UK - GDS has given new roles to two members of staff as the company prepares to launch new product ranges in the coming months.
James Hall will head up sales in entertainment and architecture, whilst Scott Kerslake will act as key accounts executive for entertainment products. Hall worked in the entertainment lighting side of GDS’s business before leaving for a brief period to develop his knowledge of the architectural sector. He will work closely with MD Richard Cuthbert to introduce customers to the company’s new Reality Series and Prodigy Series lighting and control products. Kerslake meanwhile is a highly-skilled former production technician.
Managing director Richard Cuthbert states that the appointments are part of the new long-term development plan for GDS: “Both James and Scott are dedicated to GDS and are proven, highly-committed specialists. With the departure of former director Matt Lloyd, it was essential to place strong candidates in these important, customer-facing roles. I am fully confident that James and Scott have all the required qualities to help develop further significant growth for GDS.”
USA - In a spectacular New Year’s kick-off, Insomniac Events produced two blockbuster EDM festivals at the National Orange Show Fairgrounds in San Bernardino, with stage designs by SJ Lighting. More than 70,000 fans attended Audiotistic and Countdown NYE, shows that featured dance music acts performing from a large DJ booth highlighted with 12 Solaris Flare Rayzr LED fixtures.
“The Flare Rayzr blades were so bright, they were overpowering even at the back of the venue,” says stage designer Stephen Lieberman, president of SJ Lighting. “We used the 1m models to detail the DJ booth, making it the focal point of each show. With a 25 mm semi-transparent LED screen in front, the Flares were so strong, we had to throttle them back a bit because the blow-through on the screen was so intense.”
Lieberman adds: “The Rayzr’s flexibility allowed us to tailor the look for each artist – and there were a lot of them. Many asked specifically about the fixtures and how to get their hands on them. In terms of output, colour rendering, and overall performance, these fixtures crushed it.”
SJ Lighting specialises in lighting and production design for festivals, nightclubs, and concerts. Insomniac Events was founded by Pasquale Rotella, who was inspired by the Los Angeles underground dance music scene of the early 1990s.
Rayzrs are available in 50 and 100 cm lengths, with 18 or 36 RGBW Cree LEDs in 3-pixel groups. TMB is exclusive distributor for Solaris Lighting products.
UK - After bursting onto the scene in 2007 with their debut album Take to the Skies, Enter Shikari established their reputation as a live band.
When the band began planning its current tour, its manager Keith Reynolds asked Matthew Knowles to create a lighting design that would not only support their multi-dimensional sound, but would also contribute to their stage presence with a classic but edgy look.
Knowles, who is with 10 Out Of 10 Productions, succeeded in doing just that, designing a show that paid homage to traditional stadium lighting while also projecting a somewhat disruptive sense of contemporary energy. Aiding him in this endeavour were eight STRIKE P38 and two Maverick MK1 Spot fixtures from Chauvet Professional.
“The band wanted to go for a classic stadium look, which meant a lot of backlighting with lots of haze to create moody and dark atmosphere,” commented Knowles. “At the same time, the solution needed to be flexible and versatile. The Chauvet fixtures checked all of the boxes in the end.”
After some pre-tour testing, Knowles was convinced that the STRIKE P38 had the flexibility to provide the wide variety of key looks needed to capture the flavour of the band. With their audience blinder and strobe capabilities, the 90W LED fixtures provided energetic looks to elevate the band’s performance.
“Among the things I really like about the STRIKE fixtures is their fantastic tungsten emulating red shift,” says Knowles. “This allowed me to fulfil one of the band’s requests to inject some classic tu
UK - Alex Webb used 28 x Astera AX1 PixelTubes - battery powered wirelessly operated fully controllable LED RGBW batons - to create The Heart of Manchester, a 20m high heart shaped light sculpture on the Quay Street façade of the #1 Spinningfields building in central Manchester.
Alex is a brand manager for Allied London, the property developer at the centre of evolving this vibrant area of the city, which has become a leading business destination, legal quarter and a thriving living and working community as well as a place for socialising and entertainment.
In celebration of Valentine’s Day, Spinningfields commissioned various public art displays around town to explore love and heartbreak in the city, a project that also included offering this as their own creative contribution for public enjoyment and Instagram hotspots!
