USA - City Theatrical’s Multiverse Wireless DMX technology is now available with the VioStorm UV LED lighting series, Wildfire Lighting’s flagship black light product line.
Multiverse Modules, which are tiny radios that can be built into lighting fixtures to provide Multiverse wireless DMX control, now come as an onboard option for use in the 900MHz or 2.4GHz spectrum when purchasing Viostorm Series lighting fixtures. This technology comes as Wildfire Lighting’s first introduction of wireless DMX technology into its products.
“We chose Multiverse because we liked the interconnectivity it brought to the table,” says John Berardi, president and CEO of Wildfire Lighting. “The Multiverse Transmitter utilises ethernet, Bluetooth, Wi-Fi capability, dual band technology, nine simultaneous universes all in a single transmitter, plus integration with the DMXcat app. The Multiverse Modules we use connect to all of that, were small enough to be built right into our system, and cost significantly less than other options. There’s nothing like it on the market.”
Wildfire VioStorm UV LED Lighting Series combines true 365nm UV output and long throw performance with the control and efficiency of LEDs. Typically used indoors for large theme park and theatrical applications, the series currently includes two black light lighting fixture models, both of which include Multiverse wireless DMX in addition to standard DMX control.
“The Multiverse Module marks the first time that the implementation of a wireless DMX chip in every DMX device is pos
Jordan - Television production facility Jordan Media City (JMC) has upgraded its Amman studios with high performance LED lighting systems from Strand. Specified, supplied and installed by Dubai-based Broadcast & Studio Solutions (BSS), the new system has reduced the lighting energy costs for JMC’s busy studios by 85%.
Having recently updated JMC’s two 600sq.m studios to High Definition technology, BSS was asked to specify a complete new lighting system, to replace JMC’s tungsten-source lamps with class-leading, energy efficient LED fixtures. “Low-power LED lighting fixtures were an important factor for the client, as electricity prices have increased rapidly in the last few years,” says BSS project manager Laith Fraihat.
But energy costs were not JMC’s only concern. The lighting had to offer high-TLCI colour rendering to ensure consistent high standards of picture quality, in line with the studios’ HD upgrade. In addition, adopting LED technology would also reduce maintenance costs, as expensive and time-consuming lamp replacements would become a thing of the past.
Having compared various products based on power consumption, luminance and TLCI performance, Fraihat specified a total of 130 LED fixtures from Strand’s broadcast lighting range.
The fixtures included Strand’s 400F and 200F broadcast-grade LED Fresnels, and 300S and 150S LED slimline studio softlight panels - all 5600K colour temperature models.
The installation, completed in June 2019, has successfully delivered a major reduction in energy usage for JMC,
UK - TSL Lighting’s major spring investment in fixtures and consoles has resulted in a busy summer festival season, with the new kit being used at Glastonbury, Reading & Leeds and the biggest European festival stages.
A recent delivery of grandMA3 full-size and light consoles meant that no-compromise control could be supplied for British DJ and production duo CamelPhat at Reading & Leeds festivals at the end of August.
“The MA3 is a new investment for us but one which we’re sure will become a real workhorse for the future,” says TSL senior project manager, James Davies. “We’ve set up our systems and networking infrastructure so that our lighting designers and operators can get used to the new control surfaces ready for the launch of the version 3 software. The Reading & Leeds shows looked great. Designer Sam Tozer and Operator Patrick Krause did a fantastic job, as always.”
TSL recently doubled their stock of Martin VDO Sceptron 10 units, which were put to good use by lighting designer Matt Kemp to create a floor package for Jorja Smith’s 2019 festival tour, supplementing a rig of MAC Viper Profiles and SGM Q-7s. The Sceptron units were also used on Clean Bandit’s summer festival tour for lighting designer Liam Griffiths. For both packages, TSL also designed, built and supplied custom frames and rolling skids for the rigs to move on and off the stage seamlessly.
July also saw an increase in TSL’s stock of Chroma-Q Colorforce II 12 and 48 LED battens, improving the flexibility of its existing Colorforce II syst
USA - Be More Chill is a musical with original score by Joe Iconis, based on the 2004 novel by Ned Vizzini. After a 2015 regional theatre production, the musical premiered Off-Broadway in 2018 and is now nearing the end of a successful run on Broadway at the Lyceum Theatre.
