Belgium - Jonas Weyn of Art & Yes and his team demonstrated recently created a new lighting and set design for Campus Cup, a popular game show that has teams of college students match wits and knowledge against one another.
Now in its third series, Campus Cup has moved from Canvas TV to the more highly watched Eén channel. To mark the move, production company Woestijnvis asked Arf & Yes, which has worked on the show from the beginning, to come up with a new look while keeping a consistent theme with previous seasons.
Weyn and the Arf & Yes team, which includes lighting director Dirk Declercq and lighting operator Jarmo De Blaeij, obliged with a design featuring Chauvet Professional ÉPIX fixtures.
Last season, they created a stunning back drop for the show by arranging 140 ÉPIX Strip Tour and 19 ÉPIX Strip Tour 50 RGB linear lights in a horizontal configuration. Using the same collection of units this season, they positioned the fixtures diagonally instead of in straight lines, to endow the show with a bold, new look while still retaining a sense of continuity in their design.
Going beyond this basic reorientation, the team placed the ÉPIX fixtures in wooden recesses and directed them backwards so they illuminated the empty space inside each cove. “This created an attractive even field of light for our backdrop,” said Weyn. “We basically relied only on indirect light for this, which is a great way of using the familiar EPIX strips for an exciting new application.”
The colours produced by the ÉPIX fi
Poland - Michal Hyra could have been forgiven if he wondered what else could go wrong. Chosen to light the grand finale of the two-month long celebration of Tryptyk powstańczy - pamięć ziemi, which marked 100th anniversary of the Third Silesian Uprising, he found his rehearsal time for the on 25 June event severely curtailed by unrelenting rain.
Despite this issue, Hyra was able to create a captivating lighting design that engrossed the large crowd gathered in Byton’s historic Market Square as well as those watching the livestream of one of the most important events in Poland.
His smooth colour changes and seamless transitions flowed naturally with the traditional Polish folk dancers on stage. Later in the evening, when the initial performers were replaced by a rock band, he created a tour-like show.
Helping Hyra accomplish this feat was the ChamSys Magic MQ 500 Stadium console that he used to run his eight-universe show. “I started learning MagicQ almost exactly a year ago and I've been using MQ500 since September of 2020,” he says. “It proved its worth on this project, which was carried out as a final part of the Metropolitan celebrations.”
Recalling the 100th anniversary project’s challenging start, Hyra says: “Due to the heavy rain, we had to programme the whole show with only a reduced number of dancers, our director Karolina Widera, and our LD Paweł Murlik, present. We had to listen to a partial rehearsal from the day before to figure things out. This is where the MagicQ stepped in.”
Hyra credits his console’
The Netherlands - Highlite International has extended the Showtec Phanton line of high-end lighting fixtures. The Phantom 12R Hybrid has recently been added to the series as the most powerful fixture yet.
The Phantom 12R Hybrid is a versatile hybrid moving head with a 300-watt discharge lamp that produces up to 8600 lumens. It is equipped with motorised zoom, generating a beam angle from 2.2° to 48.8°, focus, frost, and strobe function. Two overlapping prisms of eight and 24 facets can be used simultaneously, creating very dynamic projections.
Together with the motorised zoom and/or prism, a metal gobo wheel with 17 static gobos and a second gobo wheel with eight removable, rotating glass gobos plus open, it is possible to create numerous unique gobo morphing effects. A colour wheel with 12 dichroic colours plus white provides the necessary lively colours. Although it is possible to control the fixture manually through control buttons and a graphic display on the unit, the most likely and convenient way is to use the 14 or 18 channels of DMX of the Phantom 12R Hybrid. The manual controls might prove indispensable for fault checking of cables or outputs, though.
Despite its strong light output and multitude of effects, it is still quite compact at 55x32x22 cm and weighs in at 16 kg. Rigging the Phantom 12R Hybrid is made simple with the Quicklock brackets. The optional W-DMX (external module, sold separately) eliminates cable clutter in your truss and avoids long cable runs in large venues.
France - Playmodes is utilising 15 Claypaky Sharpys to illuminate its immersive installation Exo, part of the Constellations 2021 international digital art festival in Metz, France, running from 1 July 1 to 4 September.
The Barcelona-based Playmodes collective works with tailor-made technologies mixing creativity, software and hardware to create immersive installations, projection mapping, architectural lighting, digital scenography, audiovisual instruments and sound design.
