USA - Since its official opening in 1930, the stately structure that is today known as the James L. Whitten Building, home of the US Department of Agriculture, has stood out. Not only was it the first large scale example of Beaux-Arts architecture in the US capital, and the city’s first governmental structure made of reinforced concrete, it was also (and still remains) the only “working building” on the Federal Mall that is not intended for the general public.
From 18-21 April, the building held another distinction, being the only federal structure in the capital to be lit in green. Radiating in emerald against the Washington sky, the USDA home office commemorated the International Year of the Plant in stunning fashion.
Endowing the James L. Whitten Building with its green glow was a lighting design by Atmosphere, Inc.’s Sparky Hopkins that featured a collection of colour rendering fixtures including 12 WELL Fit uplighters from Chauvet Professional.
Arranged along the ground level, the battery powered and wirelessly controlled fixtures were used to uplight the massive masonry wall that supports the building’s columns. For Hopkins, the WELL Fit units were the natural choice for the commemorative project.
“Since this is a government building and we were lighting the main entrance, we had to meet an extensive list of safety requirements,” he says. “The government folks needed to be assured that there would not be any cables or equipment that would cause a tripping hazard. Being battery powered, the Well Fits checked that box.
Singapore - Harman Professional Solutions recently partnered with Light Collab to outfit the atrium at Parkroyal Collection, Marina Bay with a Martin Professional lighting solution.
Parkroyal is a garden hotel in the city’s central business district with close proximity to many major Singapore landmarks. The hotel offers ‘contemporary design and eco-friendly lifestyle experiences to conscious and mindful travellers’. In order to enhance the guest experience, the hotel hired Light Collab to implement a cutting-edge Martin Professional lighting solution to provide dynamic visual effects in the garden atrium.
Light Collab reported that the hotel requested an impressive lighting system for an immersive treetop experience, including a short light show that could be programmed for performances every hour on the hour. The hotel’s goal was to transform the garden atrium into a futuristic world of light and sound, complimenting the artistic aesthetic established by the architecture of John Portman and a hanging floral sculpture by artist Richard Lippold titled Orchidea.
Light Collab’s design included Martin MAC Quantum Wash fixtures, which they selected for their tight beams, beautiful wash fields, exceptional colour palette and uniform colour mixing. Light Collab also selected Martin RUSH MH 6 Wash fixtures for complex, immersive visuals. The team also utilised Martin THRILL Multi-FX LED fixtures to deliver laser, strobe and rotating multi-beam effects for a variety of dazzling looks.
Hotel staff reported that the Martin lighting solution pr
USA - Artists continue to be creative and inventive in presenting themselves during these pandemic times, and musician, singer and songwriter Todd Rundgren’s new virtual ‘tour’ concept is no exception.
The 25 shows were broadcast live over a five-week period from Radius Chicago, a new 3,800 capacity live performance venue in an old Pilsen steel factory. Each day was orientated towards a particular city, complete with special locally related video content, and people living in the relevant area able to access advanced tickets before the box office was opened further.
Lighting designer Hans Shoop utilised Robe BMFL Spots, Spikies and a RoboSpot system controlling three BMFL Follow Spots to great effect on the rig – among other lights – fulfilling a brief to create as much normalcy as possible for a live band show. They specifically didn’t want the production looking like a video shoot nor a ‘band in a void’ recording scenario, a mission for which he worked closely with Alex Skowron.
Alex – also an LD in his own right – had been the production designer on Rundgren’s 2004 Liars tour. When he heard about this virtual tour project, he reached out to the production team headed by production / tour manager and monitor engineer Paul Froula and asked if he could assist.
He explained how the mission was to make the space appear nondescript and neutral so the audience could think they were actually touring. “The last thing we wanted was to have the same architectural features coming up show after show, so we blacked out any featur
Poland - Jacek Chojczak and his team from Polish creative production design company Green Beam Design (GBD) utilised 82 x Robe MegaPointes for a high-profile outdoor installation in central Warsaw marking the 29th anniversary of WOSP (Wielka Orkiestra Świątecznej Pomocy) – The Great Orchestra of Christmas Charity – which is the biggest, non-governmental, non-profit, charity organization in Poland raising money for paediatric and elderly care.