Inspired and tasked to find new, fresh and invigorating ways of getting people to engage with their environment and appreciate the striking modernist urban backdrop of Spinningfields, Alex is constantly seeking to drive footfall to and spark interest in the area’s cafes, bars, restaurants and other facilities.
The pulsing Astera AX1 heart is visible across the evening skyline and from key vantage points like the Deansgate-Castlefield Metrolink station and as far away as Old Trafford.
It was an instant Valentine’s Day hit on social media with people flocking for selfies with it in the background, so much so that the installation has been extended and will run for the remainder of February.
The tubes w
Columbia - Persival Producciones is a rental and production company supplying sound, lighting, video, staging, rigging and backline, based in Medellin, the second city of Colombia.
Like many Colombian rental companies, they started primarily as an audio supplier, and a few years later realized that to keep competitive, they needed to invest in lighting and video to offer full production packages to their busy client base.
Persival is owned and run by Mauricio Agudelo. He explained that the lighting side of the business was steady but slower to take off than the audio side, until they purchased their first Robe Pointes in 2016.
The first Pointes appeared in Colombia in 2014 when Andres Chamorro and his company Chamorro Iluminacion bought a quantity for a Juanes tour for which Persival did the audio and staging.
They already had a competitor beam light onboard at the time, but they were super-impressed with what the small and truly multifunctional Pointes could do. Then it was a simple case of “we had to have them”.
He consulted with Guillermo Traverso, Robe’s regional sales manager for Latin America who helped facilitate AVCom’s first sale of Pointes to Persival which arrived in two batches, 32 initially which were rapidly followed by another 16, making 48 in total which offered a lot of scope for their shows.
Following this, they bought Spiider wash beams and then BMFLs; their most recent purchase was 24 x BMFL WashBeams earlier this year and they are looking at adding another 12.
“Around the time we purchased the
UK - Northern Irish band Snow Patrol embarked on a UK tour to support new album, Wilderness, which concluded at London’s SSE Wembley Arena in February. Lighting and show designer Davy Sherwin selected Claypaky Scenius Unico as the only moving lights of the production.
Sherwin has worked with the band since 2002 and describes the creative relationship as ‘excellent’. “Sometimes the band gives me a starting point for a design, and I build on that. There are discussions and it is collaborative process, but mainly I have an awful lot of freedom in the design process,” he says.
Rigged on both the front truss and two automated trusses above the stage, Sherwin used the Scenius Unico in conjunction with the video wall to shift the size and shape of the stage throughout the performance, as well as providing crucial key lighting.
“The beam shape was a very important consideration when I was selecting the fixtures,” says Sherwin, who used the beams of the Scenius Unico to provide front and rear key lighting for the band. “The beam was perfect.”
The Scenius Unico offers designers a 5-55˚ linear zoom and four separately moving blades at variable speeds.
The fixture had to deliver output bright enough to stand out against the often-psychedelic visuals of the 50 x 30ft video screen. “The main reason for choosing the Scenius Unico was its unrivalled brightness,” explains Sherwin. “The Unico cut through the screen brightness with no trouble at all.
“The Scenius Unico has great colours, especially the primary colours.
Italy - Claypaky has announced its commitment to ArKaos’s Kling-Net protocol, which will now be embedded in its newest HY B-EYE product line.
Giovanni Zucchinali, Claypaky’s product portfolio manager, explains: “As the current and future requirements of lighting and visual design are so dynamic and fast-moving, lighting designers, programmers and operators need the most flexible and creative tools at their fingertips. We see a strong trend for one of those future developments being moving heads and pixel fixtures increasingly working in conjunction with video content.”
The new Claypaky HY B-EYE K25 and HY B-EYE K15 recently introduced to the market, are supplied with ArKaos Kling-Net as standard and already included in the firmware.
“This new and interesting feature greatly expands the already rich effects of the HY B-EYE range, making it an even more versatile and practical luminaire” comments ArKaos CEO Marco Hinic. “This is why, going forward, ArKaos is supporting Claypaky devices with the Kling-Net software network interface and we are all looking forward to this combination of cutting-edge technologies that will offer faster, more flexible and even more versatile products.”
