Lighting News

Alessandro Safina
Monday, 18 February 2002

Alessandro Safina - christened by the press as the ‘singing George Clooney’ - made his US television debut recently on Thirteen/WNET New York’s Great Performances: Only You, produced by David Horn.

An opera fan from his childhood days, the Tuscan tenor has already performed across Europe in Puccini’s La Bohème and Tchaikovsky’s Eugene Onegin, but is also a confirmed U2 fan. With musician/composer Romano Musumarra, known for his work with Celine Dion, Safina has developed a new ‘pop-opera’ genre and the show, also featuring Mexico’s Patricia Manterola, captured the artist under the warm Sicilian stars in the breathtaking setting of Taormina’s ancient Greek amphitheatre.

The international team involved in the shoot before a live audience, included LD Patrick Woodroffe, production manager Robbie Williams and sound designer Daniele Tramontani. Woodroffe, commissioned by the PBS network in New York (for whom he’s lit other classical broadcasts), explained the brief: "PBS wanted something that was classical, but exciting, which took full advantage of the natural setting of the amphitheatre. We couldn’t put true backlighting in, because there were no positions on top of the old rear wall, so most of the lighting came from high three-quarter rear positions on platforms that already existed, and FOH towers constructed for the event. After that, we simply lit the ruins themselves - the key was to make constantly changing compositions that read well on camera."

In addition to almost 200 conventional fix

Barco and High End Announce Strategic Alliance
Monday, 18 February 2002

Barco Projection, a division of Barco n.v., Belgium, and High End Systems Inc of Austin, Texas, have announced a strategic alliance that will enable the two companies to cooperate in the marketing of their products to the entertainment and events markets.

Barco Events specializes in providing tailor-made visualization and show-control solutions and manufactures amongst others a range of professional large-event projectors, ranging in brightness from 5,000 to 17,000 ANSI lumens. High End Systems, a manufacturer of automated lighting products, has introduced Catalyst, a cross-cultural system that converts video projectors into automated lights. The Catalyst system (developed in conjunction with WWG), which incorporates a Media Server, can also be used in conjunction with Barco's range of Ilite and Dlite LED displays to create an extensive range of effects and imagery.

The newly formed agreement allows Barco to sell the Catalyst system to its partners, with or without projectors, and provides the basis for future cooperation on various levels between the two companies. Nevertheless, Catalyst will remain an open platform and may still be used on a wide range of other video projectors from other manufacturers in the field.

"Barco sees lighting and video technology moving toward a closer interaction," says Kristoff Henry, marketing manager of Barco Events. "The combined knowledge and driving forces of the two groups will enable the creation of a new generation of products that will span the two markets and thus deliver many new creative possibilities."

Martin Professional Middle East Established
Monday, 18 February 2002

With the intention of strengthening its position in the Middle East region, Martin Professional A/S has entered into an agreement with Nour Assafiri, to establish a joint venture - Martin Professional Middle East.

Nour, owner of Martin’s long-time Middle East agent AMAC, heads the new venture, which handles distribution and service of Martin, Jem and Mach products. The new joint company, already operational, is based in Lebanon from where it will co-ordinate activities throughout the region. As a decisive first step, Martin Professional Middle East has established a branch office in Dubai, UAE, to support and further develop the relationship with Martin’s customers in the region. The official opening is expected to take place sometime in May.

(Ruth Rossington)

White Light Open Day
Monday, 18 February 2002

Familiar faces from all aspects of the lighting industry visited White Light’s new base during a successful open day in January. The new facility in Wimbledon, London, SW19, has 35,000sq.ft of equipment storage and preparation space and 10,000sq.ft of office space, allowing all the Group members to be brought together under one roof for the first time.

"We had close to one hundred visitors," notes White Light’s general manager Bryan Raven, "many of whom hadn’t had the chance to visit our new building since we moved here last October. I think they were quite surprised at the difference between our old base in Fulham and where we are now - but were relieved to discover that all of the familiar White Light faces they know are still here. Albeit all with a little more room to work in!"