Each year, Jacek explains, WOSP stages a major outdoor concert in central Warsaw called Light to Heaven, but this year due to Covid-19 restrictions this could not happen. Instead, the organisers decided to build a large scenic pyramid which was 21m wide and 12m high, designed by set specialist Giorgos Stylianou – in the square adjacent to the Palace of Culture and Science.
Jacek’s lighting scheme ensured that the luminosity from the MegaPointes on this pyramid structure illuminated the night skies like a giant beacon visible from all around the city.
The backbone of the event was a 16-hour ‘telethon’ broadcast from a pop-up tent-based TV studio in central Warsaw which aired on TVN and various online platforms with lighting also designed by Jacek.
In the studio he used more Robe fixtures including Spikies, LEDWash 600s and Esprites complete with a four-way Robe RoboSpot remote controlled follow spot system, with lighting equipment supplied by ATM System and multimedia from VES.
GBD first became involved in lighting the event in 2020 – just before the pandemic shut down the li
Italy - In late January, the people of Aosta gathered, as they have every year since the start of the first millennial, to celebrate the life of their patron saint. The streets of this ancient town were lined, as they always have been on this occasion, with artisans showcasing their world-famous Valdôtain artwork.
It was one of the last such moments, the people of the Aosta Valley would enjoy, before the arrival of the COVID-19 pandemic. Public gatherings were still prohibited this January when the time came for La Fiore de Sant’ Orso, but the townspeople were still able to enjoy this tradition virtually, as Fumasoli Audio and Lights Rental worked with local officials to create a livestream version of the two-day event.
Produced at the improvised warehouse studio, created by Fumasoli early in the pandemic, and broadcast on television, the livestream served up a rich variety of music and conversations that captured much of the tradition and community spirit of the annual event.
Contributing to the engaging atmosphere of the broadcast was a warm and immersive Patrick Iavarone lighting design that featured 28 Chauvet Professional Maverick fixtures from Fumasoli’s own inventory.
Iavarone flew six Maverick MK2 Wash fixtures on upstage truss, using them as front washes and arranged 14 in stage left and stage right positions to accentuate the colourful scenic props and backgrounds on stage while also giving it a greater sense of depth.
“Given the nature of the festival, we wanted to have everything looking colourful, bright and inviting,
USA - Despite the pandemic, and all the restrictions it has created, Gerry Dintelman has been in a groove of late, firing up hard-hitting livestream looks for metallic heavyweights like Fister, Dead Pilgrim and Chaos Collective. Recently, he had to change gears and focus his creative vision in a softer, more romantic direction, when he lit a Valentine’s Day ‘love-stream’ for indie/rocker Le’Ponds.
He welcomed the opportunity. “It’s always fun to mix things up a bit,” said Dintelman. “Our last livestream was designed around hard angles and industrial looks. To reflect the mood Le’Ponds was after, we had to do things differently so we could arrive at a more intimate place.”
That “place” was a captivating romantic dream come to life, with sharp edges replaced by smooth flowing natural forms that seemed to spring organically out of the stage, and jarring colour conflicts washed away by a kaleidoscope of psychedelic hues. As Dintelman describes it, he and his collaborator, video director Kevin Kwater, were going for a “natural-landscape-meets-a-dynamic-oil-painting” in their design.
Helping them reach this ambitious goal was a rig made up almost entirely of Chauvet Professional gear, including 12 Rogue R2 Wash, 12 Rogue R1 FX-B and five Rogue R2 Beams, as well as 12 Nexus 4x4 units and 84 PVP S5 LED video panels.
