Spain -At the end of 2020, singer Mónica Naranjo launched a special re-issue of her third studio album Minage originally released in 2000, which paid tribute to Italian artist Mina. Fast forward 20 years, and Puro Minage features a full complement of the exact content that Naranjo had wanted to include in the project from the start. Marking the occasion, she played a special concert in front of a live audience - with COVID rules in place - at the Palau de Les Arts, Valencia.
Lighting designer CaCo García has been working with the artist and her management team for around two years, and he chose to use 66 Robe moving lights to be at the centre of this show, which he helped deliver working closely with video director Alberto Arias.
CaCo discussed the moods and ambience that Mónica Naranjo wanted to evoke throughout her performance and then designed lighting together with the elegant set and staging concept that included two large upstage LED screens and several lighting structures.
“The look was clean, simple and classy and minimal,” he explained, taking a ‘less-is-more’ core approach. It had to work equally well live and for cameras – as the show was recorded for streaming.
CaCo has been using Robe products for some years in his work and chosen luminaires - 42 LEDBeam 150s, 12 Pointes and 12 LEDWash 300s were picked as the most appropriate. The small and unobtrusive size of all of these made them a good physical fit for this show and venue, and the output and features - especially zoom, colour, quiet running - offe
USA - The 750sq.ft performance space that owner Evan Kirkendall and GM Steve Wozniak created inside Harford Sound’s warehouse in Joppa, MD, features a rig that includes over 75 Chauvet Professional fixtures and a massive 18’ by 10’ video wall made with F4IP panels.
The Harford Sound team and lighting designer Kyle Ryman attempted to replicate the hard-driving intensity of a mega-venue stage for the arena rock tribute band Glamour Kitty.
“Performance spaces like ours that have cropped up since COVID aren’t the biggest, but with a solid band and talented LD, they can create settings that come across great at conveying largescale energy,” said Wozniak. “Kyle did a great job making this performance come alive so it could really speak to viewers.”
Going with dramatic, synced hits, Ryman was able to create punchy vistas that captured the spirit of Glamour Kitty’s tributes to bands like Bon Jovi and Van Halen. In deference to the limitations of the livestream video format, he curbed his use of sweeping crossing patterns and aerial effects. In their place, his camera-friendly design filled the viewer’s screen with a torrent of big, but tightly focused, looks featuring sharp-edged gobo patterns from his eight Maverick MK2 Spot fixtures. He also used his rig to create dynamic chase sequences and immersive starburst patterns.
Bold colour changes were also an important part of Ryman’s design vision. He washed the set with an intense and varied palette from his 24 Rogue R2X Wash fixtures and 16 COLORado Solo Battens.
UK - Set in a thickly wooded area and set off by manicured gardens in Thronton Hough on The Wirral, The Red Fox restaurant started life as a manor house in the late 19th Century.
For a period this February, the stately landmark took on a more contemporary appearance when it was bathed in brilliant green by a collection of Chauvet Professional LED fixtures.
Scott Cooper of ASG Entertainments donated the use of the lighting fixtures, along with his expertise, to the Red Fox for the benefit of the Clatterbridge Cancer Centre NHS Foundation Trust, whose cancer treatment facilities serve patients in Cheshire, Merseyside and the surrounding areas including the Isle of Man.
Although the COVID-19 pandemic has forced the suspension of many things, cancer has not taken time off. This is why the Clatterbridge Centre initiated a Let’s Go Green campaign to raise funds and awareness. Management of Red Fox elected to participate by asking Cooper to turn their building, as well as some of the surrounding trees, green.
“This venue is a client of ours, and we were only too happy to participate given the worthiness of the cause,” said Cooper. “Plus, it was fun to create a compelling image throughout this impressive site.”
Cooper used COLORado Quad 1 Par fixtures to light the exterior of the main restaurant building. Relying on the intense output and powerful throw distance of these RGBW units, he was easily able to reach the uppermost levels of the building with light. He was also able to connect to the building‘s power source without needing a
Germany - ARRI has introduced Remote Solutions, a toolkit that can be customised to meet near-set and off-set workflows. This remote production ecosystem allows professionals to safely and immediately get back to work without compromising operational and creative control, says the company.
With a complete system of connected ARRI cameras, lights, remote heads, and accessories, ARRI Remote Solutions offers workflows that enable safe social distancing between talent and crew as well as between crew members.