Lighting has been in the capable hands of Tyler Micoleau since the original production. At the Lyceum he has used GLP fixtures extensively, with the impression S350 and impression E350 making their Broadway debut, in combination with the JDC1, X4 Bar 20 and the staple impression X4.
The Tony Award-winning designer notes that space considerations are a critical factor in most of the older Broadway theatres, the Lyceum being the oldest continually operating theatre on Broadway, having opened in 1903. “Due to its compact size, overhead positions were very tight to the scenic portals and use of sidelight ladders was critical to sculpting figures within them,” he notes.
Be More Chill is largely a show about technology and its influence over people (the story is that a kid’s brain is taken over by a super-computer in the form of a pill). Beowulf Boritt’s set design (a layering of scenic portals in the shape of smartphones) provides the technology frame, but hides most of it until the ‘pill’ technology starts to take over. This brings the GLP fixtures to the fore.
“When we finally reveal the actual technology, it becomes a terrific opportunity to use new intelligent lighting technology as a functioning visual metaphor,” he says.
“I saw the
UK - This year, many thousands of fans descended on Middlesbrough to enjoy the annual BBC Radio 1 Big Weekend music festival. For three days, over 50 acts, both new and established, were showcased on three stages. This type of event requires the most versatile and fool-proof lighting network. To meet this challenge, Neg Earth Lights of London specified ProPlex Data Distribution - Devices and Cables.
“The ProPlex devices are very stable,” says Sam Ridgway of Neg Earth. “We used them at FOH and in stage data racks for a complete festival system. In addition to the ProPlex Ethernet, DMX and fibre cabling used throughout, the system included five GBS 10-port and EZ-LAN Gigabit switches; four IQ Nodes; and 10 Opto-Splitters.”
“This was a ProPlex networking rig through and through,” explains LD and network tech, Nige Holbrough. “In every case throughout the weekend we were able to quickly accommodate every request for network or data connections and changes at FOH and on stage.
“The modular nature of the ProPlex GBS 10-port RackMount switch allowed the configuration of main and backup networking within the stage data rack for optimum arrangement of network ports, in this case with most ports placed 'Internally' for linking between switches and nodes.
“The EZ-LANs were ideal for the stage 'guest' data rack and the FOH data rack as it was simple and clear to see how the ports were allocated to the various VLANs, indicated by the handy group number display. We could easily reassign a block of four ports to any required VLAN with a si
Singapore - Singapore's 54th National Day celebrations had an added significance this year, as the country also commemorated its bicentennial milestone. It was 200 years ago that Sir Stamford Raffles landed in Singapore.
The Singapore Bicentennial National Day Parade was held on 9 August at the Padang, which in itself is an iconic landmark. The Padang, an open field site, was chosen as an alternative to public buildings by Stamford Raffles in 1822. It became
a major recreational area when two clubs, the Singapore Cricket Club and the Singapore Recreation Club, were established at both ends of the field. The Padang also witnessed the first post-independence National Day Parade held in 1966, and prior to that, the declarations of self-government in 1959 and the union with Malaysia in 1963.
Our Singapore was the theme of Singapore's 54th birthday celebration, and it aimed to tell the country's story from past to present in six acts. In total more than 1050 lights were used, with Claypaky fixtures totalling 602 units. These comprised 262 units of HY B-EYE K25, 208 units of Scenius Unico and 132 units of Mythos 2. Two grandMA3 full size consoles, complemented with seven MA3 processing units were responsible for the show control.
The show's lighting design was handled by Michael Chan and Mac Chan. Lighting programming was by Michael Chan and Tejay Yeo.
"The Claypaky K25s were a huge feature of the show," comments Michael. The Padang was "contained" on three sides with three large LEDs, and the open spaces between the LEDs were filled
Spain - The Shop Ibiza recently deployed a complete Martin by Harman lighting and video system at the island’s Dalt Vila historical site for the International Music Summit’s grand finale show, which featured lighting design by Nick Jevons.
The International Music Summit (IMS) is an annual three-day EDM conference held on the Mediterranean island of Ibiza. Founded in 2008, the event features industry exhibitions and talks, as well as a spectacular grand finale show featuring performances by world-renowned EDM musicians and DJs.
The grand finale is traditionally held in Ibiza’s historical Dalt Vila, a 2,500-year-old hilltop fortress that rises above the city. The Shop Ibiza has provided production support for IMS since the event’s first year, building increasingly ambitious stage designs each year.