Amongst those at the open day were theatre lighting designers Simon Corder, Rick Fisher, Mike Gunning, Geoff Joyce, Jenny Kagan, Bruno Poet, Nick Richings; television lighting designers Bernie Davies and John Watt; production electricians Alistair Grant, Gerry Amies, Tony Simpson; staff members from the RSC, the National, Guildhall and LAMDA, as well as many other West End and regional theatres. Other guests included representatives from White Light’s many suppliers, including Mark White from ETC, Don Hindle from CCT, Francois Juliat from Robert Juliat and Claus Puggard from Martin Professional. "We did notice that we also had visitors from some of the other rental companies, presumably just checking up on how we were doing!" comments Bry

The Craft of Bytecraft
Monday, 18 February 2002

Once a small lighting service company, Bytecraft has grown over the last 17 years to become one of the most significant players in the Australian industry, and has, in the process, earned itself a worldwide reputation for its audacious approach to everything it undertakes. Andy Ciddor reports . . .

In common with many other companies in the entertainment industry, Bytecraft owes its existence to dear old Strand Electric. During Strand’s sojourn as part of the Rank organization, it operated in Australia as part of Rank Electronics, a company that manufactured and marketed everything from telecine chains and stage machinery to consumer electronics and language laboratories. Amongst other projects, Rank Electronics had won the contracts to supply the stage lifts and wagons, lighting and audio to the Victorian Arts Centre (VAC), in Melbourne. The project was in the process of completion and handover in early 1984, when that well-muscled chap with the big gong decided to dispose of many parts of the organization, including the theatrical equipment division.

As the new owners were not interested in purchasing the warranty and maintenance part of the project, Rank contracted their VAC project manager, Ted Fregon, to take on the task. Fregon, an electronics engineer who had originally been hired as the project engineer for the VAC stage machinery, undertook this work through his one-person company, Fregon Systems. He then hired two other former Rank Electronics employees: audio service technician Peter Bay and stage machinery technician Joe Krnjak. To service the lightin

UKOK is Go
Monday, 18 February 2002

White Light and E//T//C UK helped launch the British Tourist Authority’s (BTA) new UKOK initiative in spectacular style by illuminating and projecting onto the Tower of London for a VIP press conference. The international marketing campaign is aimed at encouraging tourists and holidaymakers back to Britain in 2002.

The Tower has seen a succession of celebrity inmates throughout its chequered history, but this time the VIPs attending the breakfast press conference were free to leave. They included the Rt Hon. Tessa Jowell, Secretary of State for Culture, Media and Sport, David Quarmby, Chairman of the British Tourist Authority, Dr Kim Howells MP, Minister for Tourism and Lord Marshall, Chairman of BA.

White Light’s Mike Crossman project-managed the event. His brief came from the BTA, who wanted to architecturally light the Tower in a show-lighting style, and also feature their logo large and clear. Crossman approached lighting designer Leigh Porter - one of several lighting designers based at their Wimbledon premises - to create the lighting scheme and E//T//C’s Paul Highfield to handle the projection elements.

Leigh’s brief was to light - in a combination of red, white and blue - the South face of the tower and the two towers either side of the East face. The central part of the East face would then be used for the logo projection. Leigh wanted a colour changing luminaire for the job and decided on using Martin MAC 600 moving heads. Once a site visit and lighting tests proved that the units were right for the job, the 17 fixtures were prepped

grandMA makes UK theatre debut
Monday, 18 February 2002

MA Lighting’s grandMA control system made a big impact with lighting designer Chris Jaeger at the PLASA Show last September. Jaeger, a lighting designer with 20 years’ experience, was impressed enough by what he saw to follow up the demo with a more extensive evaluation of the desk at UK distributor AC Lighting Ltd’s new demonstration suite in High Wycombe.

