were crucial elements providing highlighting of the different houses,” comments De Baere. “The diffuse filter came in especially useful to enhance the smooth warm swathes of light, thus providing excellent coverage of the
UK - White Light recently provided the lighting equipment for Gently Down the Stream which has opened at London’s Park Theatre.
Set at the turn of the 21st century, Gently Down the Stream is a delicate examination of the relationship between Beau; a 62 year-old piano accompanist from New Orleans, and Rufus; a 28 year old bi-polar lawyer, set over the course of 13 years in Beau’s London flat. It is written by Martin Sherman, directed by Sean Mathias and features a lighting design by Jamie Platt.
He comments: “The majority of the show is set in Beau’s apartment which is beautifully designed by Lee Newby. We wanted this to feel as real as possible so, as a result, most of the lighting for these scenes was committed to creating a totally naturalistic world. That said, Sean was very keen to make the monologues that are dotted throughout the play feel incredibly poignant and sentimental as they tell us of Beau’s history in dealing with homophobia, AIDS, loss and heartbreak. Therefore, the aim of these moments was to focus on Beau and try to make the flat disappear into the background.”
Having supplied a range of Platt’s shows throughout 2018, he approached WL once again to provide the lighting on this production. He explains: “I knew I wanted to use the expansive back wall of the Park Theatre as a blank canvas for the monologues. It lends itself so well to washes of colour, and WL offered me the PixelLine 1044 LED battens. These fitted perfectly into the rig and their multi-cell function also allowed me to close down gently t
USA - As it continues to sustain growth in the pro lighting, video, audio and effects markets, the ADJ Group has announced the creation of two key positions at its LA-based headquarters.
Shenor Sakadjian joins the group in the new role of sales coordinator, while Jake Rhodes takes on additional responsibility within the company as product specialist.
Shenor Sakadjian comes with over 20 years of retail and corporate experience as a buyer and customer service agent in the fashion, entertainment and hospitality industries. She will assist the ADJ sales staff as well as the ADJ dealer network with support in all aspects of the sales process from purchasing to fulfilment.
Jake Rhodes, who has been with the ADJ Group for almost a year as ADJ showroom manager, has now taken on added responsibilities as ADJ Group product specialist. Rhodes is a recent graduate of California State University Long Beach, where he earned a bachelor’s degree in Technical Theatre with an emphasis in lighting.
“I am very excited to be welcoming Shenor to the ADJ Group team and also to see Jake take the next step in his promising career,” comments ADJ USA’s national sales manager, Alfred Gonzales. “They both bring energy, knowledge and experience that will help us to continue to drive the business forward.”
USA - Late January typically doesn’t bring the kind of weather associated with music festivals to central Massachusetts, but the bitter New England winter wind notwithstanding, the mood at the multi-stage Birds of a Feather Festival was as care-free as a summer beach party.
Thousands of fans crammed inside the 90-year-old Worcester Palladium for four straight hours of jam and alt rock sounds on Friday, 25 January, and although summer vibes resonated throughout the building, the reality was that being indoors, Birds of a Feather offered no visual variety beyond the stage.
With no mountain views, no surfside background, and no tall trees flanking the stage, eyes seldom wandered from the performance area. For Vin Pugliese, lighting designer for the Main Stage, which featured The Lizards, Jazz is Phish, lespecial and Pink Talking Fish, this meant focusing on creating visual variety throughout the evening. He accomplished this goal with help from a rig anchored by over 40 Chauvet DJ fixtures.
“We had over four hours of music on the Main Stage, so the challenge was to keep the show visually interesting and dynamic from start to finish without being repetitive,” says Pugliese. “One way I did this was to reveal all the different elements of the rig slowly over time without exposing all of my looks too quickly.
“This was possible because I had a wide variety of fixtures in the rig, from hybrids, zoomables, washes and spots, to RGBWAUV pars, battens and blinders. All contributed to the versatility of the show, but big game changer was the In
UK - Indie rockers The Vaccines are back on the road in the UK, continuing their world Combat Sports album tour with lighting designed by Dan Williams and equipment supplied by Colour Sound Experiment.