Dintelman arranged his fixtures and panels in asymmetrical configurations to avoid sharp angles and engender the smooth, fluid look he was after. In pursuit of this look, he also focused holistically on the ove
Finland - Design and production house Sun Effects offers out-of-the-box visual designs and full-service concept-to-execution solutions from offices in Helsinki and Tokyo. When the company sought a line of outdoor-rated moving head luminaires that could withstand Finland’s brutal weather conditions but also be an effective tool for creative expression, they turned to Elation’s award-winning Proteus line.
“There aren't many companies that take their gear into the types of environments we do,” said company founder and artistic director at Sun Effects, Matti Jykylä. “We’re a good benchmark and only go for top quality gear. We needed a reliable outdoor automated moving light with good design options and came to the conclusion that the Proteus is the best out there.”
Sun Effects has enjoyed consistent growth over its 25-year history, covering projects from special events and public spaces to permanent installations and experimental marketing projects. Many of those productions are large scale and often outdoors. “Our specialty is that we can light a complete site no matter how big, not just the stage but the entire area,” Jykylä says. “We're also involved in a lot of light and video art festivals that take place outdoors and for these segments we had been looking for different tools.”
Sun Effects acquired Elation’s multi-functional arc-source moving head, the Proteus Hybrid, in 2018 to address their needs but when they saw the 50,000-lumen Proteus Maximus LED luminaire at the Prolight + Sound show in 2019, they were totally take
Croatia - Popular duo 2Cellos released a new music video together with a hi-energy rendition of Bon Jovi’s Livin’ on a Prayer this month which was recorded in an abandoned military warehouse near the Croatian city of Pula.
Lighting was created by the band’s long-term LD Crt Birsa of Blackout using an all-Robe moving light rig. Lighting was the critical and only visual technical element for the dramatically stark, moody noir-style video directed by Kristijan Burlovic and as such it became almost a fourth band member joining Stjepan Hauser, Luka Šulić and drummer Dušan Kranjc.
Crt chose 38 x Robe MegaPointes as the key lighting fixtures, creating a tunnel effect down the length of the 33m tube like space which was pitch black inside. His design also used 16 x Robe BMFL Spots, three LEDBeam 150s and 10 x LEDWash 600+s, all supplied by Pula-based rental company, IDD Production doo.
He was asked to submit initial design ideas in December when the shoot, recorded in January, was first being planned. He did this working only on a couple of photos of the space as it was difficult for Ljubljana based Crt to cross the Slovenian / Croatian border at the time due to Covid-19 restrictions between the two countries.
The first concept he presented to the band and their management was chosen and developed into the backbone of the video shoot in which they recorded three songs in one day.
Most of the lighting had to be ground supported as no-one was sure how much the roof of the old building could take, so the tunnel of light effect saw
USA - New York quintet Lousy Sloughter delivered their Couch Tour from High Peaks Event Productions’ livestream studio in early April.
For 50 minutes, the band wove its way through a blend of blues, funk and jazz. With them every step of the way was a fluid, artfully crafted lighting design by Christine Sharp that drew on the colour and gobo rendering prowess of over 30 Chauvet Professional fixtures.
“The looks I create are pretty varied depending on the genre of music, even and down to the song being played,” said Sharp, who runs High Peaks with her husband Roger. “For a low-keyed show, or an acoustic performance, I try to create an aesthetic frame around the musicians on stage. If I know the vibe of the song, I saturated the stage with colours that reflect the feelings, at least as I interpret them.”
Following this design approach, Sharp kept the area to the sides of the stage mostly in shadows, making it easier for the camera to centre on the band. To accentuate each of the five musicians, she highlighted them during solos and other key points in the show with top and side lighting from the six Maverick MK3 Spot fixtures hung on upstage truss, six Maverick MK1 Spot units on upright towers and eight Rogue R2X Washes on the deck behind the drum towers.
