Denmark - Because rainwater can leak into the base of a lighting fixture and damage electrical circuitry causing all types of problems, Martin has developed the new RainMAC, a simple and effective way to ensure that the show goes on by keeping rain off your MAC fixture.
The RainMAC was designed with input from rental companies who are often in a situation where full protection domes are impractical to install, yet where rain is likely during the course of an event. Its development is an example of Martin's policy of supporting users by bringing customer initiated solutions to the marketplace.
A vital tool in the struggle against the unpredictability of the weather, the robust and UV resistant RainMAC is ideal for outdoor events. Easy to install, the molded compound plastic guard fits all MAC moving head fixtures from the MAC 250 Series to the MAC 2000 Series.
Easily placed over the base of the fixture, the RainMAC has 12 slots for all Omega Bracket positions and attachment points for the safety wire. Plastic covers close the unused slots, deflecting moisture, rain or the occasional airborne beverage. The RainMAC is easy to install, flexible and tough. They stack together for simple storage and transport, and are easy to wipe clean.
(Sarah Rushton-Read)
UK - The innovative new PixelBrick is the latest in James Thomas Engineering's revolutionary Pixel range of LED fixtures. PixelBrick is available in two models - an indoor IP42 housing and an IP65 outdoor housing. Both utilize 3W blue and green and 1W red and amber Luxeon emitters.
The fixture's compact size makes it ideal for inaccessible places, and it's flexible enough to be used for curves, angles and corners. PixelBrick's silent, non mechanical additive colour mixing system is highly energy efficient for projecting colour, unlike the more wasteful process of filtering out white light.
It consumes just 48W at full power, easily displacing equipment running at 150W, whilst also creating up to 42 million potential colour combinations. It has a standard six degree beam and standard case colour is black. Alternative beam angles and body colours are also available.
For size-to-power output, PixelBrick is an ideal replacement for discharge, colour-changing or cold and warm white fixtures in all types of architectural, scenic and feature lighting applications, say the company.
(Sarah Rushton-Read)
USA - Adding to Clay Paky's reputation for excellence on the Las Vegas Strip is the new spectacular, created by Franco Dragone - Le Rêve, at the new Wynn Las Vegas hotel and casino. This show features an array of automated fixtures from the Italian manufacturer and brings to more than 10 the number of permanent show installations that currently use Clay Paky equipment.
The custom-built 2,087 seat Wynn Theatre, which houses Le Rêve, features a one million gallon pool in its centre and a domed roof 80ft overhead. Lighting designer Koert Vermeulen uses 32 Clay Paky Stage Profile Plus SV fixtures, along with 13 Stage Scan moving mirror fixtures and nine CP Color 150E colour changing fixtures. "I'm an LD who designs a lot with gobos," said Vermeulen, "and Franco loves gobos on his shows. The Stage Profile was the only fixture that gave me two gobo wheels and shutters. On all the other fixtures I looked at, if you had a shutter system you could only have one gobo wheel, and I needed a lot of gobos. I wanted to have lots of choices."
Vermeulen initially envisioned using the Stage Profile fixtures quite differently. But due to Dragone's dislike for the stage floor, Vermeulen found himself relying on the optics of the Stage Profile to draw the director's eye. "In the beginning, I thought I would do a lot of organic gobo morphing, with one gobo on top of another," notes Vermeulen. "But Franco wanted the gobos 'sharp and, preferably, white.' If the image was out of focus slightly he could see the floor and he did not want to see t
UK - TMC Ltd has devised a tricky design solution for the 900-seat auditorium at the Birmingham Christian Centre - an Elim Pentecostal church in the city centre - with the help of architectural effects provided by Lighting Effects Distribution.
Commissioned during the late 1980's the building's ceiling is split into awkward asymmetric segments within a polygon-shaped building. But the infrastructure had become tired, the sound element needed upgrading and a visual dynamic introduced.
TMC's hire department had enjoyed a long relationship with the church's events department over the years. The contract sales team were consequently introduced to the project, and invited to work with the client to develop the scheme.
It was evident that the existing low pressure sodium lighting, with its familiar yellow hue, was inadequate and TMC were asked to design a concept in which the moods could constantly change, at the same time producing a lux level sufficiently bright to accommodate the school exams often held there.