This year, The Shop collaborated with lighting designer Nick Jevons and Spanish Martin distributor SeeSound to create their most spectacular show yet. The Shop deployed Martin by Harman MAC Quantum, Viper and Aura lighting fixtures as well as the new VDO Atomic Dot hybrid lighting fixture to create a dynamic, synchronised display.
“The show was, without doubt, one of the best Dalt Vila events we’ve ever been involved in staging,” says Simeon Friend, managing director of The Shop Ibiza. “The support from Martin was exemplary, and Nick Jevons created a truly stunning spectacle. There were plenty of big names on the stage, but Martin’s awesome new VDO Atomic Dot has to be mentioned for its own stellar performance. IMS couldn’t have be
China - Nick Ho and his team put on light shows for some of the brightest minds in tech, surrounded by cutting-edge contrivances like self-driving cars, 5G mirrors and 8K 360° virtual reality experiences at MWC19 Shanghai. Ho navigated his way through time constraint issues to interface on short notice with some advanced laser software. Helping him accomplish this was the ChamSys MagicQ MQ60 console.
“For the past few years of the MWC event, I have programmed the conference’s opening stinger (walk-up music for the speaker introduction) with lights,” explains Ho. “This year, my client decided to build this show around laser fixtures. We had to use Pangolin Beyond software. Now, my MQ60 receives Timecode via SMPTE LTC, but our Pangolin was not able to receive LTC due to the short notice we were given, which left us no time to prepare the LTC convert for Pangolin.”
Ho credits the “ChamSys flexibility” with helping him and his team employ an effective workaround that overcame this challenge. “We used a feature in the ChamSys, called the ‘ArtNet Retransmit’,” he says. “This allowed us to use the MQ60 to transmit the incoming LTC to Pangolin via ArtNet.”
As a result, Ho and his colleagues, Justin Poh the MQ60 programmer, and Wang Jin, who programmed Pangolin Beyond, were able to create a stunning eight-universe show that married the best of lighting and lasers to captivated the tech savvy crowd at MCW19 Shanghai.
“Everyone was very pleased with how this show turned out,” adds Ho. “There was a lot of movement, colou
Chile - Mexican singer Ana Gabriel hit the road on her Estamos A Tiempo (We Are On Time) world tour last year at the National Auditorium in Mexico City, a campaign that continues internationally throughout 2019, with another spectacular lighting and visual design by Felipe Serey, one of Chile’s leading LDs.
Felipe has worked with the artist for six years, and the lighting specification for the current tour has over 150 Robe moving lights - 60 MegaPointes, 40 Spiiders, 48 Spikies, two BMFL Spots and three BMFL WashBeams - on the lighting plot.
Recently, Ana Gabriel played a show at the Movistar Arena in Santiago de Chile where the full Robe rig was supplied by a local rental company and Felipe was proud to be able to deliver the show in his hometown!
The design was based around creating a balance of technology to support and reinforce Ana Gabriel’s charisma and her invigorating performances, maintaining the artist’s presence as the focal point.
“Lighting and video should take their appropriate place in the visual equation, remembering that it is the artist who essentially puts the last note of colour and light into each frame of the show,” Felipe comments.
He decided on a diamond-shaped LED screen upstage centre - to have something different and more interesting than the ‘standard’ rectangular slab of video. He evolved an array of lighting looks and texturing for each song of the set with some input from the artist.
The central screen is 6.5m square but rotated 45° to give the diamond shape a top-to-bottom heig
USA - More than 50,000 people from 60 countries joined together for the Adventist Youth Event at International Camporee (CYE) in Oshkosh, Wisconsin. Bandit Lites supplied the lighting for the six-day event which takes place every five years and featured live worship, productions and fellowship.
Working with SBHH Events team of Rachel Quan, Andy Gerber, John Monroe and Brent Walla along with CYE producer Betty Whitehead and director Heidi Litell, lighting designer Mark Carver started developing the lighting direction and staging scenic elements of the show nearly two years ago.
“Bandit was great partner for this event,” says Carver. “Over a year and a half of planning went into this, and from the beginning, Mike Golden helped with budgeting and timelines. Project manager Don Lockridge and Dizzy Gosnell helped prepare and provide a plan of execution, all the while taking into account the factors of an outdoor event.”