The ARRI Remote Solution enables professionals to remotely control ARRI cameras, lights, remote heads, and accessories.
“The pandemic has accelerated change and forced productions to adapt. With travel limitations and new requirements for social distancing onset, our connected ecosystem of industry-proven tools can be customized to create safe sets, whether working near-set or off-set, without compromising the creativity or technical control of production. This is just another way we at ARRI are enabling and supporting filmmakers,” says Stephan Schenk, general manager global sales & solutions.
Europe - Elation Professional’s European headquarters has announced that from 1 March, long-time lighting professional Graham Hill will be serving as the company’s new business development manager.
Graham is a familiar face to many in the industry, having developed many relationships over his many years in the entertainment lighting and electrical industries, including years as a key customer of Elation.
Graham comes to Elation from a position as VP of business development at 4Wall Entertainment, where he developed and maintained customer relationships in Europe and the United Kingdom. He is perhaps best known for his many years as company director of Static Light Company, the London-based supplier of lighting solutions for exhibitions, corporate events, and motor-shows.
Graham’s new role at Elation encompasses building collaborative relationships across the industry internationally, including working closely with lighting designers while communicating market insight to the Elation product team. He states, “This year is the 10th anniversary of my relationship with the Elation team globally. My experience with Elation products and support has always been second to none, from the smallest to the largest clients.”
“We have known and worked with Graham for quite a long time and are delighted that he is finally a full-fledged member of the Elation family,” stated Marc Librecht, sales and marketing manager at Elation Europe. “We’ve worked very close with him over the years and our collaboration with him as a customer has always
USA - Strand has announced that they are standardising their portfolio of Vision.Net architectural lighting components to use 35mm DIN rail for mounting.
Strand’s new, modular family of hardware devices consists of nine new products, including control modules, rack trays, enclosures, power supplies, and other components. This new solution can be customised to any size application for educational, theatrical and house of worship environments.
“Customers have relied on Strand’s custom lighting control enclosures for years,” says Fernand Pereira, global head of marketing and product management, Entertainment Lighting at Signify. “Customers received exactly the solution they needed in a factory certified, UL rated enclosure that could be easily installed in the field. However, this required each solution to be custom designed and assembled in Strand’s factory.
“By deploying standardised, DIN rail mountable modules, customers get the same flexibility in a solution that’s easier to order as boxed goods, can scale easier down the road and can be assembled at any dealership or in the field—while still keeping the regulatory compliance.”
Using standard 35mm DIN rail ensures system integrators can easily retrofit the solution into any existing installation or incorporate it into any new build out. With modular components and a variety of trays and enclosures available, the solution can scale to address any application, with rack, flush, or surface mounting options available.
Because components are individually listed, solution
South Africa - With travel restrictions in place, the show has to go on, albeit digitally. For an international fashion show, four South African fashion designers were able to shoot their latest work at The Blank Space, a venue created by the CCPP Group in Cape Town. While everyone missed the audience, the upside saw the production team working in a more relaxed setting where they were able to capture the looks needed for their submissions.
The Blank Space is a venue that was created by CCPP Group (founded by Clint Cawood in 2006 as Clint Cawood Professional Productions), specifically for the fashion shoot. Thanks to its success, the functional space has since hosted various events and is a solution for studio and film productions, virtual product launches, game shows and music performances. CCPP Group has utilised 300 sqm within the warehouse, situated in Ndabeni, Maitland, to provide a 22m x 12m work area equipped with professional gear including a Robe lighting rig, grandMA light console and a PA system.
“Towards the end of last year, there were certain designers who could not get to an international fashion show due to Covid-19 travel limitations and had to fill in their slots from a South African site,” explains Andrew Gleave, operations manager at CCPP Group and designer for the fashion shoot. “Instead of hiring a venue, they opted to use our warehouse. With an industrial look and open feel, they liked the concrete floor with the beam of light forming a runway down the centre so much, that they chose not to build an actual stage.”
Australia - During the height of the Covid-19 pandemic last year, Channel 9 staff in Sydney were kept busy moving from their historic Willoughby site where they had been for 60 years to the network's new home in North Sydney.
November 20, 2020, marked the final day of broadcast before the move to the new HQ that includes a large number of specialist spaces to support Nine Entertainment Co's broadcasting function, including a 400sqm data centre, six studio spaces, radio and podcast facilities, eight control rooms and a multitude of editing suites.
