UK - Copper Candle won three separate PLASA Innovation Awards during September’s PLASA Show 2021, held at London’s Olympia.
The winning products - Copper Stream, Bone Stream and Cue29 - were chosen by a panel of industry experts and have been created to optimise the real time design, broadcast and audience engagement of live music, theatre shows and events in the virtual environment.
The PLASA Innovation Awards judging panel said: "The judges have chosen to award a suite of products from this boundary-pushing software developer. They felt the group of products shared the same innovative approach to merging gaming technologies into a framework engineered for the live events industry. The judges believe these products are at the forefront of the move towards virtual production in events."
Following 18 months of a global pandemic on the live entertainment sector, James Simpson, managing director and founder of Copper Candle, was thrilled, and reassured, by the outcome of the awards: “Winning industry specific, product awards are critical to the success of curve leading products like ours. If there is a positive outcome from the recent pandemic, it’s that it has revolutionised people’s attitude to virtual technology. For a new start-up like Copper Candle the PLASA Award has provided the respected expert and public validation we need for our products. In turn that drove our future customers to pick up the phone to discuss their own projects.”
Simpson went on to say that the Copper Candle team were astounded and flattered by the suppor
UK - Yesterday morning, Chauvet’s Sam Bowden departed from Stratford Upon Avon to embark on day one of his 101-mile walk to the National Theatre on London’s Southbank. Staged over five days, the fundraising event will raise money for the ALPD’s 2021 Lumière scheme and industry charity Backup.
Members of the ALPD’s executive committee and other members of the Lumière scheme working group, including Lucy Carter, Charlotte Burton and Tamykha Patterson are completing the walk remotely, racking up the mileage around existing work commitments to raise funds for two great causes.
Charlotte Burton explains: “We have taken on this almighty test of endurance because we believe that the work achieved through the Lumière Scheme and by Backup is vital and worth the sore feet!”
Looking forward to a pint to refresh his legs at the end of day one, Sam Bowden added, “The first day definitely brought home how big the challenge is. The good news is that’s the longest day done!”
The funding will assist the evolution of the Lumière scheme which for the past five years has seen continued success. The scheme creates pathways into the lighting production industry by offering real work opportunities alongside established practitioners. The ALPD are committed to expanding the current Design scheme and establishing the new Production scheme. All Lumières are paid for their work on the full six-month scheme, whilst those on the virtual scheme receive a micro-bursary.
Backup provides financial support to industry technical professionals, crew/
Norway - Nobody can deny that the last 18 months have been difficult and challenging, especially for our people-orientated industry. Limitations on work, movement and contacts have been hard on everyone. But as restrictions started to ease and the industry begins to open up, LiteNordic, Ayrton’s exclusive distributor for Norway, Sweden and Denmark, came up with an ingenious way to reconnect with their customers and lighting designers in a safe, fun way after a near two-year hiatus.
They hired a camper van, threw in a bunch of IP65 rated lighting fixtures, including Ayrton’s Perseo Profile and Perseo Beam, and took them out on a camping road trip. They set up camp in forests outside Norway’s three main cities: Stavanger, Oslo and Bergen where they invited lighting designers, rental companies, sales companies and other of their colleagues and clients to join them for a barbecue and, if they wished, a night under the stars, sleeping in hammocks beneath tarpaulins.
Organised by Lite Nordic’s Aleksander Kjær-Wilhelmsen and Petter Nilssen, Camp LiteNordic: Into the Wilderness was, as Kjær-Wilhelmsen is keen to point out, “more about people than product”. He notes, “It gave us the opportunity to take people out of their comfort zone and routine a little, and relax for a nice evening that focused on fun rather than fixtures. It gave us all a chance to meet and catch up after a long period of isolation when we have all suffered hardships. However, after a few beers and sausages, curiosity overcame our guests and when they asked about the IP65 rated
USA - In the past month, the West Coast welcomed the opening of Main Light West in Las Vegas, the second location of Main Light, LLC.