Kling-Net is a plug-and-play control protocol developed by digital media specialists ArKaos for the easy operation of LED and video devices / lightsources. It allows the distribution of real-time video data to remote display devices - like LED fixtures or LED panels - over Ethernet, adding a degree of ‘intelligence’ with the automatic configuration
USA - High End Systems has announced the release of a new flagship console Hog 4-18, along with new OS v3.11 software. The company has also entered a new partnership with Capture visualisation software.
The Hog 4-18 console upgrades the popular Hog 4 with 18.5” touch screens, and an updated industrial design with aluminium encoder knobs and integrated accessory mounts. Outputting 8,192 channels (expandable with DP8K processors), Hog 4-18 has eight XLR-5 DMX outputs, sACN and Art-Net, MIDI and dual etherCON connections for HogNet and FixtureNet.
The desk features five high-resolution parameter encoders, built-in tri-axis backlit trackball and 10 master playbacks with motorised faders and master control keys. Up to three external display port monitors or touchscreen monitors can be used.
Hog 3.11 OS includes several significant updates, with support for the Hog 4-18 console hardware, an increase to 12 universes of output for Hog 4 PC, additional Plot icons and improved indication of current cue in cue list window. Other small enhancements include changing the Fixture Schedule button to Add Fixtures to simplify patching, sorting manufacturers User and Generic to the top of the list in Fixture Scheduler to reduce scrolling, CITP support for Hippotizer Layer v4.4 and various bug fixes.
Finally, High End Systems is changing the Hog family’s included visualiser to a Capture lighting design software license at the solo, duet or quartet level, depending on the Hog console purchased. These are standard Capture licenses that can be upgrade
UK - White Light provided the lighting equipment for Arthur Miller’s The American Clock which has recently opened at the Old Vic Theatre, London.
The American Clock portrays the devastation that American citizens experienced when the stock market crashed and the Great Depression began in 1929. The play uses an ensemble cast to explore the lives of several families across several cities. It is directed by Rachel Chavkin and features a lighting design by Olivier Award-winning Natasha Chivers.
Natasha comments: “This is an epic play that manages to tell a huge story about an entire nation. Rachel wanted to create something quite extraordinary in which we put the audience right into this extraordinary time in American history. Part of this included having audience members on stage. What this means is that the Old Vic stage has now been turned so that it’s practically ‘in the round’. When I’ve lit shows here before it’s always been ‘end on’ so this was a new experience for me.
“Initially, we toyed with the idea of using a tracking moving light system as well as followspots due to the fact that we needed to stay with the characters as they moved round the revolving stage. We eventually decided to go for one large moving light rig which would light everything. What’s really interesting about this play is that it’s a combination of your traditional Arthur Miller play coupled with music pieces. As a result, it meant the design I created needed a mix of tungsten, LED and discharge lighting”.
Natasha would use the
UK - The heady mix of highly tuned bikes, screaming engines, screeching tyres and brakes and supernatural speed races meshed with the breath-taking daring of motorcycle stunt acrobatics… indoor Motocross racing and Freestyle MX all rolled into a single adrenaline fuelled night of seat-edge action complete with pumping soundscape . . . and you have the heartbeat of
Producers and organisers Arena Sports Live presented Arenacross (AX in three of the UK’s leading arena venues – Belfast, Birmingham and Sheffield – for their 2019 AX tour, with HSL supplying a full production package – lighting, video and rigging – plus sound in partnership with Nitelites.
Additional venue ‘sports lighting’ was also provided by HSL for the two Birmingham shows at the Resorts World Arena (NEC).
HSL’s project manager was Ben Perrin. He and the team were delighted to be back having supplied lighting for the 2018 tour, and lighting and video for the recent Liverpool International Horse Show, also an Arena Sports Live event. They worked closely with producer Matt Bates and production manager Tony Nash from Arena Sports Live.
Ben produced an outline production lighting design, then called on the huge experience of Nick Jevons as programmer, lighting director and operator on the road. He utilised a flexible package of beam, spot and wash moving lights to ensure appropriately hi-impact lighting to match the hi-velocity action, excitement and sounds.
Nick’s challenge was to make it powerful, dramatic and totally in the face . . . a task he relished
UK - Notch, the visual creation tool for interactive motion graphics, is set to incorporate ray tracing into the software's realtime workflow as part of an upcoming March release (0.9.22). The news was announced at NotchCon, the inaugural Notch conference held in London in January.