From there, AC offered to loan a desk to Jaeger for a forthcoming production of Jack and the Beanstalk at the Queens Theatre in Hornchurch, Essex. The production, directed by Matt Devitt, with set design by Dinah England, was set to run through seven weeks in December and January. Jaeger, along with the Queens Theatre’s house technician Dave Starmer, who handled the programming of the show, were full of praise for the system, with particular emphasis on the system’s programming facilities. "It’s really straightforward," explained Jaeger, "it can be as easy or as complicated as you want to make it. We were changing the desk as we went along, setting it up to suit our particular way of working."

Once the show was programmed, the grandMA was returned to AC Lighting, who then provided a grandMA Light desk for the duration of the show. (Incidentally - Clay Paky take note - great praise was also reserved for their Stage Line fixtures which were used on the production: "When I saw the Clay Paky fixtures, I just thought they would be too small to do the job, but I was wrong: the speed at which they move and the light output and colour are very impressive."


The Who at Watford Coliseum
Monday, 18 February 2002

I half expected there to be fleets of Parka clad spotty youths on spangled scooters outside the venue. The billing alone was enough to evoke a mid sixties revival - the Who? Watford Town Hall? Surely not?

L&SI does not take lightly the privilege to exclusively witness this unique event, many thanks to Bill Curbishley (manager), Mick Double (production manager) and Tom Kenny (lighting designer) for their kindness.

In essence this was one of two warm-up venues for the Who’s brief residency at the Albert Hall - but of course, it was also so much more than that. How often do less than a thousand punters get the chance to see a band of this stature in such intimate surroundings? Feeling like the David Attenborough of R’n’R, I recognised instantly the natural habitat of this wildest of beasts, a seminal rock band in a provincial shoebox.

Mick Double joined the band as Keith Moon’s drum roadie in 1970, later progressing to production manager. With such a rare perspective on their career I asked him how this differs from their more usual outing? "It’s a better quality experience, for both the band and the punters. And it’s louder," he added half jokingly. "No seriously, it’s better for them (the band) and it does stimulate them. We cut our cloth accordingly and have gone for a small sound system tailored to the venue." The Entec supplied d&b C4 system might be just that, small, tiny even, but as it transpired Double’s comment was hardly a jest, it was very loud. And with the Who you shouldn’t have it a

Incubus Rocks Europe
Monday, 18 February 2002

Incubus are currently enjoying a sold out world tour, coinciding with the runaway success of third album, Morning View.

The lighting designer for the tour is Joe Paradise, who took the bold step of choosing an all-Martin MAC moving light rig - there’s not a generic light in sight! So far, 16 MAC 600s, four 500s, eight 300s, ten 250s and four 2000s have been Paradise’s tools, arranged between two trusses and the floor, operated by Paradise using a WholeHog II console.

In the supply seat are the US and UK operations of Bandit Lites, who are providing lighting for the whole tour, which kicked off on September 14th and also takes in Japan and Australia before returning to play three months’ worth of arenas in the US. Paradise is a hands-on LD and currently it’s just him and Bandit US crew-member Geddy Kordyjaka in the lighting department, although the system was boosted in terms of fixtures and crew for the Wembley show.

FOH sound engineer is Greg Nelson, a man who loves his sub bass, and who has been with Incubus for three years. The sound suppliers in the US are Illinois-based DB Sound, with the UK and European sound rig supplemented by Britannia Row.

Nelson is using the new EV X-Line line array system for the tour. At Wembley, his usual main FOH PA system became the side fills, and the main stacks role was fulfilled by the EV X-Array boxes. The mix is handled on a Midas Heritage 3000 which is Nelson’s desk of choice. "It’s smaller, lighter, purple and looks cool," he comments. He also likes the smoothness, presence and

CSE with OPTI DMX Club StrobeflowersCSE with OPTI DMX Club Strobeflowers
Monday, 18 February 2002

One of the most enduring effects in the club scene is the Strobeflower from Luton-based lighting specialists, OPTI. When it was first launched, it proved an instant hit with promoters because it combined laser-like effects without the cost and complexity associated with true lasers. As a result, it has become one of the all-time classic effects for concerts, clubs and events all over the world.