“Mark Carver was a huge driving force on this project,” says Bandit Lites vice-president Mike Golden. “We had been in discussion over this job for well over a year and I must say Mark never wavered in his design needs or made any changes of substance during the entire period. It was obvious Mark knew exactly what he needed, and I believe the results speak for themselves.”
With the outdoor elements and tens of thousands in attendance, Carver knew he had to have everything organized and timed precisely. In an added challenge, Programmer André Petrus and model design engineer Mat Geasey were limited to programming
Germany - The 2019 edition of Parookaville featured an impressive number of CLF fixtures. The festival attracted 210,000 attendees and took place at Airport Weeze, with CLF fixtures used in the Time Lab, Wacky Shack, Brainwash and in all the sales outlets throughout the festival area. Rent-All GmbH supplied over 700 fixtures.
LD Janik Hensen (Dekor Event) took care of the lighting design, including the Time Lab, based on a stage design by Stefan Dicks and a lighting concept by Robert Sommer. In addition, his company took care of the site layout, production and material planning. In the Time Lab, Aorun were used as the main fixtures, accompanied by the LEDbar PRO as a continuation of the LED surfaces.
CLF Conan fixtures were used as washlight, because of their zoom function. All fixtures had to be lightweight, since the load capacity of the roof was limited. On top of the round bunker structure, Orion hybrids functioned as sky beams.
Janik Hensen explains: “Thomas Koppers and I have set two stages exclusively on CLF fixtures. The many effect variations, the fast movements and the creative product approaches convinced us. But the reliability and outstanding rental availability were also important. All in all, the complete package was there. Especially worth mentioning is the LEDbar PRO is, it’s a multifunctional talent among the outdoor LED bars.”
The Wacky Shack area was also fully equipped with CLF fixtures. Additionally, a large number of Yara, Hera and Ares fixtures were used as ambient lighting. “All fixtures endured three weeks
Germany - Lighting designer Thomas Gerdon has been working on Nature One for over 15 years and has designed the lighting for the festival’s main Open Air Floor every year since its introduction in 2011. The designer stays on the cusp of innovation and after incorporating IP65-rated Elation Proteus Hybrid luminaires in his notable 2018 pyramid truss and stage design, turned to more Proteus line fixtures for the 2019 festival.
“Last year, I discovered how easy and cool it was to have an IP65 fixture with the Proteus Hybrid,” the designer states. “This year, I was sure I wanted to use as many IP65 fixtures as possible. Ninety percent of this year’s fixtures were IP65 rated and all the moving lights were Elation Proteus series.” Populating Gerdon’s newly designed overhead audience and stage rig were Proteus Hybrid moving heads, new Proteus Rayzor 760 LED moving heads, and new 50,000-lumen Proteus Maximus LED moving heads.
Nature One celebrated its 25th anniversary in early August when tens of thousands of EDM fans converged on the former missile base of Pydna in central Germany. The Open Air Floor, which the festival promotes as the largest open-air club in the world, attracted over 30,000 guests at peak periods. Seeking to mirror that club setting where lights hang over the dancefloor, Gerdon created a large, ground-supported architectural truss structure that spanned the crowd. “If you go to a big club in a place like Ibiza,” he said, “you always have the lighting rig above the people. This year, we went back to basics a bit with a hug
USA - For glam rock band Warrant, the 30th anniversary of the release of their first album Dirty Rotten Filthy Stinking Rich meant pulling out all the stops and throwing a full-on party for themselves and their fans. Known for their hard-rocking performances, Warrant always puts on an intense live show, and a recent stop at the Psycho Silo Saloon for their Dirty Thirty Tour delivered the goods.
Located in the middle of rural Illinois and sporting a stage made out of old semi-trailers, this outdoor venue stands out from most performance sites. Wanting to create a lighting design as fierce as the band’s hard-driving, Jeff Hinton of 815 Productions DJ Service added intensity to the house lights with a punchy package comprised of 18 Chauvet DJ fixtures.
Hinton placed six Intimidator Hybrid 140SR fixtures on the back of the rig to light the band with a variety of dynamic split beam effects. The Hybrids were also used to cover the stage with smooth, rich washes as well as bold colour backlighting. To add an extra dimension to the show, he created a flexible array of textures and movement with the fixture’s dual gobo wheels
“The Hybrid 140SR does a lot of different things well, so we created a wide variety of looks even though we only had six of them,” says Hinton. “They offer a level of complexity, which is fitting for a band that occupies such an important place in rock history.”