Ray tracing, an advanced graphics rendering technique that has long been used for non-realtime rendering, provides realistic lighting by simulating the physical behaviour of light. It is the foundation of visual effects used in movies and TV and will provide a ‘significant jump’ in visual precision directly inside Notch, says the company.
Matt Swoboda, founder of Notch, comments: “At Notch, we’re committed to making software for content creators that is flexible and scalable. We enable people to realize their creative ideas and improve their workflow, through the power of rendering in real-time, without the need for coding. We are looking forward to seeing how the integrations and software updates announced today will impact creatives when the new version of Notch Builder is released later this spring.”
Notch’s ray tracing features will work on any GPU currently supported by Notch, with no additional hardware required. Swoboda said the feature has been built to take advantage of the various hardware accelerated APIs and platforms in the future, as they mature.
NotchCon, the first ever two-day conference dedicated to Notch users, took place in London last month. Visitors travelled to London from all over the world. The event featured 30 sessions on a wid
UK - The team at Nottingham-based OneBigStar was already familiar with the Chauvet Professional Ovation series when they made a major investment in the LED fixtures. “We’ve built the Chauvet trade show booths for years, so we’ve worked with Ovation units before and have been very impressed,” says Steve Yeardsley, managing director of the technical and event production company.
Recently, Yeardsley and his team acted on this confidence by adding a substantial number of Ovation ellipsoidal and par-style fixtures to OneBigStar’s inventory. The new fixtures are intended to replace the company’s existing tungsten units.
“We’re constantly looking to invest in new technologies, especially when they involve moving from older units to better, brighter and more energy efficient ones,” says Yeardsley. “The Ovation range certainly stands tall against the tungsten fixtures they’re replacing.”
Included in the new product mix are the Ovation E-910FC RGBA-Lime colour mixing ellipsoidal in both indoor and IP-rated versions; the high output Ovation E-260WW warm white ellipsoidal; and the P-56VW variable white par-style fixture.
Many of the new fixtures have been put to immediate use. “We have recently undertaken an exhibition project that involves lighting large stands for agricultural machinery brands,” says Yeardsley. “We are using a combination of Ovation ellipsoidals and variable white pars with a few Maverick MK2 Spots thrown in for gobo projection. The response to the fixtures in this role has been excellent! They lit the area
UK - Artem, the physical special effects company, made further inroads into the theatre sector recently with a new effects’ challenge from the world of dance. Artem, whose credits include Harry Potter: The Cursed Child and Holiday on Ice, were asked to design and build a piece of equipment capable of projecting a single giant smoke ring the shape of a doughnut - known in physics as a Torus - from the rear of a stage, out over an audience.
The ‘smoke vortex cannon’, as it came to be known, had to be large enough to make an impact in a sizeable performance venue, whilst being resilient and easily transportable on tour. In addition, the cannon needed to be DMX programmable, to enable control from the lighting gallery.
Artem’s client is the Birmingham and Barcelona-based dance company, Humanhood. Artistic directors Rudi Cole and Júlia Robert Parés anchor their work in physics and astrophysics, as well as in their personal insight into Eastern mysticism. Their new production, Torus, is inspired by the creation of a geometrical shape by revolving a circle in a three-dimensional space around a coplanar axis, and by the existence of these shapes throughout the natural world. Artem’s smoke vortex cannon delivers a dramatic visual effect at a key moment during the performance.
Artem built a number of rigid-bodied cannon prototypes in various sizes, all of which featured a rear-mounted membrane pulled into extension by a series of bungees and secured by electromagnets. Once released, the membrane creates a sizeable single sh
UK - Free registration is now open for PLASA Focus Leeds, PLASA has reported.
The sold-out event, taking place at Leeds' Royal Armouries Museum on 14-15 May, will feature 120 exhibitors and is ideal for professionals working across live events, concert touring, production, performing arts and installation.
Present will be lighting companies including Elation, Robe and Philips Entertainment Lighting; pro audio firms including d&b audiotechnik, Funktion-One and Shure; and rigging, staging and production specialists including Area Four Industries, Gerriets, Hawthorn and J&C Joel. The trade show will also welcome several new exhibitors, including loudspeaker manufacturer Wharfdale Pro Audio and US sound masking company, Cambridge Sound Management.