By demo'ing different lengths of Solar L-Series battens, distributed by Lighting Effects Distribution, the installers were able to show they could reach the roof apex with uniform intensity of colour, while the discrete light source would enhance the aesthetic of the architecture.
The L-Series is a linear, aluminium-housed LED effect, with superior optics. It comes in a variety of lengths and other options, and is specifically designed for wall-washing. Two controllers are used at the Birmingham Christian Centre - a simple on/off switch with two colour p
UK - Bandit Lites supplied production lighting and crew for the recent G4 theatre tour, once again working with Production North. Matt Jensen was the LD, Sarah Hollis the production manager and Bandit's Lester Cobrin co-ordinating.
Cobrin said: "After a very successful TV series and UK tour with X-Factor it was no wonder that the bands debut album shot straight to the top of the charts earlier this year. Their voices are so powerful and dynamic which appeals to a very wide audience. G4 are a completely different act to what is out there at the moment. I'm not in the least surprised this tour sold out."
Choreographer Gary Lloyd and G4's producer Ashley Tabor had initially come up with an asymmetrical stage view, which was then developed into a more industrial scaffolding based set by Production North's Steve Levitt. Jensen used the set as the starting point for his lighting design, which he also made subtly asymmetric, based around the three towers and two UV reflective G4 signs that came with the set.
His brief included the instructions to 'think theatre with a rock 'n' roll angle', and with the show being such an eclectic mix of songs - from the Beach Boys to Britney - he had to keep it lively, dynamic and different throughout the full 90 minutes.
However, his biggest challenge was a physical one - designing a versatile rig that would fit into just 17ft of space in the truck! It also had to be adaptable enough to fit into a wide variety of venues - from Newcastle City Hall to the Royal Albert Hall!
He chose 16 Martin MAC 2Ks as the mainstay beam
USA - Theatrical Lighting Systems Inc (TLS Inc) has appointed Tim Dillon as its new addition to the Rental division as project manager. Dillon has served three years in the United States Army and comes to TLS Inc already familiar with the Rental Division, having been a customer for the past several years.
While pursuing his education at Glenville State College, Dillon became a light and sound technician for countless musical and theatrical productions. After graduation he joined the Army and became a technician and performer in the 98th Army Band. In addition to his work with the Army Band, Dillon toured with the US Army Soldiers Show.
(Lee Baldock)
UK - XL Video supplied cinematographer and visual designer Jon Driscoll with digital projection, Catalyst digital media servers and DL1 moving head projection for the musical, Ha'penny Bridge, which played a six week run at Dublin's The Point.
Kassan Productions originally produced the Irish/English love story and five years on and it returned to Cork Opera House for a technical preview period before moving to the larger venue in Dublin.
With a miniscule amount of rear projection depth, the original production made inventive use of projection for the main scenic and location elements, dispensing with the need for excessive amounts of backcloths and scenery. Back then Driscoll used Pani large format projectors and slide changers combined with an arsenal of traditional VSFX projectors and luminaires with animation effects.
This time he decided on a combination of high powered video and PIGI large format projection. Driscoll once again turned to XL Video - with whom he's collaborated on many high profile projects including, Our House, Billy Elliot and Rebecca.
The PIGI equipment and the digital output of the imagery onto large format, high definition scroll film was supplied by E/T/C UK. Driscoll is also fulfilling the role of lighting designer. Mark Jonathan originally designed the show but due to commitments abroad he was unavailable on this occaision.
Jonathan's 2000 associate Jason Larcombe was also onboard and they kept faithful to much of Jonathan's original work. Scenic Designer Patrick Murray significantly redesigned the set, this
USA - Country music celebrated its annual CMA Music Fest in Nashville, Tennessee with the largest lighting package ever assembled for this event. Headed by Ted Wells and Mark Carver from Full Flood, Bandit Lites was once again selected as the vendor for what is billed as 'Country Music's biggest party'. Bandit worked hand in hand with Carver, Wells and Production Manager Chuck Young on what was deemed the most successful show to date with America's premier country talents performing to record crowds.
Bandit's Vice President Mike Golden said "Working with the event production staff is a sincere pleasure and makes this event a yearly favorite for all at Bandit".