To colorise the stage in tones that matched the music, she relied on her rig’s six Rogue R2 Wash fixtures. Her palette throughout the livestream was dominated by deep richly textured, blues, reds and purple in combinations that engendered a mellow mood. At times, she also punctuated
UK - Rental production company, Neg Earth has added the new Prolights EclPanel TWC LED softlight to its rental fleet.
On recommendation from a number of top lighting designers, Neg Earth decided to demo the new EclPanel TWC and was impressed with its performance and notable list of features.
Neg Earth’s Sam Ridgway commented; “After several recommendations for the EclPanel TWC, I had high expectations and I am pleased to say the fixture certainly lived up to them. The fixture’s output is brighter than a number of competitors products at only a fraction of the cost. The performance and features of the EclPanel TWC really set it apart. Its quality whites and rich colour capabilities make it a truly versatile product.”
The EclPanel TWC has individual pixel control enabling the colour and output to be varied per section. In addition, the EclPanel TWC comes with a wide selection of effects on board that users can select and manipulate without the need for a lighting console or extensive programming. Each effect can be customised in order to meet the design requirements and enhance creative capabilities.
Sam continued; “This is a very nice-looking fixture and we are looking forward to getting it out on more jobs soon. We have no doubt our customers will rate it as highly as we do.”
The units were supplied to Neg Earth by Prolights’ exclusive UK distributor, A.C. Entertainment Technologies (AC-ET).
“Neg Earth have a long-standing relationship with AC-ET and it is always a pleasure to work with them. The team are friendly a
USA - Chroma-Q has been pre-production testing in collaboration with Green Voltage zero emission generator units.
Working with a selection of Brute Force lampheads, the crew, plus Green Voltage director and experienced operator Adam Baker (Wonder Woman 2, No Time to Die) tested the LED Wendylight alternative, together with Green Voltage’s 5kW VOLTstack E-Gen remote power systems.
The Chroma-Q product range has become a regular feature on lighting lists the world over, delivering low energy illumination to all manner of productions. Deceptive in both stature and output, the Brute Force draws just 15 amps @ 240V making them suitable for use in conjunction with the GV power units.
With the Brute Force running at full power, the generators provided over 2.5 hours operation. The fully dimmable LED fixture, with its extended CCT range between 2,000K and 10,000K, also underwent additional testing at various colour temperatures and intensities, resulting in even greater operating times.
Adam Baker says, “I’ve worked with the Brute Force on a number of occasions, so am well aware of their abilities. The convenience of running the fixtures in combination with a Green Voltage power source adds an even greater degree of versatility.”
The Green Voltage VOLTstacks are available in 2kW and 5kW sizes, with higher output additions to the range due in the second quarter of the year.
During testing, the ability to series link the generator units provided the opportunity to carry out extended runs, allowing the team to properly
Czech Republic - Robe Lighting has unveiled its new T2 Profile luminaire, offering “an array of innovative technologies and the sought-after colour finesse of Robe’s successful Multi-Spectral LED (MSLTM) light engines”.
Crafted for multiple applications - theatre, television, auditoriums, stages, concert environments - the T2 Profile produces over 17,500 lumens measured at the front lens - via its 850W MSL source, to throw high-quality light over long distances.
The fixture’s quietness is suitable for scenarios where noise is crucial including classical concerts or recitals and dramas.
It has also been designed as a throw partner used in conjunction with Robe’s smaller T1 series fixtures, as both feature the MSLTM LED engines and therefore produce an identical multi-spectral colour mixing consistency.
The T2 Profile technologies linclude adjustable CCT - from 2,700K to 8,000K - together with DataSwatchTM for the quick selection of 237 authentic pre-programmed colours and tones including the most frequently used whites.
The T2 Profile has been engineered by Robe to include all the functionality that lighting designers and professionals are demanding with features like fast, easy CMY colour control; a separate +/- green hue control channel; an impressive 5°-55° zoom; variable 1° and 5° interchangeable frosts with full zoom range capability; two gobo wheels - one static and one rotating; an animation wheel; two rotating prisms and precise four individual plane framing shutter system.