Exo is presented with the support of Vinci Construction France and staged inside the Temple Neuf, a Protestant church in Metz. It explores the structures of language and communication by using light and sound as an audiovisual language.
“With Exo we’ve tried to experiment with how a new form of life, which is audiovisual, might communicate: Basically we’re talking to an organism made of light and sound,” says Eloi Maduell, CEO of visual research at Playmodes.
“We’ve used our own custom software, based on low frequency oscillators and mathematical manipulations, to drive data that drives light and sound,” he explains. “The language core is a stream of data that feeds light and sound engines, so we end up with super tightly synched audiovisual contents.”
“Exo’s” creators have developed a procedural workflow based on randomness, noise and probabilities so the show never repeats and is always algorithmically calculated in real time. The light and sound behaviours they create might mimic a conversation, for example, wit
Italy/USA - Italian lighting manufacturer DTS llluminazione has announced a new exclusive collaboration with Apex Technologies in the US. Apex Technologies, which was recently set up by respected industry professionals including Bill Morris and Ola Melzig as a new entertainment technology solutions provider, will now distribute DTS’ range of products.
Simone Francia, DTS executive vice-president, says the collaboration will only contribute to brighten the company's future. “Coming back to the American market has been in our plans all along,” he explains. “Accomplishing this goal is only further proof that we're moving in the right direction: it was crucial to us, as it's a stepping-stone that will strengthen our future as a company.”
Bill Morris, president of Apex Technologies, comments: “DTS have proven through steady growth and recent product introductions that they are ready to fulfil that role. We are extremely honoured and proud to have DTS as a flagship product line at Apex Technologies.
Carmen Savarese, DTS international sales manager, adds: “We're excited to have a distributor in the United States again. We have worked very hard in the last few years to create top-notch lighting equipment. We're very proud of DTS's new range of products and are sure they will be able to satisfy the more demanding lighting requests in North America. This new partnership is one of the greatest personal and professional challenges. Apex people are amazing - this adventure together will nurture us as people and as a company, and I can't wait to sta
USA - With live music now returning after a lengthy absence, country music star Justin Moore is touring again, and recently brought his show to The Ford Centre in Evansville, IN. Moore first hit the Billboard charts back in 2008; now with eight #1 country hits under his belt, he released Straight Outta the Country in April.
Lighting designer Aaron D. Luke handled the production and lighting design for this tour, which is ramping up to play more dates throughout 2021. For the Evansville concert, Cincy Entertainment Services supplied High End Systems SolaFrame 1000, SolaHyBeam 1000, SolaPix 7 fixtures and Hog 4 control to augment the production.
Company president Braden Hasselbeck says The Ford Centrechose their company “for our gear and our team”. “I think Justin Moore’s team was relieved to see we had nicer gear. The only complaint we got from Aaron was that these fixtures have too many features. We chose the SolaHyBeams and SolaFrames based on their similar output, hanging 12 of each on GT truss for the mid-stage. The downstage truss featured a dozen SolaPix 7s - they’re the right size, very punchy, and clients love them.”
Hasselbeck says Cincy Entertainment Services began as a niche DJ lighting company, subsequently moving into full scale production support. “We started out with High End Systems SolaWash fixtures. We looked at all the manufacturers and felt like HES not only had these great products but were going to be in our corner - so we got onboard.
“Prestige and Mac Productions are friends of mine here and we of
UK - Launched in 2017, the Music Venue Trust (MVT)’s Sound + Vision initiative aims to deliver a 21st century live music experience to artists and audiences in every part of the UK. White Light (WL) has been a collaborative partner of MVT on this journey and to date, has supported over 40 Grassroots venues.
Despite some projects being delayed to the COVID-19 pandemic and ensuing funding restrictions, MVT and WL have worked tirelessly to deliver as many system upgrades as possible within Government safety parameters. The latest of these were at Stoke-on-Trent's The Sugarmill, a live music venue and night club, which benefited from a new d&b audiotechnik xS-Series system.
Jason Larcombe, WL’s project manager, comments: “Thanks to MVT’s ongoing work and previously ringfenced funds from Arts Council England, we are delighted to have been able to continue providing support during this turbulent time. This has enabled venues to return with a bang and support vital campaigns such as #ReviveLive. Working with d&b we are proud to have once again introduced an industry-leading manufacturer to Grassroots venues. Our support package includes the provision of ongoing support and training, ensuring the venues leverage the full potential of their new systems.”