The investment in new technologies for the studios includes a full package of studio lighting from Show Technology.
Channel 9's head of lighting Andrew Veitch started on the new studio fit-outs last April saying it was hard work as the rest of his crew were still working at the Willoughby base. “Fortunately I then had Paul Collison and Tom Johns join me for three weeks and we conquered heaps - with help from Show Technology's Vince Haddad too,” commented Andrew.
There's not a lot of power in North Sydney to run large studios so an all-LED rig was essential and with that proviso in hand, Andrew surveyed many companies and much gear. Ultimately, it came down to price and what was offered for that price and whilst there were a couple of other companies that came close in price, they could not offer an entire suite of studio lights the way that Prolights can.
Consequently, a Prolights complete package of 205 x EclPanel TWC, six EclPanel TWCJr, 119 x EclFresnel Jr, 20 x EclFresnel 2K and 79 x Ecl
UK - 3LR has appointed Christina Nowak as film and studio liaison. A marketing graduate, Nowak has accrued wide experience of business development in the film-technology and production sector, working with brands including Red Digital Cinema, Ncam Technologies and G-Technology.
Matthew Lloyd, MD of 3LR, comments: “Christina will act in a consultancy role for 3LR, developing relationships and raising awareness amongst the film production community of the brands and products we represent. She combines an acute understanding of technologies and their applications with the communications skills essential for developing new business opportunities. Christina’s track record of success is impressive, and demonstrates that she has a ready grasp of the culture of this sector.”
3LR recently took responsibility for representing leading US manufacturer ETC’s broadcast, film and TV range of lighting and control, including its fos/4 range of LED Panel lights and fresnels. Introducing that product’s advantages to the film production sector will be Christina’s initial responsibility for 3LR.
“I’ve enjoyed success in the industry through relationship and community driven roles, and I’m looking forward to connecting 3LR’s brands with an audience who will truly benefit and appreciate their specialised features,” says Christina.
USA - For DJ, producer and remixer Nicky Romero, New Year’s Eve would normally involve travelling to an exotic destination to perform in a club in front of thousands of fans. To mark the end of 2020 and the beginning of 2021, that couldn’t happen. Instead, he stayed local and recorded a performance that was broadcast to fans around the world from his website to help them to celebrate the New Year at home.
The lighting rig for the shoot comprised predominately ADJ fixtures, including Vizi Beam RXONE and Vizi CMY300 moving heads as well as Pixie Strip LED battens.
Nicky Romero’s NYE broadcast also featured guest DJs DØBER and Timmo Hendriks who performed a back-to-back set. The venue for the shoot was Downtown Veenendaal, a modern community meeting space housed in a 100+ year old former church building. The livestream was organised by Artist Division, Nicky Romero's management company, and Ronald de Man, through his company RDM Productions, was responsible for managing the project. He brought in local rental company NT Sound to supply all of the lighting and audio equipment, which completely transformed the space to create a nightclub environment.
For the Nicky Romero NYE video shoot, NT Sound owner/manager Jonathan Jansen served as lighting designer - supplying all of the fixtures from NT Sound’s rental inventory. Koen van Elderen, who has experience of touring with Nicky, was then responsible for programming and operating the rig.
To fill the space with beam effects, NT Sound provided 28 ADJ Vizi Beam RXONE fixtures. Jonathan’s team
Germany - In late 2020, the city of Munich wanted to create a projection mapping show on New Year's Eve, but with coronavirus restrictions, a new solution was created. A semi-permanent installation would enable as many people as possible to see the attraction whilst maintaining a suitable social distance. The chosen location was The Kunstareal which is a museum quarter in the city centre of Munich, where numerous cultural institutions, universities and museums are located.
We Are Video is an agency for visual art which is run by three artists: Betty Mü, Raphael Kurig and Christian Gasteiger. Betty Mü participated in a tender together with her colleagues and won with the concept The Kunstareal Connects. With years of experience in the field of AV and the experience economy, the company combine art and the latest technology to create experiences that engage, mesmerize, and fascinate the audience.
Due to the vast expanse of the buildings, one thing was clear. “To map on a canvas that size, we needed a lot of power,” said Kurig. “The Titan Laser projectors were the perfect choice as they provide 37,000 lumens and are compact enough to be easily set up.”