Four Semi's of Bandit equipment were delivered to this project and a partial list of the equipment provided includes 84 Mac 2K Wash fixtures, 80 Mac 2K Profiles, 72 Mac 600s, 40 Mac 300s, six eight-Lamp bars, six Lycian 1271s, six 3kW Gladiator followspots, 68 motors and eight circle trusses. There were two stages with duplicate systems so the talent and the show never stopped. The event was held in the Titans Football Stadium with crowd numbers exceeding 200,000 for the four days. Mike Frogge served as the Bandit crew chief with Don Lockridge heading up project management and additionally Bandit supplied six technicians for the run of the project.
(Lee Baldock)
The Netherlands - Flashlight Rental, one of Europe's fastest growing entertainment lighting rental specialists, has become the first company in the world to add the new Syncrolite SXB-5/2 Xenon Skylight (also known as 'the B52') to its rental stock. Their first assignment is to provide some of the big looks for the current world tour by Coldplay for designers Bryan Leitch and Nick Whitehouse.
The latest addition to Syncrolite's Architectural and Theatrical Xenon Series, the SXB-5/2 is the most versatile, compact, powerful and lightweight Xenon fixture in the world, say the company. This fully automated/moving dual scroller architectural and theatrical fixture delivers 5000W of Xenon power for use as a long-throw wash or skybeam/spot. It allows a wide range of mounting options for flown and ground mount, and is ideal for concert, event, and architectural use. The unit is powered by an external 5000W magnetic ballast or new 5000W electronic ballast, and is controlled via standard DMX. Programmable functions include variable speed 540° pan and 250° tilt, focus from collimated to 20° flood, dual 12-frame variable-speed gel scrollers (with opto-isolated electronics and reliable servo motor operation) and electronic dim/strobe plus mechanical douser/strobe. Its weatherproof construction ensures reliability in all conditions, say Flashlight.
"We see huge potential for the SXB-52," says the Ampco/Flashlight Group's executive sales manager, Marc van der Wel. "It has the classic Syncrolite characteristics of an immensely powerful, pure and dramatic beam,
Switzerland - Circus Nock is one of the largest touring Circus Companies in Switzerland. Founded in 1860, the circus has been in the Nock family for seven generations and includes over 100 vehicles, 7km of cable and over 4,500 light bulbs. When looking for a replacement lighting console, the company opted for Zero 88: LD Stefan Ionut had been using a Zero 88 Sirius 250 for the last six years and was delighted with the reliability of the console. "The circus environment is very harsh, with a lot of dirt, a lot of dust and demanding touring schedule. The Sirius 250 never let us down," he explained.
However, with the addition of a number of Claky Paky Alpha Spots to the rig and an increasing number of high-risk attractions, Ionut needed a console that could handle moving lights and offer a full back up system - which led him to Zero 88's Frog range. Roberto Campana from Zero 88's Swiss distributor ECM demonstrated the Leap Frog and the Frog Box to the Ionut and the management team, and they were hooked. "The Leap Frog has an impressive amount of features for the price and the built in effects engine will enable quick and easy set up of lighting effects when were on the road," says Ionut. "The Frog Box is essential as a backup system because we need to know that the lighting will work even if something happens to the console. When you are working with lions in the ring the safety of the crew and audience is very important. There is no other manufacturer with a full replay and backup unit like the Frog Box."
Zero 88 products were specifie
Sweden - Wireless Solution Sweden AB has introduced a wireless DMX 512 Outdoor solution based on the proven technology of its W-DMX Black Box indoor model. W-DMX Black Box Outdoor is IP65-rated and works in any conditions from -20 up to +50°C, say the company. The unit is available in standard black, or custom-painted in any RAL colour to fit architectural design.
Black Box is delivered with built-in AC/DC that accepts 90-250V universal power supply and delivered with standard RP-SMA to follow ETSI and FCC regulations. With a different antenna the outdoor model is able to transmit wireless in line of sight up to 20km between transmitter and receiver. It is also possible to link a transmitter and receiver together to create a 'virtual repeater' to avoid line of sight problems, say the company. A complete set of accessories with different antennas and cables is available to complete the range.
W-DMX Black Box IP65 Outdoor is based on the PLASA Innovation Award winning W-DMX Black Box for indoor use, and uses the same features such as adaptive frequency hopping, which the company says can change frequency over 1000 times per second to avoid interference. It's also protected with a unique PIN code, so each system only listen to each other and by default avoid all other traffic that are in the 2.45GHz band. This makes it possible to run 16 DMX 512 universes (8192 channels) on same spot "without interference", the manufacturer claims.