The Combat Sports album cycle started in April 2018 and having already played extensively around the UK last year, Dan and the band wanted to treat fans to a new visual experience and ensure that the Vaccines - known for their enthusiastic and ebullient live shows - saw something different.
Last year’s UK tour design was inspired by the album track Nightclub, yielding lots of mirror balls and a tungsteny disco vibe.
For the festival section of the tour, Williams had a gold sequined drape made up with a large logo across the middle, and this evolved into the lighting look for this leg, which bridges front the nightclub into the fight club, matching the band’s combative high energy sets.
The band - in particular lead singer/guitarist Justin Hayward-Young and guitarist Freddie Cowan - are usually also bursting with ideas, and one of these was to give the stage some Las Vegas touches.
These came in the form of a row of Martin VDO Sceptron 10s along the front of the upstage risers and two large scenic palm trees framing the stage each side, together with some other foliage sourced from Event Prop Hire. This proved a good transition from the disco glitz.
All the touring lighting rig from Colour Sound was floor based, and they hooked into a local promoter provided ‘top’ rig at each venue.
The touring syste
USA - Outdoor walking attractions that immerse guests in an experience have become increasingly popular, especially around the holidays. This past season south Floridians had the chance to experience NightGarden, a new enchanted walk-through experience at Miami’s Fairchild Tropical Botanic Garden magically illuminated by lighting designer Chris Werner. Produced by Kilburn Live under the creative direction of Max Painter, the attraction featured such magical curiosities as talking trees, fairies, and 10ft tall dandelions.
Werner has an abundance of know-how from lighting theme parks and Halloween attractions under his belt and knows what it takes to create an immersive experience. Responsible for lighting design, specification and programming for all of the exterior spaces within NightGarden, he created a variety of visually stunning experiences using light, colour and movement that both supported the story line and wowed guests.
With a tropical environment to contend with, reliable IP65-rated luminaires were a must. Werner specified multi-environmental Elation Proteus Hybrid moving heads and WW Profile IP ellipsoidals for the project as part of a larger lighting package supplied by 4Wall. He says there were a couple of factors that led him to the Proteus lights.
“Not only is it a humid and rainy environment, everything is surrounded by an irrigation system for the plants so everything got wet every day. In addition, availability of product was key. My involvement came only 6-8 weeks before load-in but 4Wall was willing to purchase
USA - High End Systems has announced the 2019 Hog Factor USA competition is now open for collegiate teams to register for Phase One.
Phase One requires each team to provide a performance lighting piece programmed on a Hog or on Hog 4 PC, which can be downloaded free of charge with a special demo version of Capture visualization.
The performance piece submission closes on 30 June and three teams will be selected by 31 July to proceed to Phase Two,
In Phase Two, the teams will programme a performance lighting piece based on High End Systems’ 2019 LDI stand design.
They will then be invited to perform their shows live at LDI on the High End Systems stand, where the winners will be judged.
High End Systems’ GM Becky Koester comments: “We continue to be impressed by the level of talent and the passion these participants hold for our industry. It seems there is a growing community of programmers and LD’s that have gotten a jump start through Hog Factor. We look forward to meeting the participants at LDI 2019.”
For more information on the Hog Factor competition and to register your team, visit www.highend.com/hogfactor.
Europe - Prolight Concepts Group has become the UK distributor of Luci della Ribalta (LDR).
LDR, based in northern Italy, was founded in 1997 and manufactures theatrical and architectural luminaires, which have been specified at venues including the Oslo Opera House and the Guggenheim Museum in Bilbao. With over 70 fixtures in its range, the Italian company offers plano and pebble convex luminaires, Fresnel luminaires, TH and discharge profiles, floodlights and followspots.
Lisa Papi, managing director of LDR, comments: “Prolight Concepts Group are one of the UK’s largest and established distributors of entertainment technology products with a commitment like ours to their customers that has been core to their achievements over the last 23 year. It is with excitement that we welcome them to our UK distribution family.”