“Main Light is pleased to have expanded our market reach by opening a West Coast location, which we know has been a wish of many of our customers for some time,” states Randy Mullican, general manager of Main Light, LLC., for both Main Light East and West. “Whether on the East Coast or the West Coast, clients can be confident of finding a trusted partner in Main Light and receiving the same reliable service and equipment.
“We are here, now on both coasts, ready to respond efficiently and effectively to the needs of the industry when they are looking for additional equipment support to supply their clients’ requirements.”
The 40,000sq.ft Las Vegas facility’s day-to-day operations is handled by operations manager, Mike Gaynor, who is supported by rental executive, Steve Nancarrow. Gaynor was previously part of logistics/assistant operations at 4Wall Entertainment and prior to that was operations manager at Christie Lites, while Nancarrow was formerly entertainment lighting representative at PRG.
“We are all really excited about getting things up and running for Main Light in Las Vegas,” Gaynor comments. “We have a great crew here, with lots of years of experience and they are all looking forward to putting that experience to work for our customers. I think much of that experience is evident in the well thought out procedures we have created as we have opened, and it is evident to clients in the
The Netherlands - Lighting designer Bas van der Poel from design practice Light Image used Robe’s new LEDBeam 350 moving light fixtures for the recording of a new series of German games show 99 - Eine:r schlägt sie alle! (99 - One Beats Them All!), which was recorded in the Netherlands at the circular Westergas venue - part of a former gasworks now sustainably reimagined as a popular event and cultural space - in central Amsterdam.
The 32 LEDBeam 350s - the first to arrive in the Netherlands - were delivered to lighting rental company Eventec which specialises in supplying lighting for the television and broadcast sector by Robe’s Benelux distributor, Controllux.
Eventec works regularly with the show’s production company, Fabiola BV, and was asked to supply lighting and rigging for the series’ three-week shooting period at Westergas. The show action starts with 100 competitors who play a series of crazy games and knockout rounds until only one - the winner - is left standing!
Bas and director Bastien Angemeer discussed initial ideas for lighting, and Bas created the design based on this plus having an adaptable and versatile rig to be able to quickly cover multiple requirements of the fast-paced show and tight recording schedule.
Recorded in the Netherlands, this was a German edition of the show, so key elements included having a fuller and more prominent production that had featured in the Dutch version, and the director also wanted to be able to conceal props and scenic elements at strategic times with clever light
UK - As part of this summer’s Theatre on Kew programme, The Australian Shakespeare Company staged an open-air production of A Midsummer Night’s Dream, within the botanical surroundings of Kew Gardens. As an approved supplier at the venue, White Light (WL) was chosen to provide all lighting and audio equipment for the project.
Each performance during the four-week run began at twilight, to take full advantage of staging the Shakespearean favourite beneath the stars and canopy of Kew Gardens’ heritage trees. To enhance the play’s woodland setting and achieve lighting designer Peter Amesbury’s vision, WL specified a range of different lighting fixtures, all controlled by the HES Road Hog 4 console. The rig included Elation SIXPAR 200IPs and Chauvet Ovation E-910FC IPs, as well as SGM G-Spot Turbos. Look Solutions Unique hazers were utilised, to add to the sense of magic in the air.
WL’s key account manager - Dominic Yates comments: “Given the alfresco set-up for the performances, our entire rig had to be fully IP-rated. There were different visual elements to focus on, from the players on-stage, to the surrounding trees, which we wanted to appear larger than life to heighten the drama. To work around the ambient sounds of the gardens, we supplied a robust audio solution, which provided evenly distributed coverage regardless of where the audience were seated.”
Amesbury adds: “We were so impressed with the quality of the solution and service delivered by WL. The SGM G-spots were a real powerhouse fixture for the show, providing
UK - The family of Mike Jarvis, lighting designer and projects manager, are sad to report that Mike passed away 9 August at the age of 65.
Mike grew up in south Birmingham in a loving home, with his parents Douglas and Peggy and his brother Paul. Music was very important to Mike, especially when it was live. Growing up in Birmingham meant that he saw bands in small clubs before they went on to become rock legends.
