USA - Starlite Productions of Cherry Hill, New Jersey, has appointed Keri Hall as a lighting sales associate. In this role, she will handle both retail and wholesale sales within the company's lighting group. Hall returns to NJ from Orlando, Florida, where she was most recently an event coordinator with Disney's Wild World of Sports. In addition, she spent several years as a lighting, pyrotechnic, and special effects technician at Pleasure Island and Disney-MGM Studios. She holds a BFA in Theater Arts from Mason Gross School of the Arts at Rutgers University.
(Lee Baldock)
Denmark - Martin Professional has made available the first module in a new Wing System for its Maxxyz lighting control desk that expands the console's functionality and gives users the ability to customize and add more direct access. An adaptable Playback Wing, the first of several Wing Modules to be made available, expands the direct playback access of Maxxyz by three times, and allows the Maxxyz operator to navigate through even more quickly.
The Playback Wing consists of two Playback Modules in one frame, adding 20 motorized faders with 20 customizable LCD buttons and extending the playback capabilities of Maxxyz. The Playback Wing also includes 10 additional LCD buttons, also customizable for easy navigation, plus 40 conventional buttons - more advanced features than competitive equivalents, according to Martin.
The Wing System's modular design is freely configurable, allowing the possibility to create a Wing by incorporating any two modules. As further Wing options become available, it will be possible to combine different modules - thereby customizing it for a specific application. Modules are easily attachable, making it fast to re-configure a wing to suit one's needs. The frame can be used with a single Wing module if desired.
Wing modules are robust and easily connected directly to the Maxxyz console's rear panel, or to a USB port on a laptop/desktop computer and used in conjunction with the Maxxyz PC, which will be released towards the end of 2004. The Wing System follows the same contours as Maxxyz itself and can be placed on the left or right side
Sweden - W-DMX is a new wireless DMX system developed by Wireless Solution AB in Sweden. Currently, most systems for sending wireless DMX transpose the data on to a proprietary standard such 802.11 (W-LAN) and use compliant wireless equipment for the data transmission. There are inherent problems associated with this method though, interference from other competing local wireless networks including Bluetooth equipment is one problem and the user often has to go to the trouble of setting up IP and Netmask settings in order to make the system function. However, the W-DMX is a compact, plug and play unit with a competitive price, and more importantly, free from interference from other products in the 2.45GHz band.
Using the well-established mobile telephone GSM technology in the 2.45GHz licence-free band, the W-DMX avoids many of the problems associated with ordinary wireless networking products. The products are all DMX512A and RDM ready, and the firmware can also be updated using a separate data channel, which is also used for system set up. Up to 8192 receivers can be controlled form one system, and there are four differing types of transmitter - the differences being primarily in the quantity of DMX universes that can be controlled: 1, 4, 8 or up to 16 universes (8192 channels) of DMX can be sent reliably using this system. The receivers are more use specific - the standard is small and lightweight whereas the Delux has a built in UPS for up to 8 hours of power loss and the Deluxe Outdoor is the same as the Deluxe but having IP65 rating. All systems have LCD scre
USA - For New York radio station Hot 97's Summer Jam concert in Giants Stadium, production designer Gary Westcott sought a way to integrate control of the show's audio and video elements. The five-hour concert was scheduled to include performances by 11 different acts with frequent playback of video clips and audio tracks during and between acts. PRG's solution was Mbox, the media control technology exclusively available through PRG.
Using four Mbox servers and a GrandMA lighting console, Westcott was able to control all of the visual imagery on eight video screens rigged onstage and over the audience. He was also able to cue the front-of-house audio console for playback of selected audio tracks throughout the show. The show's video and audio elements included support for the live acts during their performances as well as playback of clips between acts for artist introductions and sponsorship messages.
Mbox's real-time editing capabilities allowed pre-programmed video images to be spontaneously modified and re-arranged to accommodate lineup and set-list changes. Despite the fact that numerous onsite changes were made, all of the Mbox servers stayed in synchronization with each other and with the audio desk throughout the entire show.