The show ran every night from 5pm to 9pm until 14 February, so a reliable projector was that could withstand the demand, as there would not be an on-site crew available every day.
We Are Video turned to Magic Event & Media Technology to help realise their vision, and to Digital Projection’s partner, ETHA International GmbH for the supply of projectors. Providing more details
UAE - KISS said goodbye to 2020 in spectacular fashion = with a live New Year’s Eve pay-per-view concert from Atlantis the Palm in Dubai.
The 22-song set from the band’s End of the Road show was performed on a 250ft stage with the live audience at the Atlantis resort watching from their balconies and fans worldwide live streaming the concert on FITE. A large complement of Claypaky Mythos 2 and Scenius Unico fixtures from technical supplier PRG helped to illuminate the expansive venue.
The concert was designed by Sean Hackett (aka Motley) from the KISS production team. PRG was tasked with providing the A and B rigs to fill the stage and create the architectural lighting for Atlantis The Palm that highlighted building features and set the scene for the mammoth show to come.
Lighting designer Marcell Wahl of HOD Lighting lit the hotel’s grand arch and eight turrets and washed the resort with colour. Martin Smit, who headed the lighting team, used 60 Claypaky Scenius Unicos to frame and project artwork onto the building. He also placed Unicos in the swimming pool in front of the stage to additionally wash the hotel.
“Lighting the hotel was always going to be a challenge with full guest attendance, very limited space to place fixtures and palm trees in the line of sight,” says Wahl. “We needed the best fixture to give us multiple options to achieve our final goal.”
Wahl and his team worked through a number of designs and scenarios and selected the one that gave the camera team the best concert perspective and area shots capture
USA - Michael Cannon, co-founder and former CEO of 4Wall Entertainment, has acquired Main Light Industries, Inc (MLI), a dry hire provider of entertainment equipment. MLI will remain headquartered in Wilmington, Delaware and retain all of its employees but its founder, Aidas Gimbutas, will be stepping away from the company.
Gimbutas comments: “Deciding to sell your business is never easy. Of course, a business owner is looking to capitalize monetarily, but I did not seek a new owner based on this alone. I could not have found a better person than Michael Cannon to accept ownership of Main Light. Michael is investing in what is obviously, a tough time for the industry. He is continuing full-time employment for our dedicated and loyal staff; he respects our customer service approach, and he is here to not only continue but will strengthen Main Light’s ability to provide our services well into the future. I could not ask for more. The employees of Main Light, our clients, and myself are blessed to have this opportunity and a man of this character to represent the future of Main Light, a company I have given so much, and it has reciprocated in kind.”
Cannon adds: “Aidas and his team have built a great company over the past 40+ years. Main Light has always been considered one of the preeminent lighting rental providers to the industry and among its strengths are its valued long-term employees like Randy Mullican, Giovanni Ciranni, and Rick McKinney who each have been with the company for over 20 years. Main Light’s business model of being a dry hire on
France - Robe Lighting France delivered its first Robe Awards event, a lighting design and programming competition that saw 10 finalists battle it out by utilising a full Robe lighting rig.
The competition, which attracted more than 160 entrants, was initiated after Sebastien Dendele, president of rental company MursDeLeds (MDL), and well-known TV lighting operator Yannick Duc discussed the idea of organising a lighting competition after MursDeLeds had installed some Robe fixtures in a Paris club.
Robe France account handler Jean Philippe Fouilleul was then approached, who in turn involved his colleagues Bruno Garros, Elie Battah and Vincent Bouquet who floated the idea of engaging lighting designers and operators.
The competition kicked off in December 2020 and was open to anyone in France familiar with professional lighting consoles and visualisation software and able to programme and operate a lightshow. The initial three stages were virtual and entered via a dedicated Facebook page.
Entrants had to create a 90-second timecoded lightshow utilising grandMA 3D, Capture or Depence2 and 133 Robe virtual moving lights, all working to the same predesignated music track.
Those gaining the most ‘likes’ went through to the next round and the process was repeated - until three rounds later, the 10 finalists emerged. They ranged from practising lighting professionals to breakthrough designers, programmers, and operators.
The final was staged IRL (in real life) at Les Studios de la Montjoie in the La Plaine St Denis in a fully COVID-sa
Germany - London-based Mountview Academy of Theatre Arts entered its production season with support from GLP’s UK office and some inventive programming of the company’s bespoke theatre fixtures from one GLP enthusiast and freelance designer, Adam Kingnow.