USA - LED lighting solutions specialist BriteShot has shifted its manufacturing strategy amidst the global pandemic and now specialises in COVID-19 decontamination products. BriteShot’s decontamination solutions include its AirAffair air filtration system and BriteShot decontamination tent.
“To help venues re-open safely amidst the COVID-19 outbreak, we have dedicated our R&D resources to design groundbreaking innovation in air filtration and air purification,” says Roy McDonald, co-founder at BriteShot. “With more than a decade of knowledge and experience working in the entertainment space, we aim to have our decontamination technology be a factor in helping entertainment venues, restaurants, schools, houses of worship and more, reopen their doors in a safe and effective way.”
BriteShot’s AirAffair system uses scientifically backed technologies to effectively inactivate and filter contaminated airborne particulate matter. When air first enters the unit, it passes through a pre-filter of a HEPA/MERV 10 rating to capture large particulate matter. Then, the remaining matter flows through a UV-C light germicidal and cold plasma chamber to kill off and target the core RNA of organisms that can become viral in the human body. To further purify, the air then passes through a MERV 13-rated filter to capture smaller contaminated air particles. Finally, the air is ionized and pumped back into the environment in a completely purified state.
“New York State guidelines dictate that indoor facilities must meet filtration system guidelines that
UK - Version 2, which specialises in lighting hire specifically for the television industry, has expanded its stock of MDG products with the addition of two ATMe haze generators. “Our clients trust us to specify the right products and we know that MDG produces the best haze for the television market,” says Nick Edwards, managing director of Version 2.
Edwards has 25 years of dedicated television lighting experience, having held technical, commercial and management positions at PRG, Panalux and Aurora, after his training at the flagship training facility in BBC Wood Norton, prior to founding Version 2 in 2016. This experience puts him in a strong position when it comes to choosing the best products for his clients, many of whom have worked with him for years and trust his technical know-how.
“All our equipment investments have been rigorously researched and tested, plus we have had years of experience with many manufacturers’ products, so we have a good idea of what works and what doesn’t,” he says. “This allows us to make better decisions on our capital expenditure and only invest in the best products for our market. In effect we are testing and processing on behalf of the client so they can be confident in our recommendations.”
Good haze is one of the most critical ingredients to a show, particularly for television. “Primetime television programmes are broadcast to millions of viewers and demand a highly polished result. A fine balance is needed between deploying enough haze to achieve the desired beam read on camera, yet not so
USA - SPH Engineering, a multiproduct drone software company, has released a Drone Show software update which allows users to run a drone swarm show with up to 1,000 UVify IFO light show drones. The technology was upgraded in partnership with UVify and is only available with UVify IFO swarm light show drones.
The software was developed from managing from 500 to 1,000 UVify IFO swarm light show drones, with performance being upgraded to improve the ability to control large scale fleets. While scaling a fleet, the software allows preflight checks to guarantee safety during the show based on a dual geofence principle.
“2020 was a turning point in outdoor entertainment history as drone light shows were almost the only activity that could be safely enjoyed by the public from a distance,” says Alexey Dobrovolskiy, CTO at SPH Engineering. “Options varied from small 20-50 drone shows performed by SMEs, 100-500 drone shows used mainly for marketing in the sky, and large-scale shows of thousands of drones organised by governments around the world to thank pandemic frontliners. The Drone Show Software team has been developing technology to meet growing customer demands, and is now proud to offer a solution that makes it possible to light the sky with up to 1,000 drones,”
Hyon Lim, CEO at UVify, comments, “Humanity has always looked towards the wide open sky to deliver and receive messages. With the help of 21st century satellite and drone technology drone light shows are introduced and the idea that we can utilize unused space in the sky for someth
UK - When the COVID-19 pandemic forced UK theatres to close in December 2020, the National Theatre’s pantomime, Dick Whittington, at the Olivier Theatre had only previewed four times. The performance on the 15 December was filmed and shared on YouTube over the Christmas holiday period with the National Theatre looking to reach as wide an audience as possible despite the closure.