Hinton also added eight Intimidator Beam LED 350 fixtures to his rig, mostly on the downstage truss.
Hinton also used the beams as blinders and
Lighting designer Yaron Abulafia was asked by director and choreographer Richard Wherlock to light his new ballet work, The Comedy of Error(z), staged at Basel Opera House (Theater Basel) in Switzerland, which “explores the themes of confusion and misunderstanding directly connected to the realities of digital lives that are also present in Shakespearean comedy”.
The story also contrasted and contextualised the lives of rich and poor in countries that are financially stronger or weaker, throwing out some complex and intense messages for debate and expressing ironies of geo-fiscal imbalance via the captivating mediums of movement, music and light.
Yaron had the venue’s house lighting rig at his disposal which included 40 x Astera AX1 Pixel Tubes.
Ahead of the production, he started researching the available kit and thinking about how to incorporate the AX1s into his design, which led to him also specify 24 x Astera AX3 ‘Lightdrops’ which were purchased by the Opera House specifically for production.
Yaron immediately liked the versatility of the fixtures and the fact they could be run completely wirelessly and fully reliably - via battery power and radio DMX control.
Additionally, the Astera magnetic undersides meant they could be simply and easily clamped directly to a huge metal cage, forming part of an industrial looking scenic piece that was incorporated into designer Bruce French’s set.
“Lighting the set in a specific and flexible way was paramount to the whole production as we needed to create so many different
Hungary - Ujbuda Gyermeknap (Children’s Day) is an annual event held at Bikás park, a tranquil sea of green in the bustling Ujbuda district of Budapest. In addition to other attractions, there is also an array of musical acts performing on stage, which this year included Hungarian folk-rock singer Miklós Fenyő.
Lighting the main stage, András Praksch of Mobil Audio and Lighting Kft had to create looks for a long list of unfamiliar bands. Even the popular Fenyő came without his LD, which required busking on the part of Praksch. On top of that, since the festival took place during daylight hours, options to create captivating looks were limited.
Praksch met this challenge and helping him accomplish this was a collection of Chauvet Professional Maverick, STRIKE and COLORdash fixtures.
“I have been doing this festival for many years with the event producer JAM Btl,” said Praksch, who handles all lighting and electrical issues for the entire Ujbuda Gyermeknap grounds. “This is great fun, but there are challenges lighting bands when you don’t know them very well, especially during daylight hours. For example, I love gobos but can’t use them when it is so light outside. Luckily the output of my fixtures helped me stand out in the daylight. They also gave me enough options to create different looks for all the acts on stage.”
Key to helping Praksch created the looks he wanted on the festival stage were the 12 Maverick MK2 Spot fixtures in his rig. He hung the 440W moving heads on three moveable truss structures, one of which held s
Israel - Shlomo Artzi is one of Israel’s most successful singers, and his most recent shows hit the road with an ongoing lighting design by Gadi Spivak who has worked for the artist for over 20 years.
Gadi and his lighting associate Shlomit Lola Nehama chose to use 24 x Robe Spiider LED wash beams for a key element of his lighting rig.
This stage design was originated for the show around 2 years ago and has been modified and evolved as Shlomo has continued playing constantly – he is always in demand and will sell out any venue.
The most important aspect of the Spiiders for Gadi is the colour mixing. “I wanted a really bright light source with smooth movement and refined CMY colour mixing and all these features I find in the Spiider,” he stated.
The 24 fixtures were all hung on a semi-circular truss just downstage of a large 6mm pitch video screen, which is usually around 16 metres wide and 5 metres tall and is also in a gentle arc shape.
The overall look of the show is slick and ‘televisual’, with the screen, video content and IMAG mix prominent and present throughout the set.
The Spiiders are used for washing the mid-stage area in front, where the band are positioned and for back lighting them and Shlomo.
The show and lighting designs are very flexible to suite a diversity of venues both indoor and outdoor, allowing them to scale between 1,000 and 10,000 capacities. The stage set up can go higher and wider to suit.
There were also two Robe MegaPointes on the front truss for key lighting Shlomo, who freque
Malaysia - Singesen Technical Production and Chan Lee Sound & Light selected a combination of Powersoft’s X8 and X4L amplifier platforms for American singer-songwriter Jason Mraz, who stopped off in Kuala Lumpur for the third Asian date of his Good Vibes world tour.