Danni Brownsill, head of promotions at Sugarmill adds: “It was a huge relief to reopen with some socially-distanced gigs, after a difficult 12 months, and there was no better way of coming back than with our brand-new d&b system. Great sound is key to running a live music venue. Small
Australia - NEP Group, technical production partner for content producers of live sports and entertainment, has announced that Mediatec Asia Pacific has rebranded to become part of Creative Technology (CT), a sister company also under NEP.
The Mediatec and CT teams have worked together for many years across countries and markets, collaborating on projects for large corporate clients, international sporting events, Olympic and Commonwealth Games, and more.
A change in name and branding only, the move is in line with similar strategic rebranding initiatives, including that of Mediatec Europe’s business in early 2020 to support NEP’s goal of using the global brand that best represents what the company provides to its clients. The combined brand also now enables NEP and CT to support its corporate and sport client segments in Australia and New Zealand as a true 360° supplier in the region and worldwide.
As a 360° live events supplier CT’s and Mediatec’s clients will share the same experience in dealing with one brand across the globe for all their projects.
The CT Australia and New Zealand business unit will service projects and events across the region, with the customer support, studios and other production facilities clients have come to rely on for their events. The operation has office locations, warehouse facilities and local staff in Auckland, Melbourne, Perth, Sydney and Wellington.
CT Australia and New Zealand president Owen Davison comments: “Although our Mediatec brand is no longer in the market, I’m excited to brin
Italy - Distributor RM Multimedia has restructured and is expanding following the untimely death of Marco Bartolini in February this year.
Marco, Paula Porolisseanu and Ermanno Tontini all founded the company in 2007 since when it has grown steadily. Operational continuity will be maintained by Paula as owner and managing director and Ermanno as chief technology officer.
Paula has extensive industry connections and a wealth of commercial experience, while Ermanno is well-known and respected in the world of moving lights and as a technical specialist as well as for his customer-focussed approach.
Paula and Ermanno will be leading the RM Multimedia sales team headed by Michele Sgolacchia that includes a network of regional sales agents covering the whole of Italy.
RM Multimedia reports a recent increase in business as activities in Italy pick up over the later summer, with plenty more planned for the latter half of 2021.
Says Ingo Dombrowski, Robe key account manager for Europe: “There was never any question of RM Multimedia continuing as Robe‘s distributor in Italy. Everything will move forward with the same spirit and dedication to delivering excellent sales and superlative service. The company has performed strongly and consistently since its inception in 2007 and is among our busiest and most successful European associates.”
Robe CEO Josef Valchar adds, “RM Multimedia is not just a brilliant, efficient and well managed enterprise with an impressive standing and reputation, it and all those associated with the company a
USA - Several respected industry figures have joined forces to form Apex Technologies, a new company that will “distribute exclusive worldwide entertainment technology solutions” to the North American market.
The founders Bill Morris, Anders Karlsson, Tarmo Krimm and Ola Melzig have run some of the biggest companies and productions in the industry. Their mission is to seamlessly deliver lighting, AV, staging and power supply products that are not currently represented in the US market. Most product lines Apex will represent are well-established on stages and venues in other parts of the world, says the company.
CEO Bill Morris explains: “Apex Technologies is the brainchild of a few of us that saw an open niche in the marketplace to bring exciting products to the North American market. All four of us have either lived in or travelled the world extensively and can clearly see the creative differences in the way live productions are done outside of the USA. There are some great products that just need to be available to the American market. So, we decided to form a U.S. distributor of exclusive products to help facilitate a more global live entertainment industry.”
USA - Goth metalcore band Motionless in White performed last month against the backdrop of the abandoned Pennhurst Asylum in southeast Pennsylvania for Deadstream #2, an atmosphere-filled livestream show lit by Mike Null using Elation Artiste Picasso, Dartz 360 and SixBar 1000 luminaires supplied by Squeek Lights.
Motionless in White are one of the leading acts in the genre with an explosive sound and captivatingly macabre stage presence. A troubled and abandoned state-run school and hospital, Pennhurst Asylum, a frightening place with a sordid history of suffering and paranormal presences, provided the backdrop for a heavy hitting dose of horror-themed metal.
“I feel that if Alice Cooper or Rob Zombie or Marilyn Manson were to know where we shot this they would be very jealous of where we were and what we got to experience,” stated lighting designer Mike Null about the eerie location.