The system can be used 'point to point' between the console and first fixture and then cable linked to all other units conn
USA - Production Resource Group (PRG) has announced new responsibilities for two top managers in its Los Angeles office. Susan Tesh, who has been serving as general manager of West Coast Operations, has been named vice-president, sales and customer service. Tom Sorce, formerly the company's vice-president of business development, assumes the role of general manager, Los Angeles, with primary responsibility for business operations.
"Los Angeles is one of our most important markets. Having these two highly skilled professionals working together as a team gives us increased capacity and flexibility to deliver the quality and attention to detail that our customers have come to expect from PRG - along with the quick turnaround this market requires," says Jere Harris, PRG's chairman and CEO.
Tesh has earned a national reputation for her work with live television productions, and has supported some of the world's biggest events, including the opening and closing ceremonies at the 2004 Summer Olympics in Athens, the World Music Awards, NFL Superbowl half-time shows, Miss Universe Pageants, American Idol productions and the Academy Awards as well as numerous concert tours.
Tom Sorce is a leading audio specialist who is also highly knowledgeable in entertainment business management. He came to PRG in 1999, when PRG acquired A-1 Audio & Lighting, where Sorce was CEO, having built the company into a top-tier west coast supplier. Prior to joining A-1 Audio & Lighting, Sorce was senior vice president and general manager of the New York office of Masque Sound, where
UK - Following the success of the last PixelRange Workshop initiated by James Thomas Engineering a few months ago, another event is planned this week - again hosted by the STLD in conjunction with Stagetec. The event, to be held backstage at the National Theatre on Friday 22 July, is designed for LDs, programmers, artists, set designers and anyone else involved in lighting and the visual arts, who will get an opportunity to explore and learn more about LED lighting - the equipment, its uses, applications and control.
Featured sections will include the use of LEDS in 'lighting a cyc' with the new PixelLine 110ec batten, controlled by PixelDrive and Compulite's Vector desk. In addition, VideoDrive, the latest software from Radical Lighting, will be on demonstration as will the new PixelBrick, the PixelLine Mini Batten and the new PixelPups from James Thomas Engineering.
Start time is 1pm for lunch/buffet, followed by an on-the-hour style demonstration. Chris Ewington and James Powell from PixelRange will explain and demonstrate together with Andy Stone (Compulite/Stagetec) plus Simon Carter and Emma Long of Radical Lighting. The format will include an ongoing informal Q&A and hands-on opportunities throughout the afternoon.
(Lee Baldock)
UK - Sunday 10 July saw the culmination of a week of events marking the 60th Anniversary of the end of World War II, including a Commemoration Event of Reflection and Reminiscence, held in Horse Guards Parade in the presence of The Queen and members of the royal family and an invited audience of 10,000 WWII veterans and their families.
With a speech by Her Majesty, the event was hosted by Simon Callow and featured readings, humour and music from World War II, with a choir of 150, an 80 piece orchestra and a host of celebrities including Bruce Forsyth, Petula Clark, Claire Sweeney, Laura Michelle Kelly and a special - and surprise - appearance by Dame Vera Lynn. Beginning at 3pm, the event was broadcast live on BBC1 and displayed on large LED screens to the crowds lining The Mall. Working for Unusual Services to supply the lighting was PRG Europe, with Alan Thomson and Loz Wilkinson as project managers. Alan has worked for Unusual Services on many similar projects in the past.
PRG Europe brought in Paul Cook as lighting designer, who explained: "My brief was to ensure the lighting was in keeping with the tone of the event and not too 'light entertainment', so we had to be careful not to overdo it, while ensuring that everyone on stage could be seen clearly by both the live and the viewing audiences. The stage was built in front of the Horse Guards buildings, which became the backdrop to the set; the stage was effectively open on all four sides, with clear plastic drops at the side and rear. To ensure the buildings looked good on TV, we uplit them with par can
USA - Color Kinetics has introduced new products and technologies designed to support greater adaptability, ease-of-use, and streamlined installation for both white and coloured light applications. The new offerings range from an architectural control interface to versatile power/data supplies, say the company.