Now it’s received an important updating which puts it right back into the forefront of dance music theatre. OPTI has introduced a DMX to Analogue converter box that can be used with its Club Strobeflower, Terrastrobe or the Shutter/Dimming option of the K Range projectors to allow easier control from a central lighting desk. Taking advantage of this development, UK lighting hire company Colour Sound Experiment (CSE) based in Park Royal, London, have converted their entire hire stock of OPTI Club Strobeflowers. These have since been featured on tours by dance acts, Orbital and The Bays, as well as at The End’s recent sixth birthday celebrations.

CSE’s Haydn Cruickshank told us: "The Strobeflower effect has remained unique to OPTI since the heyday of the rave scene more than 10 years ago. There’s no other lighting effect, except a laser, that comes anywhere near it. Now OPTI have provided a DMX control option we see a resurgence in its popularity, which is why I chose to convert our stock over. The dedicated analogue controller can still be used with the OPTI Club Strobeflowers, but hooking them into DMX makes them so much simpler to rig and operating

Mike Fisher New Head of Lighting for SPS
Friday, 15 February 2002

Show Presentation Services has appointed Mike Fisher as its head of lighting, following Stephen Prince's return to lighting design on a freelance basis.

Mike Fisher joined SPS in 1999 as Prince's right-hand man and over the last two years the duo have established SPS as a major player in the conference lighting market. He told us: "Everyone at SPS was unhappy to see Stephen Prince leave, but his ideas, drive and vision have given us a great platform. Now it’s my job to let our established clients know how the SPS lighting department can help them whilst maintaining the highest standards."

Mike Fisher was previously sales and marketing director of Cerebrum Lighting and was part of the team that established the brands of Celco and Powerdrive in the eighties and nineties. More recently he had returned to freelance lighting design whilst continuing marketing strategy with Lightstorm.

(Ruth Rossington)

Vari-Lite Open Day
Friday, 15 February 2002

Many of the top names in the lighting industry watched as the new Vari-Lite VL1000 ellipsoidal reflector spotlight was put through its paces in collaboration with the Vari-Lite Series 2000 products at a recent open day hosted by Vari-Lite. The demonstration took place on Thursday, 7 February at The Manhattan Center Studios Grand Ballroom in New York. "The VL1000 continues the Vari-Lite tradition of providing the most reliable and innovative lighting systems available on the market," Bob Schacherl, Vari-Lite vice president of sales and marketing, told those in attendance.

Attendees, which included some of the top lighting professionals on Broadway, were treated to an exhibition showcasing the VL1000 ERS. Also on display, were the VL2202 spot luminaire, the VL2402 wash luminaire and the VL2416 wash luminaire.

(Ruth Rossington)

PSL Invests in Catalyst
Thursday, 14 February 2002

PSL is the first video projection rental company in the UK and US to invest in High End Systems' new Catalyst image manipulation system, which turns ordinary video projectors into artistic tools. Winner of five technical awards in 2001-2002, Catalyst offers users a unique new tool that integrates the video and lighting industries.

At the heart of the system is the Catalyst Media Server (video processing computer and video/DMX interface). This provides an unlimited range of real-time image processing capabilities. Designers can load their own still or moving images or select from an extensive library of stock files. They can then scale, rotate, zoom, edit, morph, colour mix or overlay to create the desired effect. Images can be projected anywhere in three-dimensional space using Catalyst's unique orbital movement system. The head provides 250 degrees by 360 degrees of movement and can be fitted to most high-powered video projectors.

PSL has currently bought three Catalyst systems, two for the UK and one for its US Division. Mick Scullion, head of PSL's Lighting Division told us: "We’ve bought Catalyst because it uses the most up-to-date technology to produce a system that can create visual effects never seen before. All our lighting designers have shown great interest in the product and feel that it will give a new visual dimension to all our live shows, be they corporate events, product launches or concerts."