Null has been with the band for over a year, a stretch that includes a tour as well as the band’s first Deadstream, recorded at the Squeek Lights shop in New Jersey last October. Null used Elation Artiste Picasso and Dartz 360 on that show and again turned to the LED moving heads for Deadstream #2.
“The first stream planted a seed in their head,” he said. “If we can do this again, how can we make it bigger and better?” As the band hails from Scranton, Pennsylvania, the somewhat local and debilitated environs of the Pennhurst Asylum seemed a fitting place to put on a show at the end of a pandemic. For Deadstream #2, Nu
Canada - The Montreal Canadiens wanted to give fans an experience they would never forget, as they returned to the Bell Centre for the first time in over a year. And not just by reaching their first finals since 1993.
Montreal-based PixMob reached out to the team to design a shared experience for the 3,500 fans in attendance and the millions cheering on from home - making a limited capacity arena feel full and helping unite a fanbase that had been starved of live hockey since March 2020.
"We’ve illuminated the world’s biggest sporting events and some of the highest-grossing musical tours of all time, but working with our hometown Canadiens at the Stanley Cup Finals is extremely special to us,” said Jean-Olivier Dalphond, president, PixMob.
Given that this is the Canadiens’ first trip to the Stanley Cup Finals in nearly 30 years, there was no better time to add a little lighting magic to the stellar playoff run in this first-time collaboration between these two Montreal heavy hitters.
Fresh from their second consecutive Super Bowl Halftime Show in February, the PixMob team have been illuminating 5,000 empty seats with Nova Pixels at the Bell Centre to help fill the arena in lieu of a full house.
Having kicked off at Game 3 of the semi-finals series against the Vegas Golden Knights, the PixMob in-game spectaculars will continue to run through the entire Stanley Cup Finals, which include a variety of high-energy effects for key moments such as the game opening, national anthems, and goal celebrations.
Even though live events
Italy - This complex spirit lives on in the Italian rock band, as they rip comfortable, preconceived notions to shreds and challenging fans with their impassioned, unsettling brand of music. The Criminal Chaos, led by founder and singer Nik Bergogni, from Parma brought the full force of their sound to Fumasoli Audio & Lights Rental’s studio in northern Italy’s Aosta Valley to record their latest music video.
Like the furtive, menacing music of The Criminal Chaos, the lightshow that Patick Iavarone designed for this production conveyed an air of simmering suspense and lurking unknown danger, along with the possibility of discovering something new and redeeming in the end.
Making ample use of shadows to add a sense of mystery to the recordings, Iavarone pierced these dark spaces with bright, boldly coloured light, often in monochromatic hues. Providing these intense illuminations were 32 Chauvet Professional Maverick fixtures from Fumasoli’s own inventory.
Iavarone arranged eight Maverick MK2 Wash and four Maverick MK2 Spot fixtures on the upstage truss, and eight washes on the middle truss, as well four spot units on the downstage truss. He also positioned four of the Maverick washes and an equal number of spots on the floor on the studio’s 10m by 7m stage. The studio itself measures 20m by 10m, providing a variety of good camera angles for video and livestream sessions.
From these positions, Iavarone lit the five band members from different side and back angles to accentuate the haunting atmosphere of the video. “The concept by t
Australia - Multi ARIA award-winning singer-songwriter Amy Shark’s Cry Forever national tour kicked off in Newcastle this month and is one of the first arena tours nationally since the COVID-19 pandemic.
The tour is the Gold Coast local’s most ambitious live undertaking yet in some of the largest venues Australia has to offer and it was down to the lighting designer Tim Beeston to create a show that looked big on a budget.
“All of the design tricks had to be deployed and our suppliers delivered a high amount of value for a carefully balanced expenditure,” he says. “What we did use, I feel we used pretty well. The show had no content-driven video element which always makes an arena-size show more demanding to design.”
Chameleon Touring Systems supplied the eclectic rig of Robe, Martin, GLP, Chauvet and Portman fixtures with Tim commenting that the design was essentially created around the Robe BMFL WashBeam of which he had 15.
“They’re the first truly multi-functional, bi-functional light that I have used,” he adds. “The animator, air effect gobos and wide or narrow beam dispersion make them a great tool. With the budget in mind, instead of 20 spots and 20 washes, I engaged with 15 BMFL WashBeams. Plus the 40,000 lumens they deliver means you can carry through into deeply saturated colours and not lose out in brightness.