"Mbox achieved a 'first' in video production with the level of ease it provided me in manipulating images, cueing them, and synchronizing them with the audio elements of the show," Westcott said. "Mbox's ability to deliver instant playback of video clips with accompanying audio tracks enabled me to implement spontane
USA - Scott Chmielewski of Digital Media Designs in Baltimore, specified High End Systems lighting products to light a corporate gathering for the Small Business Administration Expo '04, which required a multipurpose lighting rig. The event at the Orlando Convention Center, Florida, featured keynote speeches, networking opportunities, an awards ceremony and black-tie gala.
"The lighting system had to be as flexible and dynamic as possible," Chmielewski explains, citing his plot for two Catalyst Pro v3.0 Media Servers, two DL1s, 32 ColorCommands, 12 Studio Beams, 10 Trackspot 2s and 24 other moving lights, with control by two Wholehog III consoles. "In addition to the range of aerial and projection effects from the DL1s, we also used Catalyst to send show Flash files and images to the main screens for all the events, and it all happened flawlessly. We were able to take simple graphics provided to us by the sponsors and clients and within seconds we produced animated, dynamic lighting projected onto the walls, ceilings and main screens of the stage. The backdrop to the main stage was a custom 13.5ft by 24ft projection screen with two hot-stacked Barco R10 projectors, which also had a RGBHV signal from the Catalyst. The ColorCommands proved to be an indispensable tool able to go from soft subtle colors for the general sessions to rich vibrant colors for the awards and gala."
A Hog III console controlled the rig of almost 100 intelligent lights and the servers. "Programming the Catalyst on the Hog III was intuitive and the Catalyst never ski
UK - When the Olympic Torch arrived in London on its journey to Athens, Power Logistics supplied the power for the celebrations on the Mall. The event attracted 70,000 people to the Mall to see the Olympic flame welcomed to London by the UK Olympic Patron, HRH Princess Anne. A concert followed, featuring an array of artists including Rod Stewart, James Brown, Ozzy and Kelly Osbourne, Will Young and Emma Bunton.
Power Logistics' project manager, Tony Harpur managed the installation of the power equipment, loading in 10 days prior to the event. The unique location offered many challenges; most notably because the Mall was open to the public during the build, and also because of the high-level security. This meant everyone had to work to a strict load-in and set-up schedule, with working times based on the Mall's allocated road closure times to ensure minimum disruption to the area's traffic system.
Power Logistics installed a 455kVA and a 250kVA twin-pack to provide power for the event's lighting requirements, and a 250kVA twin-pack for the sound and video supply, which also included the event's outside broadcast needs. A series of 10 remote generators were deployed for the screens and delay towers set up along the Mall, with either a dedicated generator to each tower or cabling running between two towers on catenary wire. In some cases, towers could be more than 60m apart. Another five generators were used for the production facilities and seven tower lights put into the work areas to aid the build through the night.
This was the first event to be held on the M
UK - Following a series of successful technical lighting workshops held earlier in the year, Selecon UK has completed the second round of sessions, which are free to professional theatre technicians and lighting designers. Four workshops were held at diverse locations around the country, starting with the Kings Theatre in Plymouth, moving to the West Yorkshire Playhouse in Leeds, then on to Midlands Arts Centre, Birmingham and finishing at the Bristol Old Vic.
Selecon's Nick Gale, Mark Miller and Louise McCoy gave participants a brief overview and demonstration of the various Selecon luminaires before inviting them to get 'hands on' and try them out for themselves. Theatre technicians Oscar Kane and Dave Sinton travelled all the way from Belfast's Waterfront Hall to attend the workshop in Leeds. "The lights are great. We were very impressed by their performance and versatility," said Kane. "The ability to produce gobos on a standard inkjet printer is a real plus," said his colleague, Dave Sinton. "We use a lot for corporate dos and conference work and this would be a real cost-saver."
The Waterfront's technical manager, John Kerr, confirmed this in a phone call after the event. "We have a commitment to advancing our technical staff, and we're always on the outlook for new ideas," he commented. "I was especially impressed by what they told me about the Gobo technology," he concluded.