PSL is also in the exclusive position of being able to offer clients an in-house graphics and video production facility to complement the Catalys

Vari-Lite Shines at Winter Olympics
Thursday, 14 February 2002

From the opening ceremonies until the last medal is awarded, Vari-Lite Inc will play a prominent role in lighting the 2002 Winter Olympic Games in Salt Lake City. More than 1,200 Vari*Lite luminaires are being used to light events within and surrounding the Olympic Games, including the nightly concerts following the medals presentations at the medals plaza.

Rusty Brutsché, chairman and CEO of Vari-Lite, said: "Just as the athletes have spent years training for the competition, organizers have shown the same dedication in preparing for the way the games and events are presented. We were up here exactly a year ago for a trial run on the opening ceremonies, so it has been a painstaking process to make sure the proper equipment is in place and being used. Vari-Lite is extremely proud to be an integral part in the way these events are presented worldwide."

A lighting package that included 204 VL2416 wash luminaires, 146 VL5 wash luminaires, 238 VL5Arc wash luminaires, 54 VL6 spot luminaires, 52 VL6C spot luminaires, 126 VL7 spot luminaires and two Virtuoso control systems lit the opening ceremonies and will be used during closing ceremonies on 24 February. Bob Dickinson is the lighting designer for the events. He is supported by lighting directors Andy O'Reilly and David Grill.

The medals plaza, which was designed by lighting designer Bob Barnhart, features a turntable stage that rotates following each night's medals presentation to form a headliner stage for concerts from artists such as Alanis Morissette, Sheryl Crow, Creed, Dave Matthews Band, *NSYNC, Foo Fig

Australia Skyworks 2002
Tuesday, 12 February 2002

Laser Magic won the prestigious contract for the 2002 Skyworks laser show on the 26 January 2002. The laser team arrived one week before the event to install and programme the show to a custom soundtrack. Very large distances where involved with this event and to this end Laser Magic used (for the first time) the new Coherent Corona diode YAG laser, which has an output in excess of 80W. This was sited at Perth’s famous Bell Tower and is one of the largest entertainment laser systems in the marketplace.

Several other lasers were also used, including Emerald 40W Nd YAG lasers and some smaller 10W CW YAG lasers. Laser Magic even had a laser system bolted on to a fast motorboat, which created special effects as it travelled across the bay shooting beams in to the night sky. In total, five laser systems were used on this show all controlled via the latest Pangolin 2000 software and each system utilised SMPTE for show control. Laser Magic has already won the Skyworks 2003 contract and will be using both the StratoSphere and barges plus even more lasers.

(Lee Baldock)

Stage Light Design start the year in Style
Tuesday, 12 February 2002

South London-based creative exhibition lighting specialists Stage Light Design started the year busily, lighting two stands at the BETT education/technology show in the Grand Hall at Olympia. It’s the seventh year that the company has been involved with clients at BETT. This year both Intel and RM benefited from their lighting schemes.

Intel’s stand was straightforward for SLD, who lit a stage area and lectern used for presentations with Par 56 lanterns, controlled by a Pulsar Rock Desk and dimmers. The RM stand was more complex: as one of the UK’s leading suppliers of software and hardware to the educational market, RM wanted their stand to have plenty of impact. The stand design was totally new and included two demonstration theatres that were continuously in use. Lighting was designed by SLD’s Alastair Crooks, who lit the theatres with Par 56 and Par 36 lanterns for general stage lighting. Around the sides of the demo areas were numerous graphics, some screen printed onto voile material, which is particularly reactive to light, and others that were screened onto tinted glass. SLD highlighted all these graphics with Par 30 fixtures.

The stand’s massive ceiling canopy was illuminated with Par 64 cans programmed as a cross-fading colour wash effect, all controlled from a Jands Event desk, with Celco dimming. The stand designer in both cases was Surrey-based 2LK. Upcoming work for Stage Light Design includes the creative lighting design and consultancy for two stands at NAB in Las Vegas in April. The same two stands will then go on to IBC in

Laser Studio Launches new Colour DPSS laserLaser Studio Launches new Colour DPSS laser
Tuesday, 12 February 2002

Laser Studio - part of the i-Vision Group - has launched the latest addition to its new I-scan Performer range of DPSS (Diode Pumped Solid State) lasers. Following recent breakthroughs in diode technology, Laser Studio has produced the UK’s first commercially available Colour DPSS laser for under £20,000.