Andrew Jeffrey, managing director of the Prolight Concepts Group, adds: “Incorporating the LDR brand into our existing portfolio was an easy decision as they have all the same values as a business as we do - high quality, well-designed and innovative products backed by a full, efficient sales and service channel. LDR are recognised throughout the world for providing theatre lighting and their offering will truly enhance our existing portfolio. We are excited for the future and look forward to continue building a long-established relationship with LDR.”
USA - The Entertainment Services and Technology Association (ESTA) Technical Standards Programme (TSP) has launched a control protocols satisfaction survey project to gather public input from end users about their usage of control protocols in the entertainment industry. The survey may be accessed at estalink.us/survey.
This survey was commissioned by the TSP’s Control Protocols Working Group (CPWG) and seeks to understand how well lighting control protocols are serving end-users. The CPWG is the working group that develops control technologies you use every day, like DMX512, RDM, and sACN, although the survey includes questions on other industry protocols as well.
Survey questions determining what features are currently being used and what challenges have been encountered comprise much of the survey. However, other sections of the survey are more focused on determining if control protocols are conveniencing the user and what how this can be further improved.
All responses are anonymous and the survey can be completed in 10 minutes or less, says ESTA.
USA - On Circa Survive’s recent tour in support of their Top Ten Billboard Rock Chart LP The Amulet, lighting designer Lenny Sasso devised ‘a perception-bending asymmetrical rig’ with Chauvet Professional fixtures, supplied by Squeek Lights.
“This was my second tour with the Circa Survive guys, and this one in particular has been extremely creative and experimental,” said Sasso. “I’ve never designed a true asymmetrical rig before, so it has been an interesting journey. It definitely took me a bit to get out of a very strict symmetrical mindset. I was still tweaking things around at the end of the tour, but I feel like the asymmetrical aspect of the show gave me endless possibilities.”
Critical to Sasso’s asymmetrical design was the positioning of the nine Rogue R2 Wash fixtures in his rig. He positioned six of these units stage right in an interesting staircase staggered step down pattern. The three other units were stage left in an offset triangle.
“Positioning the R2s this way, I was able to get some nice weird wash patterns,” said Sasso. “Then there were a few songs where I used the ring control macros and pointed the R2s straight into the audience for some cool eye candy effects during mellow parts of songs.”
The four Rogue RH1 Hybrid fixtures in the rig were positioned behind each band member.
“Basically, I approached this design with the idea that each band member would have his own personal lightshow happening behind him,” continues Sasso. “At the same time, though, I wanted to have the l
USA - Founded in 1908, Harvard Business School in Boston is known worldwide for its MBA and doctoral programmes. With a faculty of over 200 experienced professors and entrepreneurs, the school recently opened Klarman Hall lecture auditorium.
Designed by the architectural firm William Rawn Associates, Architects, the hall needed a lighting solution that could meet strict acoustic and performance criteria, so they worked with the design firm Theatre Projects who specified PHX 150W LED profile luminaires from Altman Lighting.
“This was a new construction project and our first time working with the Harvard Business School,” says Steven Rust, Theatre Projects’ lighting designer. “In an atmosphere where people needed to hear each other clearly throughout the hall, the criteria from the acoustician was that the lighting had to be ideally convection-cooled, or near-silent. One thing we have learned over the years is that there really is no such thing as a silent fan, so we needed to find a solution that was completely convection-cooled.
“Another challenge to the design was that the room needed to be able to function in many different configurations and be able to accommodate multiple audience sizes,” continues Rust. “First and foremost, it’s a lecture hall, but then it can also be set up in five different configurations, so the lighting needed to be able to adjust as well. I have been aware of the PHX 150W for a few years now, and the convection-cooled aspect of its design, along with its performance capabilities, really made it stand out
Indonesia - Socialight recently collaborated with P.T. Chayolite to utilise a Martin by Harman lighting solution to enhance GWK Cultural Park’s Garuda Wisnu Kencana statue.