“I also had 30 Robe MegaPointes that have beautiful prism effects. Again, as a hybrid, you can blow it out into a spot add two gobos and a prism and the intensity is all still there. Slightly
UK - Broadcast on 26 April as part of BBC4’s Lights Up season, J’Ouvert is the second in Sonia Friedman Productions’ Re:Emerge season. Set amid the colourful backdrop of London’s Notting Hill carnival, it is the story of two best friends battling to preserve tradition in a society where women’s bodies are frequently under threat.
J’Ouvert was first produced at Theatre503, before transferring to the Harold Pinter Theatre, where it was filmed for the BBC prior to its West End run. Lighting designer, Simisola Majekodunmi, chose two Ayrton Karif-LT fixtures as major workhorses in her design. “The play takes place from dawn until dusk and has moments of realism and surrealism throughout, so I needed a fixture that could deliver a representation of the colour and vibe of Carnival as well as the sombreness and isolation of the spiritual moments,” she says. “We also had a massive flying piece to contend with over the central revolve which blocks several conventional lighting positions.”
Majekodunmi hung one Karif upstage and one downstage of the central structure to combat the difficult angles. “The upstage Karif was the real workhorse as it was in the best position to encapsulate the whole of the circular stage and was used very prominently during the dream sequences. The downstage unit was invaluable for face light during the poignant moments and for highlighting the actors downstage.”
As the mood changes between the excitement of Carnival and the weight of its spiritual and cultural importance, there are moments of c
USA - Victor Zeiser has developed a natural feel for David Summers’ lighting style. For years, Summers has toured with rigs designed by Zeiser’s Squeek Lights.
When Zeiser and his partner Steve Kosiba created a rig for Summers to use on a recent pay-for-view livestream by metal giants August Burns Red, they knew exactly what to do to bring out the best in his work.
“Victor and Steve deserve a lot of credit,” said Summers. “The rigs they put together elevate your lighting. In my case, they know I love symmetry, so it’s there in the rig. Everything is done to facilitate the creation of big patterns, which is something I love to do.”
Bigness and boldness were everywhere to be seen in the Saturday night livestream, which was done to mark the 10th anniversary of the band’s seminal album “Leveler.” Shot at Aurora Film's studio in Rock Lititz, the livestream featured August Burn Red’s largest-ever lighting package, a rig that was anchored by 37 Rogue R1 BeamWashes and 27 Rogue RH1 Hybrids from Chauvet Professional.
Summers deployed this collection to create an uninterrupted torrent of unique looks during the livestream, which covered all the songs in Leveler, plus bonus tracks. He set different tones on stage by breaking out a bold rainbow of richly saturated reds, blues, purples, greens and other colours.
“On most shows I programme, I have to be super sparing with saturated colour because I usually don't have as many lights to work with,” said Summers. “In this case, though, having so many fixtures made it fu
USA - The entertainment technical and production industry has risen to the pandemic challenge with so many prescient and imaginative responses of how to present art, entertainment and stimulate emotional engagement during a time of separation and isolation. None was more innovative than DesignSpace, the brainchild of John Featherstone of US-based design collective Lightswitch.
DesignSpace was an immersive drive-through visual extravaganza of light and video art, presented and curated in close collaboration with John’s contacts at Arizona State University (ASU), and utilising over 160 Robe lighting fixtures, among others.
Working in conjunction with Jake Pinholster, associate dean of ASU’s Herberger Institute for Design & The Arts, plus several student artists, designers, and technicians plus his own team at Lightswitch, John’s concept transformed four levels of concrete functionality within ASU’s main parking garage into a vibrant gallery backdrop for 30 unique pieces of visual art.
These were enjoyed across 12 evenings of shows over a three-week period by approximately 30,000 people in 4,000 vehicles.
To illuminate this pop-up gallery space - both for safe driving and aesthetic reinforcement - John chose four types of Robe luminaires - 78 x Spiider wash beams, 58 x MegaPointes, 14 x ESPRITES and 12 x ColorStrobes. These were part of approximately 800 lights, plus LED screens, media servers, projectors and other lighting, video, and audio kit.
Lighting was supplied by rental specialists Video West with a team led by Donny
UK - A Cornish event production company has completed its busiest ever period, working simultaneously on seven separate events over the G7 Summit week.