“It was a stunning production and great fun to work on, but a shame people couldn’t experience that magic first-hand,” says its multiple award-winning lighting designer, Jessica Hung Han Yun. “But at least the streaming made it accessible to more people.”
The Olivier Theatre had already been re-configured in-the-round before the pantomime took place, reducing its capacity to approximately 500. A new temporary lighting rig, designed by lighting designer and NT lighting associate, Paule Constable, was installed which stretches over half of the stage and out into the auditorium.
“With the whole rig shifted out half way into the auditorium, and the trim height reduced from 30m to 8.5m, all our natural followspot positions were blocked out,” says Jack Williams, lighting supervisor for the Olivier. “And with half the rig suspended temporarily front of house, we were restricted in the number of lights we could hang on the truss due to reduced weight limits and hanging points. We therefore needed something small and lightweight which could integrate into the rig as usable followspots.”
After careful research, four Ayrton Diablo LED profile fixtures
Germany - The Staatsschauspiel Dresden joins a long and growing number of high-profile performing arts venues that are investing in Robe’s T1 series of moving lights, a product line tailored to meet the exacting demands of this sector.
The 52 T1s – 20 x T1 Profiles and 32 x T1 Fresnels – were specified by Staatsschauspiel’s head of lighting and video, Andreas Barkleit, after careful consideration.
The Staatsschauspiel Dresden runs two venues – The Schauspielhaus in the old town with 788 seats and the Kleines Haus in the Neustadt area which offers three halls with 400, 150 and 99 capacities respectively plus the Kleines Haus Mitte which can accommodate up to 60 people. The main focus is on theatrical performance, but the vibrant programme – in a standard year – will also feature music, dance, concerts and spoken word performances.
Andreas has been in the head of lighting and video post since 2018, although his association and work with the theatre goes back to 1994. His professional career started in the mid-1980s and has embraced many aspects of the performing arts, from playing guitar in various bands to working as a freelance lighting designer for several institutions including the Carl Maria von Weber Music Academy in Dresden, The Meissen Theatre, the Dresden Laboratory Theatre, and the Zeithain Prison.
At the Staatsschauspiel Dresden, investments in new technology are made with a 10-year lifespan in mind, and Andreas had been looking at Robe’s T1 series since its launch. At the Prolight 2019 expo in Frankfurt, he saw it
UK - David Howard appreciated the flowing quality of cellist Jo Quail’s music when he was called upon to light a virtual concert by the London-based artist.
“Jo’s music is truly a joy to bring to life with light,” he said. “The pieces are very strongly connected and rooted to their respective inspiration. This provides a brilliant foundation to draw upon. Using looping and layering techniques, the music itself has a quality and structure that encourage lighting elements to reflect and visualize the sounds Jo produces with her cello. The visual experience builds with the music.”
Featuring six individual compositions taken from a variety of Quail’s discography, the concert took place in an improvised demo space, since the production team did not have access to a livestream studio. Helping Howard create a variety of looks within this space was an extensive collection of Chauvet Professional fixtures, including the Maverick MK Pyxis, MK2 Wash, MK3 Wash, Rogue R1 FX-B, ÉPIX Strip Tour, and Ovation E-910FC colour rendering ellipsoidal.
“We had to achieve a creative solution ourselves within the space available,” said Howard. “From a logistical point of view, we only had a few hours to set up and film all six pieces, each of them about 10 minutes each in length. The entire show was programmed from scratch with a good deal of the show programmed in advance using WYSIWYG. Each piece was a single take and operated live so there really was no room for mistakes. Since Jo’s music is very layered, all the accent lighting that picks up on th
Cyprus - On Friday 2 April, World Autism Awareness Day, the Dreaming Hearts livestream event was broadcast from the historic Kourion Ancient Theatre on the island of Cyprus. Organised by local event and production company Sound & Vision by DJ Nick, the hour-long broadcast featured short, high-impact sets from four local DJs performed in front of an epic backdrop.