The main hangs at the arena were made up of 12 JBL VT-4889-1 per side, with eight JBL VT4888 flown per side as side-fill and six JBL VT4888 in the centre. The 20 JBL VT 4880 subwoofers were ground stacked at the side of the stage, while a series of Nexo PS15 wedge monitors were placed along the downstage edge. A total of six JBL VTX A8 were used as front-fill.
The main system was driven by 11 of Powersoft’s X8 amplifier platforms, while a pair of the company’s latest touring product, the X4L (look out for a product review in the September issue of LSi, out next week) - were also used to power eight of the VT4880’s, with each channel driving just two of the subs. Jackie Ng, owner of Singesen, explains: “The gig was used as something of a field test for the X4L amps, before loading it with VT4880A long excursion subwoofers in the future.”
The Powersoft gear used to drive the Good Vibes in Kuala Lumpur were made available thanks to Singesen Technical Production’s recent investment in the Italian manufacturer’s technology.
Ng says: “We have used Outline systems for some time, so we were familiar with the reliability and high-performance levels of Powersoft amplifiers. When the opportunity to invest in Powersoft amplifiers presented itself, it really
Europe - German heavy rock superstars Rammstein have embarked on their European stadium tour, with lighting designers Roland Greil and Patrick Woodroffe of Woodroffe Bassett Design utilising over 100 VL6000 Beam fixtures from Vari-Lite.
Woodroffe and Greil joined a creative team that also included renowned production designer Florian Wieder. In creating the show, they drew on the visual impact and large-scale performance features of the Vari-Lite VL6000 Beam to achieve extra layers of visual impact.
“After a brief from the band,” says Greil, “we jumped right in and explored the Rammstein world before starting to brainstorm and create the first designs.”
Discussing the main requirements for the Rammstein lighting rig, Greil explains: “We were looking for bright but versatile fixtures, that would fit into the overall design as well as into the specific Rammstein ‘world’.”
Woodroffe and Greil specified 122 VL6000 Beams in total, supplied by Neg Earth Lights. “We have 104 positioned as part of a wall of lights upstage, four are integrated into the big pods on stage, while the remaining 14 live underneath the stage, shooting up through the fully grilled deck,” says Greil.
He adds: “We use them solely as beam effects, sometimes with a bit of frost. It has a strong look; when we reveal the upstage wall of VL6000s for the first time, after a few songs, it completely changes the scenery and delivers that energy that is needed for Rammstein.”
USA - City Theatrical has expanded its line of moving light accessories with four new beam control products, including Top Hats designed to fit Chauvet, ETC and High End Systems lighting fixtures, and concentric rings for GLP X4L lighting fixtures.
Once only custom made, these now standard accessories are in high demand for Broadway and Broadway-style productions in which lighting designers require precise control of light beams, often specifying an accessory for every moving light that goes into a show, says the company.
City Theatrical’s new Moving Light Accessory products include Chauvet Rogue R2 Wash Top Hats, ETC Releve Spot Top Hats, High End Systems Solaframe 1000 Top Hats, and GLP X4L Concentric Rings. Each Top Hat is designed to fit its lighting fixture model perfectly, and control light spill and reduce light reflection with interior flocking, similar to all of City Theatrical’s Standard Top Hats. The GLP X4L concentric rings are comparable in function to a full six-inch Top Hat at only two inches long.
All new Moving Light Accessories by City Theatrical are fabricated from light gauge aluminium with a black powdercoat finish. These additions complement a wide array of already available Martin and Vari-Lite accessories.
Australia - After its closure in 2017, Darlinghurst’s Midnight Shift club has been resurrected by Universal Hotels using Prolights fixtures.
Universal Hotels, a Sydney-based hospitality group owned and operated by the Kospetas family, picked up the 1000sq.m building last June for a reported $12m and have relaunched it as Universal, a rebranded music venue and LGBTIQA+ safe place.
“Universal is an evolution of the Midnight Shift, rather than a revolution,” explains owner Jim Kospetas, who plans to respect the special role that the venue has played for the LGBTIQA+ community and continue its long-held legacy of inclusivity.
Kospetas contacted Show Technology with a brief requiring “masses of beams and good sight lines throughout the venue”.
Tim Macfie of TDM Productions was chosen to design the lighting system. “They wanted someone who could meet the needs of all markets,” he explains. “As it’s a really tough time in Sydney for nightlife, we needed to look at ways to multifunction the space. Consequently, it was crucial to bring the lighting up to a world class level from a production point of view.”