He attended Harborne primary school, followed by Lordswood boys school. His foundation year at Fazely street in Birmingham studying art was a happy one, experimenting with sculpture and design which led him to the Theatre Design course at the City of Birmingham Polytechnic in the mid-1970s.
Joanna was one of his fellow students on the course and they quickly developed a strong friendship. At the end of the three years that friendship developed into the loving relationship that has lasted for 42 years, 35 of them as a married couple.
Mike moved from the polytechnic to a job as an electrician at the Birmingham Repertory Theatre. He quickly gained a reputation as a cheerful and reliable member of staff and he became responsible for running the lighting for shows in the studio theatre. He loved the intimate atmosphere of the studio and enjoyed the camaraderie of the small company of actors for each show. Sitting at the lighting desk in the box, he was physically close to the performance, something that he appreciated.
Promoted to deputy chief electrician he moved to running shows in the main theatre, sitting in the lighting box
USA - About 10 years ago, Cullman native Mason Felps got the chance to work his first major festival when he joined the crew at Rock The South. This August, he returned to his northern Alabama hometown as the festival’s production manager and lighting designer.
For Felps, who earlier this summer toured with Alan Jackson, the two-day festival brought back great memories. “Rock The South has a special place in my heart,” he said. “Our crew powered through a monsoon to put on this show. Yet, despite the storms, we wanted to do our best to make this festival special for the bands and the fans.”
Helping Felps and the production team make good on this goal was an impressive lighting rig supplied by Bandit Lites that featured 32 Chauvet Professional Rogue R2X Wash fixtures.
“We had a 60’ by 40’ stage with a steel roof,” said Felps. “Its height gave us a nice trim to work with to create some bold vertical looks that went along well with our video wall, while its width allowed us to space things out to make the show feel even bigger.”
Taking advantage of his wide stage, Felps was able to spread his Rogue R2X Wash fixtures on either of the performing artists, a group that included Luke Combs, Miranda Lambert, Nelly, Ashley McBryde and The Marshal Tucker Band.
This arrangement allowed him to surround the artists in light, enveloping them in a glow that stood up well against the giant video wall, while also pulling attention to the center of the stage. Sometimes that glow was created with white light, while at others it was don
UK - Martin Dudley and collaborator Malcolm Garrett created the lightshow for Heaven 17’s shows at the City Hall in the band’s hometown of Sheffield, and the Roundhouse in London.
Having worked with Heaven 17 for five years, Dudley was eager to light these shows, which would have the band perform in full the two albums that Heaven 17 founder Martyn Ware wrote and recorded with the Human League. He also appreciated how their evocative sound lent itself to rich imagery. Then there was also the opportunity to play his lights off against the video images created by Garrett, who was responsible for the original sleeve artwork for the two albums in 1979 and 1980, as well as many other LP sleeves of the era.
“I had been listening to the two Human League albums that made up this show for some time, but there was no time or budget for extensive pre-programming,” said Dudley, owner of Martin’s Lights. “We were lucky to have about a day and a half to set up the screens and lights in rehearsals immediately before first of the two shows. This was the first time I had seen the visuals, so I sat down with Malcolm to select colour palettes for each of the 24 songs in the show.”
Helping Dudley meet this time-sensitive challenge was his ChamSys MagicQ MQ80. “I had pre-patched the fairly extensive Roundhouse lighting rig into the MQ80 already, so on the show day at that venue I just had to plug it in and make sure it worked,” he said. “One of the really nice advantages of ChamSys products is their sheer speed of programming. If you know what you wa
UK - The seventh annual Outcider Festival, a summer weekend event in Compton Martin in the West Country brought together a blend of over 30 different bands, artisans, food purveyors, and a generous selection of locally brewed scrumpy cider.
Although the main stage setting was decidedly rustic (the festival took place on a farm), the lighting kit supporting the high-energy performances was strictly up-to-date, featuring Chauvet Professional LED fixtures supplied by BH Sound & Lighting Hire.