After lunch, delegates were given the opportunity to compare the performance of Selecon lights against some other rival manufactur
USA - In a move designed to strengthen Entertainment Technology's presence in the theatrical and entertainment industries, Vari-Lite regional sales managers have been given direct access to the award-winning IGBT-based dimming products of VL's sister company, Entertainment Technology. The announcement is the latest strategic move taking advantage of the synergies of the two Genlyte Thomas Group companies. Both Entertainment Technology and Vari-Lite are part of the Genlyte Controls division, based in Dallas, sharing office, manufacturing and shipping space.
"In many instances, Vari-Lite and Entertainment Technology reps are calling on the same decision-makers," says Bob Schacherl, vice-president of sales for Genlyte Controls. "By providing Vari-Lite RSMs access to the Entertainment Technology line, these lighting professionals can now work with one person for all of their lighting needs rather than having multiple points of contact. Our goal is to make it easier for the end user to do business."
Entertainment Technology's Jim Crooks and Mike Connell have been named ET sales directors. Crooks will continue to serve his US region west of the Mississippi River, while Connell maintains his responsibilities east of the Mississippi. Crooks and Connell will assist and train the Vari-Lite regional sales managers as they settle into their new roles. The additions give Entertainment Technology a true worldwide sales force.
"This plan will increase Entertainment Technology's presence within the theatrical entertainment industry," Schacherl s
UK - Network AV, a specialist in large-scale exhibition features, delivered fully integrated in-house production solutions to the Cruise Strip at Max Power Live at the NEC last weekend (2 - 4 July), including sound, light, staging and a number of creative components.
The event saw the launch of Network AV's new arch roof staging system that featured as the central focal point for all the arena action. The stage, an 8x8m area, was the base for the main MC, promotional models and the show's live DJs. This new Network AV stage is expected to be in strong demand for festivals, city centre entertainments, fashion shows and exhibition stands, with flexible steel deck flooring and independent truss structure. For this event, the roof was undressed to increase light flow, although it does come with full roof and side covering for weather protection, say Network AV.
The Cruise Strip was placed in Hall 5 at the NEC and had a per show capacity of nearly 4,000. With grandstands facing three out of four sides of the arena, sound distribution was critical in the undressed hall. Nick Halliday, Network's head of production and technical director Patrick Hocken, specified a 40kW system to give a dance festival feel. Halliday explains: "This was the largest ever sound installation at Max Power Live and to ensure a true representation of in-car entertainment systems, we placed 40 18" sub-bass units on the floor front-of-house, while flying the mid/high cabinets on the main truss." Hocken continues: "This system, when running at full show level, truly shook the
USA - Lighting designer John Featherstone used Robe Show Lighting's powerful ColorSpot 1200 AT fixtures to light the Eidos stand at the 2004 E3 exhibition - the definitive trade show for electronic gaming industry professionals, held at the LA Convention Centre. Featherstone and his consultancy, Lightswitch, has designed the lighting for Eidos presentations at E3 since 1997.
For Eidos, the primary aesthetic objective was to make the booths 'speak' to the dynamic pace of the games being showcased, ensuring they stand out from the crowd in a highly competitive marketplace. Eidos use a series of 'vignettes' designed by 3D Exhibits to anchor the central theme of each game, and provide a visual tableau to present the software. Eidos has always utilized lighting to help support this technique, adding layers of texture, colour and movement to the displays.
Featherstone used 24 Robe ColorSpot 1200s, supplied and supported by Robe America, placed strategically around the booth to help light the different areas. He maximized the ColorSpot 1200's onboard features and effects to bring the important elements of colour, texturing and movement into the visual equation. It was the first time he's used the fixtures, and he was extremely happy with the results, commenting that the ColorSpot's "great speed, optics and prisms" were impressive, and the ideal tool for creating the desired effects in the showcase areas. He says he'll definitely use Robe again in the future.
Featherstone worked with lighting director Dennis Connors and production electrician Chip Foody on E
UK - An exclusive new members club opened its doors in June, revealing a striking visual interior. Design and brand consultant, David Collins, has created a space designed to stimulate all the senses. With a capacity of just 100, the subterranean Kabaret's Prophecy in Beak Street, Soho, hosts a display of visual stimulation created to "redefine the concepts of environmental design".