Laser Studio’s new 1W colour unit currently offers eight modulated colour outputs. The aim is to develop the system into a 256 fully modulated colour system in the future. This product, say Laser Studio, heralds a major change in laser technology and is an important step forward in replacing older, inefficient equipment that required complex cooling and hefty electrical supplies.

The ‘Beam in a Box’ concept - and specifically this product - has been designed with the conference, exhibition and club markets in mind, although it will also be suitable for theatrical and live performance applications. The new laser weighs just 31kgs, is approximately the size of a small travel case and plugs into a 13 amp socket. Brightness wise - utilising the high efficiency of the diode lightsource, this DPSS laser has an efficiency of 10:1 over ion technology, and the diode lifetime is expected to be in excess of 10,000 hours.

Laser Studio’s Geoff Jones comments: "This is the first of the new series of DPSS lasers we’re releasing over the next year. Thanks to diode technology, we can banish forever the ‘Here come the plumbers’ syndrome, whilst making available a highly affordable, bright, easy to rig-and-use laser for a huge diver

Entech 2002 & Award Winners
Monday, 11 February 2002

The organisers of Entech, the leading entertainment technology exhibition for the Australasian market have reported increased attendance for last week’s three-day show. Darling Harbor proved a popular destination for Entech, with greater interstate attendance (up 8%) and more local visitors. International visits were static, with decreases from destinations other than Singapore (up 10%) and New Zealand (up 5%). Audited actual attendance was up, a record 5,143 trade attended, in addition to 1,272 exhibitor personnel.

The Entech Awards dinner once again sold out, held again at the Metro in George Street. A complete list of winners is attached. Voting was done on the trade show floor, for the first time, in addition to votes garnered from all those who nominated products and people. The Award for Best Lighting Product at the show went to AVR for the Arc Screen; Best Audio Product at the Show went to the Yamaha DM2000, and Best AV Product went to High End Systems for the Catalyst.

Entech will return in 2004 in a new format, which organisers say will be revised to meet the needs of exhibitors and trade visitors. More details are expected in the near future.

(Lee Baldock)

Full Monty and Taboo Chose White Light
Monday, 11 February 2002

White Light and The Moving Light Company have been chosen as the lighting suppliers to two new musical productions in London, one - The Full Monty - the West End production of an established New York hit, the other - Taboo - a new show in a new West End venue.

The Full Monty, a stage adaptation of the hit British film, has been playing to enormous popular acclaim in New York - and is now making the journey back to the UK, where it will play at the Prince of Wales Theatre. Lighting designer Howell Binkley will re-create his New York design, making use of an automated lighting rig of six Martin MAC 2000s, 12 MAC 500s and 38 High End Studio Colors controlled from a WholeHog 2 console. The rig also features around 325 ETC Source Fours, 55 of which are fitted with Wybron colour scrollers, and Orion and L&E Ministrip floodlight units, 80 StarStrobes, police beacons, Robert Juliat Aramis followspots, and MDG Atmosphere and Look Solutions Tiny Fogger smoke machines. The conventional rig will be controlled from an ETC Obsession 2 console. The show's production electrician is Pete Lambert, with Stewart Crosbie and Simon Marlow serving as production managers.

Taboo, by contrast, is a brand new musical written by eighties pop icon Boy George, which is playing at a new 300-seat venue called The Venue, located just off Leicester Square. Designed by Tim Goodchild, the show is being lit by Chris Ellis using a four Martin MAC 600s, 12 MAC 250s and five MAC 300s, alongside a conventional rig that includes ETC Source Fours and Source Four Pars with a Source Fo

Behind the Scenes
Monday, 11 February 2002

BBC Television is to broadcast five programmes this week which will feature interviews and behind the scenes footage from various West End shows. A Week in the West End will be broadcast daily at 3.30pm on BBC2.