In addition, a free programme of seminars, panel discussions and workshops will feature insights from experts involved in some the most exciting projects over the past year as well as essential technical guidance.
Sophie Atkinson, head of events at PLASA, comments: “PLASA Focus Leeds continues to be one of the most anticipated events in the calendar. It’s the perfect place for people to get together, share knowledge and find out about the latest technology.
“Our team is currently building an exciting programme of seminars and workshops, celebrating some of the most exciting projects from across the industry - we look forward to announcing the line-up
Australia - Adding impact to a recent production of Les Misérables at Scotch College in Melbourne was a Tom Willis-designed lightshow that featured Chauvet Professional Maverick MK1 Spot fixtures, supplied by Showtools International.
Creating an array of textures and colours on stage with the 350W moving LED fixture, Willis reflected the hope, despair, and unrequited love that marked the relationships between Jean Valjean, Fantine and the story’s other characters.
“This is the second project I did with OSMAD (Old Scotch Music and Drama), the theatre group that performed the musical at the school,” says Willis. “The set I worked with was beautiful, but it actually had very few moving parts, so light became important to help transition from one location to the next - from field, to inn, to water hole etcetera. However, there were many times where location was less important, and my main focus was on the emotional journey of the characters. I used light to effect and support the relationships of the different people through combination of color, texture and focus.”
Willis tended to avoid or minimise saturated colour when lighting Les Misérables, except during the most dramatic scenes. He opted instead to rely on the interplay of warm and cool, as well as subtle shades of colour, to set moods that corresponded to the feelings driving the show’s characters.
“Saturated colour is great and has its place, but it loses impact in a theatrical context when you’re constantly jumping from one primary or secondary colour to
UK - Fareham-based Liteup Events has recently added a substantial investment to its Robe inventory by investing in MegaPointes, Spiiders, LEDBeam 150s and RoboSpot systems, all delivered by Robe UK.
The company was founded in 2006 and is headed and run by Marc Callaghan and Kris Box who met whilst studying at the Central School of Speech and Drama in London. It was initially started to support Marc and Kris’s freelance lighting and visual design careers but they have since focused to growing the company and specialising in the supply of creative production equipment and designs.
Gordon Torrington, well known and respected to anyone in the world of international lighting production and concert touring, has recently joined the team as senior account handler.
The recent Robe order comprised 26 x MegaPointes and 26 x Spiiders, 28 x LEDBeam 150s and four RoboSpot systems, complete with MotionCameras.
These join the existing Liteup Robe luminaires - Pointes, BMFL Wash Beams, LEDBeam 100s and 600E Spots plus other lights and a fully equipped rigging department.
Recently, the new Robe kit was used on Spotify’s Who We Be live - their hip hop, grime and R&B playlist event staged at London’s Alexandra Palace venue.
Liteup was contacted by Spotify Live’s production director Samuel Rogers to supply all lighting, rigging and video services. Gordon and Marc asked Matthew Pitman of Bryte Design onboard as show and visuals designer.
Matt used MegaPointes and Spiiders as the backbone of the rig, as “they offered the large
UK - White Light has recently held a series of open days across the UK to showcase and demo its latest technology.
The company’s Audio KnoWLedge Day was held last month at WL’s Studio15. Working alongside some of the biggest audio manufacturers including Shure, Riedel, DPA Microphones, Yamaha, d&b audiotechnik, K-array and Astro Spatial Audio, WL hosted a day in which students could get hands-on with the latest audio technology, take part in Q&A forums as well as have one-on-one sessions with industry professionals.
The day was organised by WL’s head of audio Lee Dennison who comments: “With the KnoWLedge Day, we wanted to offer students something which would prove invaluable yet which they wouldn’t receive anywhere else. It’s not often they get the opportunity to speak to industry leaders about their products so this was their own ‘audio trade show’ where they were given time to ask those important questions and have quality hands on tuition they wouldn’t normally be afforded.
“The feedback we received was fantastic and it’s great to work with such highly regarded manufacturers and make their products so accessible”. WL also used the day to allow students to register for their crewing database for when they graduate.