Constructed from modular intelligent LED pixel blocks, two of the venue's walls act as backdrops upon which graphics and animations, triggered from a real-time generator or MIDI keyboard, create a constantly morphing environment. Clad in Barco's proprietary MiPIX system and displaying intelligent lighting effects, 3D logos or graphics - even full video content - these moving images curve around the contours of the walls and wrap into the alcoves, giving a strangely three-dimensional depth to the walls.
For the central light sculpture, Collins enlisted light artist Chris Levine to help realize his vision. Levine created a 360° laser light sculpture shining out from the top of a central support pillar and shielded behind Perspex. To create the MiPIX walls, Collins brought together the creative team of video system specialists, Creative Technology - early adopters of MiPIX blocks - and pioneering environmental graphics engineers and live performance video specialists, United Visual Artists (UVA), both of which were hugely passionate and proud of the project. Introduced to the Kabaret project by Chris Levine, UVA provided all playback, software, programming and operational pers
UK - Ceven nightclub has recently opened its doors in Albertslund, Denmark, and is already creating waves in the city's nightlife. Lumodan Aps - based in Frederiksberg, Denmark - is responsible for the venue's lighting installation, which features an array of Tryka L.E.D. luminaires.
The products are present in most parts of the club, starting with the entrance, where revellers are welcomed with a wash of colour courtesy of Tryka's Module 12s, on to the bar where the flexible colour changing LinkLEDs help to create the desired atmosphere. RGB Strips fitted on the walls complete the mood of this dynamic nightspot. Control is provided via a Tryka Smart Card Controller.
Brian Markussen, Lumodan's managing director, enthuses: "Tryka's L.E.D. fixtures proved to be the best products for this installation, as well as the strongest available on the market at present."
(Lee Baldock)
Denmark - Martin Architectural's Exterior Inground 200 Series is a durable range of IP 65/67-rated inground luminaires that represents a breakthrough for its ability to integrate colour-changing technology into a standard uplight luminaire. Designed for all terrains and weather, the Inground 200 offers high-performance tools for dynamic uplight illumination of facades, columns, structures, trees and landscapes.
The series offers three different colour systems for applications of varying complexity: firstly, Single Colour - designed as a simple means to creating colourful lighting schemes, the single colour system lets you choose any colour from a collection of 40 dichroic filters. Custom colours are also available. The single-colour system also provides manual intensity control for fine-tuned illumination. Secondly, Six Colours - offers a programmable colour-changing system, with a selectable palette of up to six colours. Finally, Full Spectrum CMY - the most advanced and versatile option, the CMY colour system offers a virtually limitless choice, with a programmable dimmer for true 0-100% intensity control.
Four different lens systems are available for a variety of beam angle options, medium (32°) wide (56°), very wide (98°), and wallwash. The series includes a patent-pending wallwash optical system with glass reflector and long life CDM 150W discharge lamp. An OptiWhite glass front ensures a high transmission, purer white light and true colour projection with no colour shift. The system guarantees even, broad illumination of walls and surfaces with uniform
UK - Peter Gabriel enters the final straight of the marathon tour which started in 2002 (as the Growing Up tour), and has just completed its latest European arena section - Still Growing Up.
Production values are always at the top of the agenda for Gabriel's performances. The precise, highly original Growing Up show (see L&SI July 2003) was originally conceived by Canadian film maker Robert Lepage and Peter Gabriel. Lighting designer Patrick Woodroffe was asked this year to produce a new design and feel for the original show, one more suited to arenas, sheds and larger performance spaces.
Woodroffe worked alongside long-term Gabriel Growing Up lighting director Dennis Garner, who was with the tour from the start. He added many new dimensions to the show, boosting the large bright looks department for the traditional crowd pleasers, but also keeping many of the original ideas and subtleties from the initial tour lighting. Gabriel - who is always integrally involved with the lighting designs - was keen to retain specific intimate moments, even in large arenas.