Macfie was keen to create lines of symmetry in the room whilst keeping the three circular trusses that the Midnight Shift was known for. Hence the initial refurb saw the entire roof stripped out and a new mothergrid installed. The truss circles were relocated within the venue and a new stage truss established.
At either end of the room are four Prolights Starkbar1000 powerful and zoomable LED moving battens which can
USA - Taylor Swift celebrated the release of her new album, Lover by surprising fans with a bubble-filled sky over Central Park. While Swift’s productions usually feature plenty of confetti, Swift opted for the eco-friendly Bubbleworks effect for the performance of Shake It Off live on ABC’s Good Morning America.
“What a privilege to work with Taylor and a dream come true to create this moment in her show,” says Bubbleworks founder Adam Williams. “We wanted to do something big for her fans and create a theatrical bubble experience beyond her wildest dreams.”
The choreographed bubble effect filled the stage and floated over the thousands of fans who lined up 24 hours early for the show.
USA - Tony Award-winning lighting designer Ken Posner selected Ayrton Mistral and Diablo-S fixtures for the Broadway musical, Beetlejuice, and the Off-Broadway one-act play, Long Lost. Beetlejuice opened in April at the Winter Garden Theatre and has achieved hit status; Long Lost, by Pulitzer Prize-winner Donald Marguelies, made its New York premiere at The Manhattan Theatre Club’s Stage I with a six-week run.
Posner has many notable credits on Broadway, Off-Broadway and in American regional theatre. He was the lighting designer for Wicked and Hairspray.
Posner’s use of Ayrton’s Mistral on Beetlejuice marked his first deployment of Ayrton fixtures. His associate lighting designer, Anthony Pearson, and moving light programmer, David Arch, collaborated in the decision to use the 300W spot luminaires after ACT Lighting, Ayrton’s exclusive North American distributor, demo’d the fixtures for them.
“For its compact size Mistral is a very diverse and bright fixture,” says Posner. “I was especially enthusiastic about its size since the fixtures are built into the scenery, in the interior of the house where the majority of Beetlejuice is performed.”
Eight to 10 Mistral fixtures light the entire large scenic unit while additional Mistrals fill in FOH in the light plot. “Mistral solved the power limitations we had,” Posner notes. “Using an arc source was not an option due to electrical requirements. I also liked Mistral’s great colour mixing and customized templates.”
USA - Nashville-based designer Chris Lisle was already working on the festival’s main and second stages when he was approached by Lollapalooza PM Brandon Sossamon about creating the Perry’s Stage rig.
As is typical of EDM stages, Perry’s was dominated by video. So, Lisle and his assistant LD Erik Parker began their design by layering video panels supplied by Go Vision. Then came the critical task of filling the gaps in the Z truss configuration of those panels with lighting from Bandit Lites. A key element that held everything together in this intricate, tightly woven multi-level rig were 78 Chauvet Professional COLORado Solo Battens.
“Perry’s Stage was an impressive structure, but considering all we had going on with this design, the space was relatively tight,” explains Lisle. “Much of our concept for the rig was based on Z-shaped trussing from Reed Rigging. Given the dimensions of the stage, we relied heavily on layering to create big looks without taking up a lot of space. Everything and everyone worked together to create powerful visuals.”
Lisle and his team stacked the COLORado Solo Battens in the Perry’s rig vertically to fill the space between the video panels. From these positions, the high output RGBAW linear fixtures lent a visual continuity to the panoramic video display that ran the width of the stage. This ensured that fans got to experience the stage’s full production value regardless of where they were in the audience.
“It was all about viewing angles this year,” says Lisle. “We wanted the people off
Argentina - The Alliance Group, which brings together four of the most important nightclubs in San Carlos de Bariloche, has invested in Claypaky Axcor 300 moving heads for its Cerebro nightclub. Macaio Argentina is the country’s distributor of Claypaky lighting products.
The installation, carried out by the staff of Roberto Maqui, features an array of Axcor Spot, Wash and Beam fixtures.
“We chose Claypaky not only for its performance and quality but also because we have known the brand for years,” says Carlos Zeiss, CEO of The Alliance Group. “Despite intensive use they usually require very little maintenance.” These attributes, combined with the fixtures’ low power consumption, contributed to the purchase of the fixtures.
Roberto Maqui also performed the programming and commissioning of the Axcor fixtures.