Liskeard-based JHAV was appointed to help deliver multiple events associated with the G7 Summit for clients including Spaceport Cornwall, Virgin Orbit, the University of Exeter, and surfing brand Finisterre.
The team also created a press conference suite to be used by US president Joe Biden in the Spaceport Cornwall hangar at Cornwall Airport Newquay.
JHAV managing director Jamie Hedges explains: “We’ve been involved in all kinds of events since starting JHAV, but working on all of these projects revolving around something as high profile as the G7 Summit has to be one of our biggest accomplishments to date.
“The top-secret nature has meant we have been under embargo since the event, and I am so proud to now be able to talk about the amazing work of our team. A personal highlight for me was standing 10ft away from the US President while he addressed the world’s press to close his visit, which we had put together with less than 24 hours’ notice.
“As a production company in Cornwall, it's been brilliant to be given the opportunity to demonstrate that we can deliver high-quality events to rival anything produced by multi-national event production companies. We’ve shown that Cornwall can operate on the world stage, in both a literal and metaphorical sense.”
The team was tasked with turning an empty hangar at Cornwall Airport Newquay into a showcase for Spaceport Cornwall
Switzerland - Tempest enclosures have enabled an eye-catching lighting display for the public to enjoy in Zurich. In Tactile Lights (Tastende Lichter), designed by artist Pipilotti Rist, slow moving lights ‘float’ atop the picturesque city streets and buildings, drawing attention to the striking architecture and surroundings at Heimplatz square, ahead of the opening of the recent extension to the Kunsthaus museum.
The lighting equipment - Martin Allure fixtures protected by five Tempest Tornado 1925 lighting enclosures - is housed within a vibrant, custom built 17m high mast structure, forming its own artistic focal point at the centre of the square. The project was funded by the City of Zurich and the Zürcher Kunstgesellschaft art association.
“One of the biggest challenges for us was where and how to place the moving light devices,” says Kaori Kuwabara, independent lighting designer and project manager. “Since the artwork is only viewable when dark, I was concerned that, in this attractive city environment, it wouldn’t be appreciated to have a giant technical pole with large devices hanging from it visible during the day. So, I asked the artist to perhaps colour the pole for a more aesthetic, ‘happier’ appearance.
“What started with a little question grew exponentially, and we had many brainstorming hours, weeks, months and years before it transformed into what we have today. In this period, Tim Burnham at Tempest supported us with ideas on how to hide the large base of the Tornado dome, and how to prepare this installation for
USA - Will drive-in concerts fade away now that COVID-19 restrictions are easing? Anyone who automatically responds 'yes' to this question might want to drop by the Frederick Fairgrounds, MD on a weekend night this summer.
There, they’ll find a large drive-in stage featuring the likes of The Disco Biscuits, Goose, Grace Potter, and Umphrey’s McGee, to name a few. It’s all part of Showtime At The Drive In, a series of outdoor shows sponsored by Showtime Sound and Auto Flex Entertainment.
“We began this series last year as a way of bringing our community together through a socially distant movie and concert sets,” says Marc Chauvin, director of technical operations for Showtime Sound. “Based on the feedback we received from fans last year we’ve continued the concept this year.”
Although continuing to operate under state and county guidelines, the drive-in series has expanded its offerings to include a ‘vendor village’ with food and beverage trucks. It also has a high-res 20ft x 40ft IMAG screen to ensure maximum visibility from every spot, a state of the art audio system for sound quality, and a high output lighting system featuring Chauvet Professional fixtures to create everything from a genuine rock show to an intimate theatre vibe on the stage and its surroundings.
“We’ve built on our experience last year to make this years’ experience more rewarding and engaging for fans,” says Chauvin who works with Aaron Kovelman, director of design and production at Showtime Sound on the lighting rig. “This is a di
USA - An island oasis in the Hudson River west of Manhattan, Little Island @Pier55 is receiving praise as an arts area and green getaway from the hustle and bustle of urban life. Made up of 132 pot-shaped planters suspended above the water, the park’s topography holds a lush landscape of rolling hills, walking paths and open lawns. Nestled among the island’s more than 390 species of flowers, trees and shrubs are performance spaces outfitted with Elation Professional IP-rated automated luminaires.
Designed by Heatherwick Studio and landscape architecture firm MNLA, the 2.4-acre artificial island park, funded by the Diller-von Furstenberg Family Foundation, is a new public park with performing art as an integrated component. A 687-seat amphitheatre with views across the Hudson, a smaller stage for 200 visitors, and an open plaza, are all designed to host a range of programming.