iW Translator is a hardware interface that allows widely used architectural control systems to communicate with Color Kinetics' IntelliWhite series of white solid-state lighting systems. Conventional light sources in commercial and residential environments are commonly controlled by master control systems such as those from Lutron and Leviton. iW Translator provides a simple means of interoperability with these third-party control systems, making IntelliWhite products widely adaptable to existing environments, say CK. The compact device translates commands from third-party controllers to allow them to adjust the intensity and colour temperature of IntelliWhite fixtures and lamps - a feature that is made possible today only by Color Kinetics, the company says.
iColor Flex SLX is a larger-node and higher-intensity version of Color Kinetics' iColor Flex SL. Using Color Kinetics' Chromasic technology, each strand of iColor Flex SLX comprises 50 individually controllable LED nodes that are three times brighter and therefore better suited for longer distance viewing in millwork, signage, and façade lighting, say CK. iColor Flex SLX is available with clear-flat or translucent-dome lenses.
Color Kinetics supplies both power and data to its lighting systems with
UK - DPL Production Lighting, working for Richmond Event Management and Dick Tee, architecturally lit Nelson's flagship, the HMS Victory and supplied stage lighting systems for several stages and other areas at the 2005 International Festival of the Sea in Portsmouth.
Admiral Nelson's famous vessel was lit initially for the Trafalgar 200 bicentennial celebrations, for a high ranking military function aboard the ship that also involved the Band of The Royal Marines 'Beating the Retreat' in the courtyard beside Britain's most famous warship. DPL also lit a life-size model of the X-35 Joint Strike Fighter airplane that was located there for the same event, providing a contrast between old and new military technology.
The Victory illuminations then continued all week into the Festival of The Sea, which started a few days after Trafalgar 200 ended. The Victory lighting scheme was designed by Darren Parker. It was uplit with a series of green and blue 400W metal halide fixtures located down in the dry dock below the hull - creating a surreal aqua effect. Its vast bulk was also lit with six Studio Due City Colors located on the dock side, and from the rear, with two Space Flowers on the upper deck, crossing and beaming through the rigging. This proved highly atmospheric - especially on slightly misty days.
Around the site, on the World Stage, a 15m Orbit adjacent to the Victory, DPL supplied Martin MAC 500 and 600 moving lights plus conventions including Pars and Molefays, trussing and motors, and an Avolites Pearl 2004 console for control. The lighting was run by DPL
UK - The PAI Group (PAIG) has completed the design, specification and installation of full sound, lighting and AV system at the Media Centre Arts Hall, University of Wales in Lampeter. The project included the supply of a full live stage sound system, stage lighting and video equipment to the Arts Hall adjacent to the Media Centre.
The project required flexible and easy to use systems to enable the students to stage a variety of performances from fashion shows to live concerts and stage shows, plus conferences and media presentations.
The PAIG team, led by project manager Steve Timlin chose Logic System loudspeakers, for their ruggedness, quality and cost-effectiveness. They reconditioned and re-used the college's existing cabinets for side fills. The system is powered by QSC amplifiers, and the FOH desk is an Allen & Heath GL3300.
"It was also important to give the students technology that didn't intimidate them" says PAIG's technical director Andy Bonehill. "The whole idea of kitting out the Arts Hall was also to hopefully encourage them to get further interested in some of the technical aspects of their courses." Provision was also made for adding a possible future 5.1 surround system.
On the lighting front, they worked to the same principals. Twenty one new theatre luminaries were specified and were installed - a mix of fresnels and profiles, plus several new 6-way internally wired bars which were installed - ready for more lanterns to be added at a later stage. PAIG supplied a new Zero 88 48-way Alcora FOH lighting console. Dimmers ar
USA - On 9 June, the 2005 NBA Finals kicked-off with Game 1 of the Detroit Pistons versus the San Antonio Spurs championship series in Dallas. Lighting designer Randy Nordstrom, and the rest of the NBA production team, utilised a lighting package supplied by Bandit Lites.
"My hat goes off to all the production staff involved in the NBA Finals," says Bandit Lites vice president Mike Golden. "Watching the NBA production team go through the scramble of surveying the final team venues and then detailing their equipment needs and lighting plan was truly impressive."
The lighting package for the NBA Finals consisted of 26 VL3000 spot luminaires, 6 VL2500 spot luminaires, 28 Mac 2000 wash units, 8 Mac 600 units, 54 ETC Source Four units, 2 Grand MA lighting control consoles, along with Electrol and CD80 digital dimmers.