James Marshall of BH joined with Finlay Wort in designing the lighting rig. Their focus in this collaboration was on versatility, as they knew they’d have to support a diverse mix of acts from polka punk act The Dreadnoughts and ska bands, to Sunday morning ’cider-obics’ and rock sing-alongs.
“Fixture positioning and keeping plenty of options open on the console were the keys,” said Marshall, who has been lighting the festival since its inception in 2014. “As the LD, I wanted to give myself loads of choices through the use of groups, palettes and effects.”
Marshall, who busked the wide variety of acts using his ChamSys MagicQ MQ70 console, described the process of running the boards during the festival: “You can never have too many options. You just keep programming, adding new looks and updating existing ones between bands to ensure each band has a fresh look, but most importantly, you have to follow the music and style.”
Toward this end, Marshall split his eight Rogue R2 Wash fixtures into two groups to create more coverage opti
France - Lighting designer Mathieu Cabanes discovered the new possibilities offered by Robert Juliat's latest 800W LED followspot, Arthur, on Les Folies Broadway, a large symphonic show performed this summer at the Domaine D'O in Montpellier.
"I use Robert Juliat followspots very often. I particularly appreciate the artistic touch that a followspot can bring to a live show,” says Mathieu Cabanes. “New products and technologies are offered to us every year and I like to study these and their functions and make sure I use the right tool for each application.
"I first used LED followspots on a Robert Wilson show in Indonesia, I La Galigo. They were Japanese models and the result was quite disappointing because the power was supposed to match a Robert Juliat Cyrano followspot, but in fact they were weaker than a Robert Juliat 710 profile with iris. The colour also did not offer us great CRI possibilities for such a colourful show. After this first experimentation, I decided to wait for a great development from Robert Juliat.
"On the advice of my friend Frédéric 'Aldo' Fayard, lighting designer at Concept K, and with the help of Ludwig Lepage, Robert Juliat’s product manager, I discovered the Arthur 800W LED followspot and the SpotMe artist tracking device.” Cabanes then decided to use the Arthur followspot during a symphonic show with 72 musicians and two renowned soloists in the 1800-seat amphitheatre of Domaine d'O in Montpellier.
"I compared the Arthur to an HMI followspot," he says, "and I was really surprised by this little j
USA - Justin Kitchenman of Align Design Group is using some favourite Elation lights on five-time Entertainer of the Year Luke Bryan’s Proud To Be Right Here Tour scheduled through 16 October with 35+ shows.
Kitchenman had just got the Cole Swindell Down To Earth tour design out the door when Covid hit in 2020, then spent a year working on livestreams and other smaller projects. When he got the call in April that long-time client Luke Bryan was planning a 2021 tour, he was understandably ecstatic.
The LD, who has been designing for Bryan for a decade, had a design in place from last summer’s cancelled tour, a show he thought he’d never see realized. When the decision was made to pick up from where they left off in 2020, however, the design was back on the table. “I had come to terms last summer that that design was dead,” he said, “so I was thrilled when it was resurrected for this year’s tour.”
According to Kitchenman, the tour came together extremely quickly with a short two weeks between final tour approval and rehearsals in Nashville in June. “That’s when the ACL 360i fixtures came into play,” he stated. “We know what we can do with them and know they are reliable. They were also available so we could get out quickly and do shows.” The Proud To Be Right Here tour kicked off in July in Syracuse, New York, and plays mostly outdoor amphitheatres. “It was very much a team effort to pull it off in time,” Kitchenman said.
The design features automated lighting pods full of Elation ACL 360i fixtures, the designer’s
USA - Partech Lighting recently completed an installation package of 12 High End Systems SolaSpot 3000 luminaires in the Andrew Brady ICON Music Centre, a new music venue on Cincinnati's riverfront. The venue features one main floor and two balcony levels overlooking the inside stage.