More than 70 high-tech ADJ lighting and atmospheric fixtures were positioned around the theatre, which has stood on the site for more than 2000 years, creating a juxtaposition between the old and the new.
Based in the city of Limassol, Sound & Vision by DJ Nick has over 30 years of experience in the AV industry, having served customers on Cyprus since 1989. It provides technical production, as well as organisation and entertainment services, for events of all sizes. The company has relied on ADJ exclusively for all its lighting equipment for several years and has built up an extensive rental stock of ADJ fixtures.
The idea for the Dreaming Hearts event came from DJ Nick himself, who has a passion for increasing awareness about autism and wanted to help raise much-needed funds for the Cyprus Autism Association. To ensure that the livestream was as visually stunning as possible, Nick and his team approached the Cyprus Department of Antiquities for permission to film in the Kourion Ancient Theatre, which was granted free of charge due to the charitable nature of the project. This impressive stone-built, open-air theatre is a stunning location with a rich cultural heritage
World - Registration for Virtual Showlight is now open. Tickets for the unique online event can be secured via Hubilo, here. Tickets are free of charge but delegates are encouraged to make voluntary donations when registering, as all proceeds will go to support industry charities Backup and Behind the Scenes.
The event will be hosted on behalf of Showlight by MaxLive Events and takes place on 25 May between 15.00 BST and 23.00 BST.
“We have an exciting programme of speakers lined up for your entertainment and education,” say the organisers. “These will be interspersed by a number of ‘Video Shorts’ - short stand-alone papers, some of which will be forerunners to the full Showlight event that we hope will resume next year. A discussion panel of international speakers will focus on the issue of diversity in the lighting industry. In between sessions, there will be a number of breakout rooms, hosted by our sponsors, which delegates can enter to view and discuss sponsors’ products and services, and a networking lounge for general mixing and mingling.”
The organisers continue: “We would like to thank our generous sponsors whose donations have enabled Showlight to cover the cost of this virtual event, allowing the maximum of delegate donations to go direct to the charities. Robert Juliat is our headline sponsor, and is joined by Ayrton, ACT Lighting, Inc., Altman, ARRI, Claypaky, Copper Candle, ETC, Robe and Vectorworks. Virtual Showlight is also supported by
Germany - Wireless LED lighting specialist Astera has launched a new AX2 PixelBar product - a linear wash fixture with wireless control, onboard battery, individually addressable LEDs, ultra-high colour rendering, fabulous digital colour calibration and a 21-degree beam.
The AX2 is fully wirelessly controlled, robustly engineered, stylish and comes complete with a range of rigging tools to provide solutions for multiple lighting applications and sectors - from concert touring to live events to TV productions and architectural and installations.
The AX2 PixelBar is an extension of the Astera AX range which includes LightDrops and LED PARs. It is currently available in two versions, a 1m fixture with 16 x 10W LEDs and 50cm fixture with eight 10W LEDs.
It was developed to meet demand for wall, backdrop or surface washing luminaires offering the same highly practical and quality lighting options as other Astera products and is compatible with the AX and Titan ranges.
Premium optics focus the lightsources and colour mixing, and homogeneity ensure a ‘smooth even wash of light across its entire path’.
Utilising Astera’s Titan LED light engine, the AX2 features a high CRI and TCLI and can produce a range of colour temperatures from 1750 to 20000 Kelvin. The digital calibration allows it to precisely reproduce any colour or gel filter.
The quick connect system for attaching two or more units is designed to maintain a consistent pixel pitch between conjoined fixtures, and the feet can be loosened to assist in angling a row of AX2s un
Australia - Working as the creative directors and producers of the 2021 Parrtjima Festival, AGB Events, produced and delivered a travelling installation on The Ghan for NT Tourism.