"For the finals, we used what we call our medium rig with the VL3000 spots and the Mac 2000 wash lights configured in a U-shape along the upstage side of the court, said Nordstrom. "We also used the VL2500 spots as floor eye candy on rolling trusses, along with the Mac wash lights."
(Jim Evans)
France - French audio visual company, Lumison, reports a "spectacular" first half to 2005 with a plethora of high profile events featuring Lighthouse LED screens. These include corporate functions for major banking institution BNP Parisbas and French television producers union Espace Clacquesin, plus a fashion show in the Lagerfeld Gallery of the Paris Carrousel Du Louvres.
BNP Parisbas holds its annual conference at the Palais Des Congres De Paris each year for 5,000 of its employees. For this year's event, Lumison supplied 50 panels of Lighthouse R10 10mm pixel pitch LED video screen strategically positioned to provide an eye-catching effect.
"The set was quite unusual looking," explains Lumison's CEO and owner Pierre Heyligen. "We stacked LED panels on the stage in a variety of configurations - as single panel, 2x2 panel, 4x4 panel and 4x6 panel screens - to create a very appealing result." Another R10 screen, measuring 36x10m. was flown at the back of the stage to show footage of the presenters.
For Espace Clacquesin in Paris, hosted by 'La Compagnie Des Realisateurs' - a French union for independent television producers and directors - a screen was placed at either end of a central stage and Lumison deployed 7x7 panels (8.96 x 6.72m) of Lighthouse 20mm screen positioned at one end of the room, with another 7x7 panels (4.48 x 3.36m) of R10 screen hung centrally, 550mm in front of the first screen, to create a feeling of visual depth. The screen at the opposite end of the stage was a further 36 panels of 20mm in three 2x6 panel
World - Martin Professional gear, including the Maxedia Digital Media Composer, MAC fixtures and Atomic strobes were integral factors in the production of several of the Live8 shows.
All lighting equipment for the Hyde Park concert was supplied by PRG London and included 50 MAC 2000 Wash, 35 MAC 2000 Profiles, 20 Atomic strobes with Atomic Colours, LEDs and conventionals.
In Philadelphia, lighting designer Thomas Beck had MAC 2000 Wash, MAC 2000 Profiles and Atomic strobes at his disposal while a Martin Maxedia digital server provided wallpaper and animation effects onto multiple screens in combination with IMAG and other pre-built content. Maxedia effects were controlled from a Martin Xciter off a touchscreen with 60+ songs programmed in two days. Lighting gear was supplied by Light Action of Delaware.
At the Mary Fitzgerald Square in Newtown, Johannesburg, Gearhouse South Africa provided a complete package: lighting, sound, stage and power. An extensive automated lighting rig incorporated 18 MAC 2000 Profiles, 18 MAC 2000 Wash and 12 Atomic strobes, all provided by Gearhouse through Electrosonic. Lighting design was by Hugh Turner who staggered six trusses, complimented with lighting units, which served as a backdrop.
Limelite of Rome delivered several Martin fixtures to the Live 8 show held at Circus Maximus in the Italian Capital. Lighting designer Massimo Gasbarro of Limelite had 44 MAC 2000 Wash, 52 MAC 500 profile spots, 48 MAC 600 wash lights and 28 Atomic strobes as well as other automateds and conventionals at his disposal.
At Park Place in Barrie
UK - Bandit Lites is supplying lighting production for Brian McFadden's first solo UK tour, during which he is promoting his Walking Disaster album. Bandit's Lester Cobrin is working with Production North and lighting designer Arturo Ollandini.
McFadden's musical direction has changed considerably following his move from Westlife and Ollandini's lighting brief was left wide open, apart from the fact that he was asked to make it a bit rocky and raw, to suit McFadden's gritty new style and his dynamics as a solo performer. "There's plenty of creative scope," he says. "The set really rocks out one minute, gets bluesey and ballady the next and also gets stripped right back at times to just him and his acoustic guitar."
Ollandini and lighting technician Martin Garnish are using a two truss rig. The front one features Martin MAC 2K performances to light and project gobos onto the back drape and MAC 500 profiles used to key light the band - McFadden plus 5 musicians.