The show is staged in the round. The main lighting truss is a 13m diameter circle - the same one that's always been with the tour - with 24 High End X.Spot Xtremes and 24 PC Beam wash lights spaced around its perimeter. This is crossed with four trussing 'fingers', each rigged with four X.Spot Xtremes, two 6k washes and a followspot. On the circular stage floor, which is also a full revolve, are another six X.Spots, six generic fixtures and 16 Martin Atomic strobes - and that's it. Minimal but highly effective. G
USA - PRG and VLPS Lighting Services International have jointly announced the completion of the merger announced last month, which has created the leading equipment and technology company in the entertainment industry. The merger has been approved by VLPS stockholders, and the regulatory review period has expired. As of now, a newly-formed subsidiary of PRG will be merged with and into VLPS, with VLPS becoming a wholly-owned subsidiary of PRG. The combined company will operate as PRG Lighting, PRG Audio, PRG Scenic Technologies and Showpay, and will maintain its headquarters in New Windsor, NY.
Under the terms of the merger agreement, VLPS stockholders are to receive $8.32 per share in cash immediately, with up to an additional $.50 per share payable from an escrow account established to pay for any indemnification claims. VLPS shares, heretofore listed on the OTC pink sheets, will cease trading immediately.
"This is an important milestone for these two companies and our industry as a whole," said Jere Harris, chairman and CEO of the newly-merged PRG. "Going forward, we plan to strengthen PRG's position as a global brand leader in the entertainment equipment industry, and we are now moving ahead to ensure that the integration of these two great companies takes place as smoothly and as seamlessly as possible."
The new PRG has a global presence, with major operations in Chicago, Las Vegas, London, Los Angeles, New York City and vicinity, Michigan, Nashville, Orlando, Tokyo and Toronto. H.R. "Rusty" Brutsché III, VLPS founder and CE
USA - Friday 11 June saw 'opening night' of ETC's new corporate headquarters near Madison, Wisconsin. The theatrical terminology was apt, as the lighting company's new $21m building is all about theatre and lighting magic, in a space that rethinks the rules on corporate architecture.
Town Square is the heart of the 250,000sq.ft facility. A theatrical replica of a 1940s city street scene, it's based on Edward Hopper's New York paintings. The centrepiece is the Nighthawks café itself (the company's reception area), while an old-time cinema flashes its neon 'Century' sign, and serves as entrance into ETC's product demonstration and staging area. Across the way, the 'Kelly Insurance Agency' is the company's Human Resources department. Other façades - a bank, an office supply store, a travel agency - crowd around the space of Town Square, overshadowed by an Empire State Building-like skyscraper.
Besides its obvious theatricality, the building is also about Fred Foster's idea of a better corporate culture. He wanted not only to demonstrate ETC's business in lighting but also to bring its 600 employees into a closer sense of community, into a thriving centre where everyone would be a 'main character'.
UK - Big Gay Out - the official Pride Party - staged in Finsbury Park on 3 July was presented by Faceparty, in association with Virgin Mobile. Over 20,000 festival-goers attended the event, where over 160 artists performed live across 11 stages between 1pm and 10.30pm, including Fun Lovin' Criminals, Jamelia, Sugarbabes and Mark Almond on the main Big Mutha stage.
Celebrated as best party organizers in 2002 and 2003 by Mixmag and FHM, Faceparty is famed for its high production levels and decadent parties. In true style, Faceparty's Dave Bamforth inspired the design and concept for Big Gay Out, transforming London's Finsbury Park into a feature-packed wonderland. In addition to 11 stages, beach bars, splash pools, a funfair, jacuzzis, and a teepee village ensured a good time for the party revelers.
Faceparty's executive producer, Martin Heap, coordinated the event, appointing London-based Just Add Water, to handle the on-site logistics, artist liaison and site management. Their experienced team, headed by Claire Sampson and Craig Becker, proved invaluable. Martin Heap commented: "Despite being a challenging event, with a tight build-up, 11 stages and a staggering number of performing artists, Just Add Water's can-do approach and expertise ensured that operations on-site ran like clock work from start to finish."
The Big Mutha main stage comprised an Orbit structure supplied by ESS with full production rigging supplied by Unusual Rigging Ltd. Collaborating with Faceparty's Dave Bamforth, the set was designed by Simon Millington, who realized an 'Enchan
L&SI has learned of the death of Hugh Laver, on 4 May in Adelaide, Australia. Laver, a well-known figure in the UK's lighting industry, had suffered with Multiple Sclerosis for 15 years.