(Ruth Rossington)

Rental Management Systems introduces RMS22
Friday, 8 February 2002

New features of the latest version of the rental management software package include a whole set of new clear icons, built-in support for backup and restore of data and reports, saving of the last used sort-order and sorted column in all List-tabs and Finder-windows, a new facility for multiple contacts per company, default country and telephone settings and much more.

For a full run-down of all the latest features from RMS22, visit the company website at the address below.

(Lee Baldock)

Vari-Lite Fixes it for Bob the Builder
Thursday, 7 February 2002

Since his TV debut in 1999, Bob the Builder has become a household name and has recently announced his very own 65-date arena tour and Vari-Lite Europe will be there to help him ‘fix it’!

The lighting designer is none other than Patrick Woodroffe, who will work alongside programmer Dave Hill and operator Mark ‘Sparky’ Risk. The Vari-Lite supplied rig includes 22 VL2Cs, 8 VL6C spot luminaires, 38 VL5, 12 VL5 Arc wash luminaires, all controlled from a Virtuoso console. Conventional equipment will consist of 108 Par 64s, 17 Bambino Fresnels c/w colour changers, six Starklite 1200W HMI followspots. The tour sets off in Sheffield, then moves to Nottingham, London Arena, Newcastle, Manchester, Cardiff and Glasgow. It will then travel to Wembley Arena and then finally to Birmingham.

(Ruth Rossington)

Fourth Phase in a Piece of History
Thursday, 7 February 2002

The Poll Winners Concert for the first ever BBC Radio 3 World Music Awards took place last week at Ocean, Hackney’s latest music venue. As the lights went down, the stars - including Johnny Depp and Damon Albarn - came out in force to present the Awards, which celebrate the diversity of music throughout the world.

The event, which featured short sets from the Poll Winners, was also being filmed for broadcast on BBC Knowledge, and crew chief Nick Moran needed to augment the venue’s existing lighting to create a rig which would create maximum impact when televised. This led him to contact Fourth Phase. "It wasn’t until just before the event that we knew exactly what the brief would be," explained Moran. To meet this brief, Fourth Phase supplied 10 High End Studio Colors and 12 Studio Spots, eight bars of four Par 36 ACLs and a Lycian 1.2k HMI followspot.

The day immediately following the completion of the World Music Awards, Fourth Phase was involved in a charity Fashion Show in aid of ICROSS, the International Community for the Relief of Starvation and Suffering, which took place in Lady Margaret’s School, Parsons Green. Fourth Phase was commissioned to design, install and operate the ideal lighting rig to transform the school hall into a fashion show setting, supplementing the venue’s ambient lighting.

(Ruth Rossington)

New Year, New Projects for Furneaux Stewart
Wednesday, 6 February 2002

Designer and communicator Furneaux Stewart has entered the New Year with a healthy portfolio of work and several new account wins. The company, led by co-founder Laurie Stewart, is already working on several new high-profile projects this year, including an introductory exhibition for Syon House, Cardiff Castle's interpretation strategy and projects for the National Trust at White Horse Hill, Studland Bay and Lawrence of Arabia's home, Clouds Hill. The company is also the exhibition design consultancy for the new Acropolis Museum working with international architect Bernard Tschumi.

Within the automotive sector there are also some key projects ahead with the team, headed up by John Furneaux, looking forward to working with Skoda to create its stand for the Birmingham International Motor Show, in addition to major projects with Citroen and Bentley Motors. Ray Hole, architectural director has recently presented his ideas for the renovation of the Snowdon summit building and is also acting as a consultant to Cardiff Council for the masterplan for Cardiff Bay development.

As a result of the successful launch of the telecommunications company 186K at the end of 2001, which required the expertise of Media Director Adrian Little, the two companies are in discussion about further projects for this year. Furneaux Stewart is also working with lighting manufacturer OSRAM to design a demonstration studio at their new offices.

(Ruth Rossington)


Latest Issue. . .

Tweets from our Friends