WL also supported the New Technology Showcase, taking place at the Central School of Speech and Drama, and held in conjunction with the ALD. The showcase was aimed at lighting designers and technicians to explore and compare the latest lighting technologies on the market. Over 60 students attended
UK - A.C. Entertainment Technologies (AC-ET) has helped full event production services company Makin Lightin to expand its equipment inventory with audio and video technologies from some of the industry's leading brands, including Allen & Heath, Shure, Panasonic, Draper, HDAnywhere, PureLink and Tourflex Cabling.
The Lancashire-based company, which is a major supplier to the local theatre, education and corporate events sectors, wanted to expand its audio offering to meet growing demand, as well as invest in its first Video system owing to the technology's increasing convergence with lighting.
Having used AC-ET previously to purchase the latest technologies, owner Jonathan Makin turned to them again for product advice and convenient one-stop supply of everything he needed.
He comments: "As with everyone I have dealt with at A.C. over the years, Steve Eaton and Chris Beardwell in the audio and video sales teams are really friendly, helpful and highly skilled in their product fields. I was able to discuss the various audio options with Steve over several conversations before choosing the equipment. Similarly, being a video novice, I was given a lot of useful advice by Chris to ensure that we got the right Video system to cater for our different clients' needs."
To extend the company's audio inventory, Jonathan purchased Shure QLX-D handheld and bodypack wireless radio mics & accessories; DPA d:fine CORE 4066 Omni headset mics; an Allen & Heath SQ-5 digital mixer and portable DX expander; and wireless mic cables assembled by AC-ET's
USA - Creating a concert-like atmosphere for Roland Corporation's NAMM stands was a Justin Preston lighting design that featured Chauvet Professional Rogue, Nexus and COLORado fixtures.
In addition to supporting a diverse mix of live performances, the flexible lighting design accented the display of electronic music and software products at the company’s two massive exhibit spaces. “I’ve worked on the Roland Corp. NAMM exhibit for the past three years, and it’s always rewarding because of the scope of the project,” says Preston of Preston Productions. “We have to incorporate elements of entertainment and retail lighting.”
The versatility of the Chauvet Professional fixtures in his NAMM rig helped Preston accomplish these goals. For example, at the BOSS Both, he relied on his Rogue and COLORado fixtures for stage lighting, while using his Nexus 4x4 units for the general display area.
“I used six COLORado 1 Solos as front light for the stage and four Rogue R2 Washes as backlights,” he says. “The Solos were great because of their size; they allowed me to sneak them into the corners of the stage without being too noticeable, while the R2 Washes are just tried-and-true workhorses. As far as the Nexus 4x4 goes, it worked brilliantly for downlighting the area. I got great coverage of the exhibit space from the 12 Nexus units due to their wide lens, and their output never disappoints.”
Preston also used 27 Nexus 4x4 panels for downlighting at the larger Roland booth. An additional 10 Nexus units were hung vertically, five stag
USA - Metalcore band August Burns Red’s fast-paced, aggressive sound keeps listeners on the edge of their seats, a dynamic style of breakneck metal that has endeared them to their fans for the past 15 years.
Needing a compact yet powerful narrow-beam fixture that could keep up with the band on their 2019 Dangerous tour, which kicked off 24 January in Lexington, Kentucky, lighting designer David Summers chose 12 Elation DARTZ 360 fixtures, supplied by Squeek Lights, as the bread and butter of his design.
“It takes a lot to keep up with a band this fast,” says Summers, who’s been with the band just over a year and describes his lighting design as fast-paced, precise and large. “We needed a light that could move fast with a good mix of colour and effects options.” Using 12 of the 3-degree RGB DARTZ fixtures grouped across four towers of 5ft pipe in a straight line upstage, Summers put together an impactful yet artistic design that captures the emotion of the band and the energy in the hard-driving music.
“This set up yields insane positions, especially for universal pan/tilt cues,” the designer says, referring to the DARTZ’s continuous 360° pan and tilt capability. “I obviously love the infinite pan and tilt options with this light. But truthfully, I think it’s an awesome beam fixture that doesn’t eat up your budget but can absolutely deliver in any setting.”
The band also carries six Elation SixBar 1000 six-colour LED battens as side light along with six Proton 3K Color LED strobes positioned on the upstage
USA - California-based lighting designer Michael Berger recently took on the unusual commission of lighting a special musical stage production of the Love Actually movie using a number of fixtures from the GLP portfolio.