Simon Corder writes: "In my life there have been a few people of great importance; mentors and teachers who have inspired and taken the time to share their experience. Hugh was my chief at the Bubble Theatre in 1979; we toured London in a big yellow tent. He was a good man who is fondly remembered."
Jon Cadbury of VLPS adds: "Hugh and I had worked together for the Joint Stock Theatre Company, where he always had the clearest view on the right way to service and support theatre and entertainment technology. He was a teacher and an inspiration to everyone who came into contact with him. He will be missed by many people.
"Paul Turner had started Zenith Lighting to service the concert touring market, and asked me to join him in 1981. I agreed, on condition that he asked Hugh to act as technical consultant . . . Hugh was instrumental in the company's growth and ran the technical department of the enlarged Samuelson Concert Productions for several years. He ensured that our equipment was always of the highest quality, and that an ethos of professional care was the norm."
Later, Laver joined Avolites, whose sales director Steve Warren says: "Hugh joined Avolites as quality assurance manager. Anyone who has experienced Hugh's attention to detail and refusal to be worn down by any issue will understand why he was ideal for the task ahead. Your day was always imp
UK - The ABTT Theatre Show is known for its relaxed and intimate atmosphere, combined with a good visitor profile. This year's show, however, was able to maintain that quality and claim a 15% growth over the previous year - with an impressive 127 companies represented.
Autograph Sales debuted the Swedish LDS 'invisible' true line source theatre loudspeakers. New to Autograph's portfolio is Aviom, whose new A-Net digital multicore system, available with a Yamaha interface, was demonstrated with the DM1000 digital mixer.
Lee Filters added to its 700 series of filters, created by lighting designers. New from Dave Davey: Provence (701), Twickenham Green (736), Dirty White (744), Hampshire Frost (749) and Burnt Yellow (770); from Kate Wilkins - Virgin Blue (723) and Easy White (747) and from Rick Fisher - Cool Lavender (708).
Alcons Audio debuted at ABTT with a complete line of theatre speakers (the VR8 and VR12, based on the company's pro-ribbon technology), the ALC2 controller-amplifier and the TS-series of compact in-fill speakers. The focus, however, was on the LR14 - the ultra-compact ribbon-loaded line-array.
Avolites showed production models of two new products - the eDMX and the ART 2000s stand-alone dimmer. eDMX transfers DMX data across a Wi-Fi radio link - removing the need for DMX data cables. The ART2000s is a stand-alone dimming module designed for distributed systems. Available in 10A, 16A and 32A per-channel ratings.
As well as introducing the familiar face of Andy Trevett, and demonstrating its increasingly popular Warp profile luminaire, ADB-
Korea - 70 Robe Show Lighting fixtures were used to light the massive F*Concert at the Chansil Olympic Stadium in Seoul, South Korea. These were supplied to the show by leading Korean rental company Technolight, for a lighting scheme designed by Mr Doo Chul Shin.
The Robe fixtures were in turn supplied to Technolight by Robe's Korean distributor Art-Tech. The rig featured 40 Robe Spot 575 XTs and 30 Wash 575 XTs, chosen for their brightness and flexibility. The annual F* Concert is a showcase event to highlight the best of 'up-and-coming' and 'hopeful' young Korean pop talent - all with dreams and ambitions of becoming future superstars.
The show is televised, and watched live by over 70,000 enthusiastic pop fans. F* Concert - for Freedom, Fever, Future (previously known as the Dream Concert) has produced many successful live and recording stars.
(Sarah Rushton-Read)
Greece - Martin Professional's MAC 2000 Wash will be the main washlight fixture to be used for the opening and closing ceremonies of the Summer Olympic Games in Athens. On 13 August 2004, the eyes of the world will be fixed on the Olympic Stadium, where a total of 650 MAC 2000 Wash lights will be used as an integral element of the opening show. The Martin fixtures will be supplied through Hamburg-based Procon MultiMedia AG, who has teamed up with other large rental companies in order to supply a complete and comprehensive lighting package, as required by American lighting designer Bob Dickinson.
Combined with other lighting effects, the opening and closing ceremonies are certain to be a huge spectacle, with some four billion people expected to watch the event. The event producer is Jack Morton.