When the academy relocated to its new building in Peckham from its former Wood Green base, where King had graduated with a BA (Hons) degree in Technical Theatre specialising in Lighting, it had the benefit of a new reconfigurable theatre. This featured a purpose designed lighting grid on which the LDs could hang and focus their lighting, including a large number of GLP fixtures, to achieve maximum creativity.
King had been fortunate enough to work alongside top theatre LD Neil Austin, which is when he first discovered the special TH theatre-specific versions of GLP’s impression X4 and X4 Bar fixtures, with the yellow chip - which Austin had helped to instigate. This is now available as a custom option in the GLP catalogue. “I immediately became a convert to GLP,” King explains. Via his long-standing relationship with Mountview, he learnt that the drama theatre was in the process of purchasing a new LED moving head profiler last year, which provided the real breakthrough for GLP. Having just worked with the impression S350 and marvelled at the quality of the pastels, he insisted that they audition it in the competitive demo set up by dealers, White Light.
“They had been reviewing other brands until I mentioned the S350s,” King adds. “I subjected the products to some rigorous tests. T
USA - Al Gurdon used 65 Chauvet Professional Nexus Aw 7x7 panels supplied by PRG to bridge two distinct facets of The Weeknd’s Pepsi Super Bowl LV Halftime Show at the Raymond James Stadium in Tampa.
Arranged in a tower-like configuration that was revealed when the stands holding The Weeknd’s supporting cast parted into equal sections on either side of them, the Nexus units created a column of intense warm white light that silhouetted the star as he made his first appearance.
In addition to creating a dramatic entrance, the brilliant display of light acted as a bridge between the performance stage that was setup on the North End concourse of the stadium and the backstage hall of mirrors dubbed ‘The Infinity Room’ by the show’s creative team.
“I wanted something that would be powerful enough to create an immediate impact, whilst also offering strong dynamic possibilities,” said Gurdon, whose list of Super Bowl halftime credits includes The Who, Black Eyed Peas, Madonna, and Beyonce. “The Nexus panels did exactly what I had hoped, giving The Weeknd a dramatic entrance and also creating a bridge between the worlds of the stage and the backstage. This was critically important given the size of the show, which comprised both a large set at one end of the stadium and also a large cast on the field of play.”
The analogue feel created by the tungsten-like light of the Nexus fixtures blended with the incandescent glow of the inner set walls and the backstage set. “Having so many incandescent fixtures pushed me toward a colo
Italy - Prolights has released its latest EclDisplay series of LED spotlights designed for use in galleries, retail, hotels, exhibitions and other installations.
The fixtures in the range feature multiple control options, sources, colours, lenses and accessories, with over 7,000 possible fixture configurations, using the same core technology while meeting different aesthetic or technical requirements.
The EclDisplay units are available in three control configurations: DAT, UN and CC. The DAT version comes with a built-in PSU, with manual knob-dimming, RDM, DMX and DALI control on-board. The UN version includes all the above and adds phase-cut dimming for retrofitting in existing systems. The CC (Constant Current) version works with external drivers, allowing installers to complete the light fittings with any track mounted, rack or boxed drivers, accepting any wired or wireless control (DALI, Casambi, 0-10, on-off).
The EclDisplay is engineered with a 25W high-CRI LED engine. There are five different source options available: fixed white sources in 2,700K, 3,000K, 4,000K, 5,600K, as well as a 40W RGB+WW source, capable of delivering a wide tuneable white range, as well as beautiful pastels and saturated colours.
Prolights has developed optics that unlock the fixtures' full potential, increasing their efficiency and light output. There are three lenses available: a zoomable 20º - 40º profile lens with 4 lockable blades, allowing to precisely frame any projection area with crisp or soft-edge accents, or to project images and textures through
UK - Anolis Divine 160 LED lighting fixtures are providing mood and house lighting for two of London’s leading multifunctional venues, Magazine London in Greenwich and Exhibition London in White City, both initiated and operated by Broadwick Live and Venue Lab.
The Anolis fixtures were specified by consultant and technical production director Simon Jones of SJ-TPM, who co-ordinated the technical design, specification, procurement, installation, and commissioning of production equipment for the two high profile venues.