The official opening night was on 9 April, but the celebrations actually began earlier that week, with the famed locomotive The Ghan - a 900m luxury train that travels the 2,797km (1,846 miles) stretch between Darwin and Adelaide.
Three of the train's carriages were wrapped in Aboriginal artist Chantelle Mulladad’s work Crossroads. The artwork was used in the external and internal dressing of The Ghan carriages, and features in the Merging Kultcha installation at Parrtjima.
Turning a whole carriage into a travelling Parrtjima light installation, AGB Events utilised digital imagery from the 2019 Ranges Show, a light and sound spectacular projected onto 2km of the MacDonnell Ranges. This was projected onto a wall the entire width of the Ghan carriage measuring 2.7m x 1.6m high with interior printed graphics measuring 16.7m x 17.15m each side, and was enriched by an epic musical composition and narration.
The 10-minute show included a welcome from AGB First Nation’s Advisor and Parrtjima Curator, Rhoda Robert AO and was narrated by Australian actor Aaron Pederson and Benedict Kngwarraye Stevens. The lighting designer was Richard Neville and was supplied by MPH Australia and Mandylights. Musical composition and sound design was delivered by Damian Robinson and supplied by the Central Australia Aboriginal Media Association (CAAMA).
AGB Events worked
USA - An artist whose career has been fuelled by his tight connection to fans, Josh Turner creates his own brand of magic when performing before audiences, something he’s rarely been able to do since the pandemic struck. But recently, the Grammy-nominated, chart-topping country star got to savour the live concert experience, as he played socially distant shows in Florida and Georgia.
Helping him feed off the crowd at both stops was an engaging, upbeat Mason Felps lighting design that featured warm white audience light created with a collection of Chauvet Professional STRIKE 4 fixtures that were flown across the upstage truss.
“Josh really likes to see fans at his shows,” says Felps. “It’s part of the bond he has with them. So, of course we wanted to include audience lighting in the rig, especially during these times when the fans have to be separated. The STRIKE fixtures are very bright with warm light, which is just what we wanted.”
Like the other fixtures in Felps’ rig, which included 24 Maverick MK2 Spots and 16 Maverick MK3 Washes, as well as Rogue R2 Washes, and Vesuvio RGBA foggers, the four STRIKE 4 units were supplied by ESI of Tampa.
Felps used the LED movers in his rig to create a range of intense colours on stage, from deep cherry reds, to softer pastels, to dark evocative hues. Having the broad palette, not only helped him convey different moods in light, it also added a special, almost celebratory, quality to the show, reflecting the spirit of fans who were happy to be at a live concert again.
For some of Turne
Sweden - Melodifestivalen - ‘Mello’ for short - the annual competition to select the Swedish Eurovision entry is organised by Sveriges Television and is a phenomenon in itself. In recent years, it has been a touring show visiting six key cities, but due to COVID restrictions, this year the six rounds - four heats, the ‘second chance’ and the final - were staged in one place, the Annexet arena in Stockholm, part of the Globe complex, and broadcast live on STV1.
It was lit - for the 20th time - by Fredrik Jonsson who utilised 200 Robe moving lights and four RoboSpot systems among other fixtures on the rig.
Taking this fund of experience into account, Fredrik always relishes the challenge of making Mello look fresh, exciting and fun each year and 2021 was no exception,
offering the rare opportunity to work in what was effectively a very large studio space without an audience, which opened new doors for technical experimentation.
Fredrik once again worked closely with set designer Viktor Brattstrom, another long-term member of the Mello creative team. The two enjoy a great imaginative synergy, and usually start throwing ideas into the mix the previous summer and autumn.
Video content was supplied by Green Wall Designs, another regular collaborator, who had their content wranglers onsite together with a disguise operator.
With a trim height of around 10m - and without the limitations of having to tour the rig - the circumstances gave rise to an idea floating around for some time which involved integrating a roof into the se