Early in 2020, just before Covid struck, Josh Weisberg of Navolo Audio-Video brought Herrick Goldman onboard the project to help in designing and specifying the lighting systems. Goldman, founder & principal designer at Evoke Collaborative, was asked to provide a lighting design that met the demands of a client who placed extreme value on aesthetics. “Mr Diller did not want anything to distract from the beauty of the project, so we paid very specific attention to keeping a very clean look,” Goldman says. “My job was to not only navigate that but also provide the tools necessary to anyone performing in the amphitheatre.”
Goldman worked with Little Island produ
USA - The National Collegiate Athletic Association (NCAA) 2021 March Madness tournament is a single-elimination college basketball tournament played each spring with 68 teams competing for the national championship. It has been lit - seven courts across six venues in total - for the last three years (preceding 2020 which was cancelled due to COVID-19) by broadcast live events specialist, Bill Brennan.
The 2021 Final Four was staged at the Lucas Oil Stadium in Indianapolis, Indiana, and Bill specified 60 x Robe BMFLs - a combination of BMFL Spots and BMFL Blades - for the supplemental rig this year, which were supplied, together with other lights, by Nashville-based Pulse Lighting, whose Paul Hoffman was also the event’s lead lighting programmer.
Pulse has been working with Bill since 2007 on a diversity of sporting events. Naturally, everyone was delighted to be back working at this year’s March Madness after the many challenges of 2020.
Bill’s main consideration for lighting the Lucas Oil Stadium was to successfully transform it from a professional football venue to a premium basketball court, as well as to satisfy the needs of multiple media organisations as the event attracts intense coverage.
To assist with this, in addition to the stadium’s in-house lighting rig he needed a serious number of high-powered fixtures and chose the BMFL Spots.
The biggest challenges were balancing the backgrounds and properly managing the daylight spill from the venue, which has a retractable roof and a large retractable window at one end, a
UK - The ABTT has announced the Virtual Ideas Platform. Set up in collaboration with Guildhall School of Music & Drama, the platform will serve as an informal introduction service between independent creative innovators and commercial developers behind the sectors’ leading brands, products and services.
The platform is open “to anyone and everyone with an idea” and aims to recognise and help realise new ways of making theatre work.
The ABTT says: “We know when backstage people are faced with a technical challenge, they get inventive and creative, cook up ideas and find solutions. The Platform is here to recognise, salute and honour those innovators in our midst.
“By its very nature, theatre is a dynamic working environment in which to invent and develop new and better ways of doing things - in special effects, costume and wardrobe, wigs, make-up and hair, scenery, stage, sound, lighting, automation, audio-visual and any other discipline which makes live performance happen.”
Submissions to the Virtual Ideas Platform can be made via this application form by 20 August. To better demonstrate their idea, applicants can upload supporting information such as pencil drawings, recorded verbal descriptions, 3D drawings, and video.
All submissions will be assessed by a panel of experts and successful applications will be uploaded to a secure access area of the platform. Members of the Industry Supporters Group, a group of service providers and commercial compa
USA - Main Light, LLC. has announced that it will be expanding its operations with a location in Las Vegas, NV as of August 23, 2021. The new 40,000sq.ft shop, at 6435 South Valley View in Las Vegas will allow the dry hire service to better support the western US
Pairing with Main Light’s Delaware shop, the Las Vegas operation will duplicate the depth of new and well-maintained equipment available.
“Having a west coast shop is something that our clients have been asking about for some time,” states Randy Mullican, general manager of Main Light, LLC. “As the entertainment and event industries are re-opening, many of clients are asking us to step-in and support them across the country. Though we always would provide gear wherever needed, the Las Vegas location will allow us to respond to those needs more efficiently, and very-importantly, cost effectively.”
Main Light also took the opportunity to reveal their new logo and introduced a new company-wide 800 number, (800)-397-MAIN (6246).
Throughout the pandemic, Main Light took the opportunity to rebalance their own inventory by selling off older equipment and buying new technology. Staying in front of their client’s needs, Main Light focused on acquiring the gear that will be in demand by production companies looking to supplement and access quality equipment from a trusted dry hire resource. “We will be here for our clients,” notes Mullican, “as they reopen and get back to work without having to invest in acquiring new equipment themselves. All these production companies need