“I wanted a fixture that could do more than just provide functional white house lighting,” explained Simon, “Ideally an LED source for cost-efficiency and sustainability, plus a unit that produced a great range of colours and a quality, bright output, so the same fixtures could also be part of the atmospheric lighting or theming for a wide range of events.”
The Divine 160 is powered by 40 Osram RGBW multichip LEDs which produce nearly 12,000 lumens in output with a 40° beam angle option and this works for the task at Magazine, a new-build presenting a raw, contemporary industrial space with views across the River Thames to London’s Canary Wharf CBD skyline.
The 65 x Divine 160 luminaires at Magazine are rigged in the roof trusses and on beams with C-Clamps. Fixture weight was another consideration - each compact Divine 160 unit weighs 14.5kg, states Simon - as were the aesthetics of the light, which had to match the look and feel of the room.
Magazine London opened at the end of 2019, and work was already in pr
Germany - Die Glocke in Bremen is a well-respected concert venue. The meticulously detailed space inside the Walter Görig-designed building reflects sound with such clarity and purity that leading artists have sought it out for their performances. Herbert von Karajan singled out Die Glocke as one of the three finest concert halls in all of Europe.
Given this reputation, Christoph Brunkow, project supervisor at Glocke and his team had clear goals in mind when they were upgrading the facility’s lighting system. In addition to seeking fixtures that produced bright even fields of light, they were looking for ones that were quiet and could be installed with minimal disruption to the building’s interior.
“We wanted to change as little as possible about the building,” said Brunkow. “Our goal was to keep the existing rigging while installing new fixtures that delivered the same power – or more- than our old ones. Of course, since this hall is famous for its acoustics, it was key that the fixtures be extremely quiet. Accepting compromises was absolutely no option for us.”
Helping the technical team meet their goals without compromise was a collection of 59 Chauvet Professional LED fixtures. Replacing Die Glocke’s traditional incandescent lights, the new units enhanced the illumination at the concert hall while reducing energy and labour costs.
“Our goal was to replace our conventional light completely,” said Brunkow. “Our old fixtures ran long hours, which used up a lot of energy. We also had to replace their lamps frequently, wh
Denmark - Rental operation Live Company made a major investment in Robe Esprite and LEDWash 300X moving lights, together with a RoboSpot remote follow spot system, in March 2020 just before the pandemic hit effectively closing the live concert and event industry worldwide.
“We felt it was a bit like some ironic sort of April Fool’s joke,” commented Live Company’s Peter Clausen, one of the owners together with Mikkel Bedsted and two other business partners.
However, they are pleased with their kit, and the Esprites have been busy despite a challenging year working at a fraction of the normal pace as Live Company is lucky enough to have had a steady flow of work throughout the pandemic.
Live Company purchased the 22 x Esprites for Cirkusrevyen, Denmark’s premier revue show which is staged at a big top venue in Dyrehavsbakken, a northern suburb of Copenhagen. Live Company was appointed lighting vendor for the first time in 2020 having supplied the season’s chief LX and lighting console operator since 2017.
In 2020, due to a couple of important anniversaries, Cirkusrevyen lighting designer Malthe Haugaard was keen to try out the Esprites.
Over the past four years, a variety of Robe fixtures - including Pointes, MegaPointes, DL4S and DL7S Profiles - have been used in the Cirkusrevyen show, and for the 2019 season, LEDBeam 150s and MegaPointes were utilised in numerous imaginative ways.
“This time we wanted a fixture with a wide zoom that could also produce punchy beams for the big dance production numbers,” explained M
Russia - Rock band Kino celebrated its reunion with an online concert, which wowed the Russian rock community and teased Kino’s major stadium tour planned for this spring. The online performance was the first show to use Claypaky’s new Tambora Batten fixtures, which were selected by lighting designer Marina Larikova.
The online concert reunited members of the band who had not appeared together since the death of Kino’s lead singer, Victor Tsoi, in 1990. The performance featured two bass players who had played at different times with the original band, Kino’s original guitarist, a synthesizer player and a rhythm guitarist. Victor Tsoi’s presence was felt in the show when his multitrack recordings were digitised, enhanced and incorporated into the concert. Tsoi’s son Alexander was one of the show producers.
Claypaky’s Tambora, a high-power batten made its debut on the concert.