Although a long-time member of the Full Flood lighting design consortium, the commission came through Berger’s own independent operation, Innovative Intensity - the latest in a multi-year collaboration with Los Angeles-based production company For The Record Live, which specialises in musical presentations based on the canon of a film director.
In December 2017 they were approached by The Wallis Annenberg Center in Beverly Hills to put together a show for their black box theatre space, The Sorting Room. “We took the music / script for Love Actually and basically performed the film in its entirety with about four hours’ rehearsal. The success of that project pushed us towards creating something new for this year in the Goldsmith Theatre.”
This full-on musical featured a 15-piece orchestra that live scored the film as well as playing the ‘soundtrack’ to the show.
Key to enhancing the audience experience in this 500-seater theatre was to create a sense of immersion.
Michael Berger specified GLP S350s to function as front of house keylight - mostly because he wanted to audition their features for television. “Overall I was really impressed with the brightness, colour rendering and surprisingly low noise floor,” he says.
He adds, “I’ve grown to love the X4 Bar and the X4 atom when using the
UK - Television lighting rental specialists Version 2 has appointed Laura Byrne to its account management team. She brings considerable experience from the film, TV drama, commercial and music video genres to the company.
Starting her career with rental giants Panalux, Laura was part of the rental desk team at the company’s’ busy Waxlow Road operation. A move to global lighting company Cinelease subsequently followed. Most recently, Byrne worked with equipment supplier LCA.
As account manager at Version 2, Byrne will be liaising with DoPs, LDs, gaffers and production managers to offer support and advise on all aspects of the production process.
Managing director Nick Edwards comments: "I’m excited to be welcoming Laura to our management team, I see many similarities between our career paths, her enthusiasm for the industry is clear. Laura has not only a proven in-depth equipment knowledge but she also understands the importance of strong customer support.”
Germany - Schnick-Schnack-Systems has been granted ISO 9001:2015 certification. ISO 9001 is defined as the international standard that specifies requirements for a quality management system (QMS). Organizations use the standard to demonstrate the ability to consistently provide products and services that meet customer and regulatory requirements. The Cologne-based company subjected all of its business units to the ISO 9001:2015 certification, with an external audit determining that all met the requirements for certification.
Erhard Lehmann, managing director of Schnick-Schnack-Systems, comments: “Schnick-Schnack-Systems produces quality products. In addition to numerous measures in production, we also decided more than a year ago, to design our processes in accordance with ISO 9001. We are proud that this has now been independently confirmed with the certificate.”
Based on clearly defined processes - from new customer acquisition to project completion - Schnick-Schnack-Systems ensures within the framework of the management quality system that mistakes can be largely avoided and to fully satisfy customers. The increased transparency of the operational processes promotes employee understanding and acceptance of living the concept of quality.
The result of a functioning quality management system according to ISO 9001 is the enhancement of customer focus and loyalty as well as the ability to adapt quickly to changes in the market.
To ensure that ISO 9001:2015 certification is maintained, the QMS will be adjusted continuously as part of re
UK - The BAFTAs welcomed film stars and royalty to London’s Royal Albert Hall in February, as the industry honoured those making waves on the big screen. The all-important red carpet - where the paparazzi anxiously awaited famous faces - was flanked by a rigging and lighting solution designed and delivered by TSL Lighting.
The British weather proved to be another well-known guest at the proceedings, with high winds and heavy rain in the run-up to, and on, the big night. The Duke and Duchess of Cambridge joined a who’s who of the global film industry for the ceremony, which was broadcast live.
TSL's Neil Harvey, worked alongside colleagues Ali Morris and Rory Mackay to realise the challenging and prestigious project, working to a brief from event designer and producer Lucy Smail, of WD&P. The red-carpet arrival area required the construction of 12 TSL custom-designed truss towers, a 40m-long ground support truss structure and a four leg self-climbing structure.
“Every year, we’re faced with new challenges and this year was no exception,” says Harvey. “Strong winds and torrential rain were forecast but we were prepared. Our custom structures are all designed to withstand the weather, and with all jobs of this type we’d prepared a full wind management plan in advance so that our clients, crew, and Westminster Council were all aware of the measures we put in place to keep everyone safe. We’ve worked on this event for such a long time that we know what to expect - the moving lights and LED fixtures which we use outside the canopy are