Created by renowned sculptor Nyoman Nuarta, the Garuda Wisnu Kencana statue is a monument overlooking the city of Bali. Measuring 393ft tall and 213ft wide, the statue consists of 24 segments and 754 modules, and took more than 20 years to construct.
In order to visually enhance the structure, Alam Sutera Realty engaged Singapore based lighting designer, Socialight, to design and oversee the implementation of an architectural lighting solution. Socialight selected Martin Exterior Wash and Exterior Projection fixtures to illuminate the statue, which was implemented by lighting solutions specialist P.T. Chayolite.
“We wanted to highlight Balinese culture by creating an elegant atmosphere around the iconic Garuda Wisnu Kencana statue,” says Pak Gunawan Sjahjady, corporate planning division head, Alam Sutera Realty. “We asked P.T. Chayolite and Socialight to provide a cutting-edge lighting solution that would allow visitors of GWK Cultural Park to fully appreciate the finer details of the Garuda Wisnu Kencana statue. The Martin lighting fixtures they provided have helped us accomplish our vision within the allotted time frame, without missing a single detail.”
Because the Garuda Wisnu Kencana statue is made of copper and brass, Socialight faced the challenge of finding the best method to reflect the sculpture’s true colour when illuminated. The installation team re
UK - Lighting and visuals design partnership, Co1ab, produced the lighting show for a recent run of gigs by The Streets, led by hip-hop raconteur Mike Skinner.
Co1ab unites the talents of Jon Trincas and Steve Hough, two respected young designers who pooled imaginative and creative resources to deliver the right look for The Streets.
They utilised 120 x Robe Spikies and 30 x Robe Spiider LED wash beams, all delivered as part of a lighting package by Blackburn based rental company, LCR.
Hough was originally contacted by The Streets’ tour manager Keith O’Neill when they played some ‘come back’ gigs in 2018, which culminated in three incendiary gigs at Brixton Academy. The interest in The Streets live resulted in this run, comprising a short UK tour with a lighting floor package, followed by five shows at Brixton, three in Manchester Apollo and three at the O2 Academy in Birmingham. All were sold out.
The lighting design was based on 15 custom dolly/frame pods, made from pre-rigged truss and flown in three rows of five. The bottom ones were ground supported, with the top two rows lined up exactly and flown beneath one another on special steels.
LCR had all the necessary metalwork and rigging fabricated, and all the fixtures associated with these travelled in the pods for expedient get ins and outs.
Each pod contained eight Spikies, two Spiiders, three Hexalines and an LED strobe and together these formed an impressive back wall.
This strong structural element “ticked all the boxes” comments Jon in terms of having th
UK - The Society of Light and Lighting is marking 25 years of its annual Young Lighter competition with a revised entry criteria.
The contest is open to anyone under 30 with an interest in lighting, with the Society set to cover flight and accommodation costs for overseas candidates attending the finals and the awards, taking place during LuxLive this November. Deadline for entries is 10 May. The winner will be named SLL Young Lighter 2019 and receive a cash prize of £1,000.
Iain Carlile, SLL president and senior associate at dpa lighting consultants, comments: “It’s always great to see the next generation of lighting professionals demonstrate their talent and passion for lighting, be that through the presentation of novel project application, social study, technological development, lighting research or any other lighting related topic. I very much look forward to seeing who will be awarded SLL Young Lighter 2019.”
SLL immediate past president and marketing and applications director for Thorlux Lighting, Richard Caple comments: “This year, in its 25th year, the SLL wish to widen the boundaries of the competition giving more young people the opportunity to enter and demonstrate their knowledge, creativity and capabilities.”
Entrants need to provide six introductory slides in the first stage of the competition.
In stage two, entrants will be shortlisted and asked to elaborate on their entry via a prototype, a video, a written paper or a presentation. Entrants will also need to submit a short piece to camera, demonstrating their