“We at Blackout Studio feel really honoured to be among the first rental companies in the world to receive the latest Claypaky fixtures,” says manager Igor Piotrowski. “We appreciate the trust shown by Claypaky and its CIS brand-manager, Slawa Gartung, to make this happen. We have been looking forward to the introduction of this type of batten fixture by Claypaky and are pleased to have Tambora Battens in our rental stock now.
“As always with Claypaky,” he says, “this fixture is a great example of Italian design and impresses with the materials used to create the body of the fixture. The LED modules used in the Tambora Batten are the same as thos
Germany - Building on the success of the Streamer, GLP’s new LED light for video conferencing, live streaming and home office work, the company has announced a new packaging variant for those wanting multiple sources, called the Streamer Duo Kit. Simultaneously, the free-to-download app has been updated, offering significant expansion of the remote-control capabilities of all Streamer units.
The Streamer Duo Kit packages two of the GLP Streamer units together with a pair of extendable tripods, USB-C cables and USB-A to USB-C adapters for both units. This comprehensive accessory set also comes with a pair of soft drawstring bags to protect the units whilst in transit. The packaging insert has been cleverly designed to be placed directly into standard portable hard cases, reducing the products’ environmental impact.
The Duo package has been designed for applications specifically where two units would be beneficial to place more evenly spread light coverage on a presenter from multiple angles, thereby creating more professional studio-like situations.
With the launch of the Duo set, comes a new version of the control app. Free to download for both PC and Mac platforms, it allows the user to intuitively control up to 16 Streamer units - either locally or remotely from a single device - and is compatible with both existing and new Streamer units.
GLP US president, Mark Ravenhill, said: “This expanded capability provides significant new functionality, especially to those making use of the remote facility for corporate streams as well as full
USA - Elation Professional is expanding its Key Light (KL) series of LED Fresnel luminaires with the full-colour-spectrum KL Fresnel 8 FC.
Designed for TV and film, theatre, tradeshows or any general AV application requiring high output soft light with precise colour reproduction and adjustable colour temperature, the KL Fresnel 8 FC produces ‘the soft field light that designers desire in order to masterfully highlight performers or scenery on stage’. Offering a wide array of rich saturated colours, subtle pastels and dynamic white light, it is designed for use in situations requiring outstanding performance and colour quality.
The KL Fresnel 8 FC houses a 500W RGBMA LED engine calibrated at 6500 Kelvin and emits a diffused wash of light. It produces over 18,000 field lumens with a motorized zoom range of 10° to 50° for easy adjustment of beam size. For illumination that is more precise with less light spill, adjustable and removable 8-leaf barn doors allow for customized shaping of the beam.
Colour rendering offers high CRI (92), TM30 (88) and TLCI (95) values, meaning that colour re-creation is extremely accurate both to the eye and to the camera. As a flexible complement to any professional lighting system with customizable effects to accommodate aesthetic design requirements, the KL Fresnel 8 FC has also been designed with respect for the whisper-quiet requirements of the professional stage and studio.
Optimized for the specific requirements of broadcast, the KL Fresnel 8 FC can adjust for light that shifts away from pure white tow
USA - Over 1,700 miles separate Image Productions Services from Ryman Auditorium, but that didn’t matter much on Saturday 23 January when Annie Brobst and The Jake Ash Band took the stage at the improvised livestream studio in the company’s warehouse in Shrewsbury, MA.
Brobst, the New England Country Music Awards Artist of the Year, and Ash’s band, which was formed by four firefighters from nearby Brockton, projected a down-home vibe that would have fit right in on Nashville’s Second Avenue.
Contributing to the welcoming atmosphere of the pay-per-view show was a warm and immersive lighting and video design by Darren Lussier and his team at Image Production Services that featured 44 Chauvet Professional fixtures and a collection of PVPX3 LED video panels.
Seeking to evoke an intimate music club image on their relatively small stage, Lussier had it bathed in deeply saturated colours, broken up by dashes of white light. “Colour intensity was important to this show,” he said. “The Rogue and COLORado fixtures gave us that. They created a nice backdrop that was bright enough to be balanced with the video wall.”
Lussier had 12 Rogue R3 Wash fixtures arranged along the upstage edge of the set to provide back washing on the stage and performers. A group of 12 COLORado 1-Quad Zoom tours added to the colourful backdrop.
For specials, side lighting, and downlighting, Lussier and his team called on their rig’s 12 Rogue RH1 Hybrids, four of which were hung on an overhead truss bar, with the remainder being divided evenly between sta