(Jane Cockburn)
USA - Denver-based Rave Lighting supply a Martin Total Supplier package for Denver's own South Beach getaway. Modeled after clubs more typical of Miami's infamous South Beach, Rise is a true tropical-themed mega-club complete with real palm trees, Latin beats, Caribbean Happy Hour and tropical cuisine and theatrical entertainment in the form of its very own Theatre Surreal.
Rave Lighting designed and supplied the lighting systems which include a Martin Total Supplier package of Martin lighting, Mach audio and Jem smoke gear. Rave's Brian Gysegem was instrumental on the project, serving as lighting designer and project manager with assistance from Stephen Cox of Rave. Sound engineer was Chad Busse.
The three-floor club boasts one of the largest club layouts in Denver's lower downtown with four dance floors and five separate bars spread across Rise and a pair of sub-venues, the low-key Shadow Lounge and the patio lounge Skybar. Rise is the main club area, an 18,000 sq.ft space that features nationally acclaimed DJ and band entertainment. Here Gysegem placed MAC 250 profiles and MAC 300 washlights over the main dance floor mounted on five-foot poles in a symmetrical grid front to back. The lights project onto a central four-foot mirror ball and large dancefloor scrim as well as the floor below. Full-house Martin Wizard lights mounted onto adjacent poles fill the dance area while Atomic 3000 strobes give the space that extra punch when needed.
Audio in this main dance area consists of 15" Mach M156i two-way medium-throw speakers with support from 18" Bag
Europe - Lighting designer John La Briola chose an Avolites Diamond 4 Vision lighting console to control all lighting fixtures on Mary J Blige's world tour - currently in Europe. La Briola has always been an Avolites fan, and has a track record of producing imaginative designs for top female R 'n' B acts. This is his first outing as LD for the high profile Mary J.
Having taken a break from the live circuit for the last two years, getting back on the road in early 2004 has meant the opportunity of using the latest and most powerful of the Avolites Diamond range - the Diamond 4 Vision. Blige's lightshow design took her spectacular 'soft' good set as a starting point. This is designed by Tom McPhillip of the renowned set and material specialist, Atomic Design, based in Pennsylvania. The stage is dressed in a 'box' style of textured curtains and drapes which give it a luxurious, rich 3D feel.
The rig consists of 46 MAC 2000s (24 Washes and 22 Profiles), 10 ETC Source Four Pars with the new Wybron CXi scrollers and some 8-lite Moles along the stage - all controlled by the Diamond 4.
After many tours using Avo Diamond 3s, LaBriola now rates the D4 as highly and above, and comments that it's in a class of its own. With years of Avo operating and programming experience under his belt, La Briola enthuses: "I've watched the Avo brand grow from becoming the industry standard conventional lighting desk back in the 1980s to the powerful contemporary moving light consoles. It's been an interesting process that's resulted in successive generations of Avo machines becomi
USA - For a modern-day adaptation of Aristophanes' The Frogs, which follows the two main characters' journey from contemporary New York City to the underworld and into Hades via the River Styx, lighting designer Ken Posner used 31 Vari*Lite luminaires. To simulate the River Styx, Posner created a water effect using primarily 16 VL3000 Spot fixtures with custom gobos and art glass overlaid with VL2000 Wash luminaires. Posner's automated lighting rig at the Lincoln Center's Vivian Beaumount Theatre also included 15 VL2000 Wash units. All the Vari*Lite fixtures were provided by PRG.
"In this one particular scene, the VL3000 Spot fixtures' major task is to provide the water effect," Posner explained. "But they are used in multiple other looks in every scene throughout the production." One of the most intriguing scenes on the journey down the River Styx is when the two main characters are attacked by two frogs. During the sequence Posner creates lily pads across the on stage river using custom photo-realistic gobos. Half of the automated lighting rig is creating the effect of moving water, and the other half are projecting photo-realistic lily pads, which constantly recompose so that the frogs travel down the river hopping from pad to pad. To create the constantly shifting feeling of water flowing and rippling, Posner used the fixtures' CYM colour-mixing system to create varying colours and the rotating gobo wheels to offer a sense of constant motion and movement.
Constant movement is a theme the lighting design carries throughout the entire