The 40ft rear truss has four legs of mini-beam hung vertically downwards - for a contemporary metalwork matrix look. Attached to each leg are Pulsar ChromaBank LED strips, MAC 500 and MAC600 moving lights, and at the top of each leg are ChromaQ ColorBlocks used as truss toners. In the gap between each of the four vertical legs, hanging off the back truss, are more MAC 500s and MAC 600s.
The fixture count is completed with additional MAC 500s on the floor. Bandit is also supplying two Lycian 1200w HMI followspots. Ollandini runs the show using a WholeHog II console.
Sound for
UK - Summit Steel is supplying a 45-way Kinesys Elevation 1+ vari-speed automation and control system to the current Oasis stadium tour - as specified by lighting designer Andi Watson. It is the largest ever Kinesys Elevation variable speed chain hoist system used to date.
Lighting contractor PRG Birmingham, and account handler Robin Wain contracted Summit to supply the system which is being used to move 12 lighting 'Quads' customised frames each holding 4 MAC 2000 moving lights and lined with PixelLine LED battens on the top rail and DJ Flash rope. There are two motors per quad, and these glide seamlessly in and out and up and down to create different patterns and configurations - effectively making a constantly moving stage set.
There are four further moving trusses taking up thirteen points, each of varying lengths and containing a total of 12 Syncrolite SX 3KW moving lights. Upstage of these are another eight Elevation 1+ controlled hoists, lifting four 2.6 x 2.6 metre Barco D-lite 7 LED video screens, each weighing approx. 850 Kg.
The motors are all run off the Elevation system's proprietary Vector PC-based software; the automation operator is Andy Beller assisted by Toby Rouse.
(Jim Evans)
UK - Coldplay's lighting designer Nick Whitehouse and show designer Bryan Leitch specified a Diamond 4 Vision console to control all lighting, video and visual effects for the current Coldplay Twisted Logic world tour which is now in full swing on its summer UK and European outdoor leg.
Rental company Siyan in partnership with Dutch company Flashlight is supplying all lighting equipment and Siyan ordered the two brand new consoles for the occasion. Whitehouse, who is also operating, says: "The D4 is my console of choice now - I use it for all my work, it's a massive step forward for integrated lighting and video control but retains all Avo's trademark hands-on features."
The D4 is running eight universes of DMX to lighting and assorted video sources triggered via the new Radical Lighting NG1 high definition digital media server. Avolites worked closely with Whitehouse and Leach prior to the tour, and made some special software customizations specific to the show. They also supplied software developer Oliver Waits for the duration of the rehearsal period to ensure everything ran smoothly.
The bulk of the lighting rig is hung on twelve 'randomly' positioned two metre trusses, rigged all over the roof, each contains three SGM Giotto 400 CYM spots and an Atomic strobe. The four upstage trusses are on a vertical plane and on vari-speed Cyberhoists. The rest of the flown rig includes 12 Vari*Lite 3000s on TV-style Pantograph moving arms, supplied by Desisti, DMX controlled and also running through the D4. On the front of each Pantograph is a 2-lite M
UK - Designing the lighting for the biggest ever gig in the UK, a design which will be copied at nine other huge gigs worldwide and seen by up to five billion viewers on TV and online, is no mean feat. But talk to Peter Barnes, lighting designer for the phenomenally successful Live 8 concerts, and it all seems like a walk in the park.
Originally scheduled to finish at 8pm, then 9.30pm, London's Hyde Park concert was widely expected to over run. "There's a massive difference between running a show that finishes at 8pm, when it's still light, and one scheduled to finish after dark," said Barnes. "So the day before, we got a team to go and rig six VL2416s on each of 16 delay towers in the park. Not only did they provide light on the crowd at night, but during the day they also gave a sparkle for the cameras when they filmed from the back of the stage.
Supplied by PRG Europe, the lighting had to work for both the live audience and the TV cameras. Six articulated trucks took 47 tonnes of lights to the site, which were suspended up to 10m above the stage from almost 180m of truss. Some 250 moving lights - including VL3000s and Mac 2000s - were used, along with 200 Pixel Lines, 120 static lights and eight followspots, controlled by two Wholehog II consoles with wings. "I had no idea what each band would be doing," added Barnes. "Sometimes one of their crew would approach me shortly before they were on, and give me some guidance as to what they wanted, and most of the time I was left to get on with it. But I was at the desk all the time, and