Based in Cincinnati since 1988, Partech’s focus is entertainment lighting production as well as LED video walls, media servers, and related services. Their history with High End Systems goes back 30 years with use of products such as Intellabeam, Studio Spot and Studio Color, Cyberlight, and DL2s. They’ve also enjoyed a long and successful relationship with their client MEMI Music & Event Management Inc., supplying services for multiple venues throughout the Cincinnati and Dayton, Ohio areas.
Partech developed a system specification for The Andrew Brady ICON Music Centre that they felt would be widely acceptable to most visiting LDs, while also working within a rough budget outline. Partech’s Dave Groh comments, “Naturally, throughout the process, budgetary restraints affected some of our recommendations and substitutions were agreed upon. The SolaSpot 3000s were the one item that we felt strongly needed to remain in the specification to fulfill those original requirements.
“We needed a profile fixture that was bright and had a good feature set. It also needed to be a LED source, satisfy any LDs coming into the facility, and most important be from a reputable manufacturer with an outstanding, accessible service network. As one of the major component work
USA - NAB has announced the cancellation of the upcoming NAB Show 2021, which was due to take place in Las Vegas from 9-13 October. The annual convention/exhibition, which in 2019 reported attendance of 91,000, is one of the largest events on the calendar for broadcasters and their technology providers. In recent weeks, the show had suffered exhibitor withdrawals - including Sony and Canon - due to the spread of the delta variant of COVID in the US, with the organisers opting to scrap the in-person event in favour of offering select virtual sessions through its Amplify portal.
“For more than a year, we have worked tirelessly to bring our industry together safely in Las Vegas at NAB Show," say the organisers in a statement. "Unfortunately, the pandemic and surge of the delta variant has presented unexpected and insurmountable challenges for our global community.
“As we have always kept the best interest and safety of the industry as our priority, it has become apparent in the face of these challenges that we can no longer effectively host NAB Show or our co-located events, the Radio Show and Sales and Management Television Exchange, in person. NAB Show is the premiere destination for the media and entertainment industry and we will not move forward with a show that delivers anything less than the excellence our community has come to expect and deserves from us.
The next in-person NAB Show has been scheduled for 23-27 April 2022.
UK - Moving and LED lighting manufacturer Robe enjoyed the energy and enthusiasm of industry professionals reconnecting in person at the 2021 PLASA Show in London Olympia last week.
Robe took the opportunity to showcase a raft of recently-launched products, returning to the show as the headline sponsor as in previous years. This underlined the brand’s confidence in the UK market moving forward and ramping up generally, and in PLASA Show as a strategic point of convergence for key players. The Robe stand comprised a large meeting area out front and a substantial demo area ‘back-of-house’ proved a streamlined hub for meeting, networking, and in-depth product-related discussions and demonstrations.
A timecoded lightshow utilising the newest products was based on a mixtape of West End production numbers. There was a heavy emphasis on the previewed T11 Profile fixture and the recently launched T2 Profile and Fresnel luminaires, all optimised for the demands of theatre and performance applications including silent operation and outstanding colour mixing.
The T11 generated intrigue and excitement, being a preview product - its look and features resonating with people watching the lightshow. T11 will be a valuable addition to Robe’s growing theatrical LED ranges.
Other products attracting interest included the new CUETE moving light, an affordable entry-level moving light, perfect for clubs, bars, and event companies representing outstanding value for money and ROI.
The ProMotion - moving head effects and video projector - was another n
UK - The Ford Ranger has been used in virtually every conceivable application since it first appeared in 1983, especially when modified into the more muscular ‘Ironhide’ variety. Now it can add another item to its list of incarnations: DJ stand.
Capitalising on the growing popularity of this American vehicle in the UK (its sales there increased by 76-percent between 2015 and 2020), Welsh performer DJ Weekesey joined forces with ASG Audio Visual to shoot a promotional video from the back of a black modified Ranger Ironhide.
Laying down the signature mixes that have made him one of the region’s top club artists, Weekesey put on a dynamic four-minute show, using the truck itself as a stand. “It was a 4.5- ton DJ booth,” says ASG’s director Scott Cooper. “The video not only served to highlight Weekesey’s talent, it also drew on the image of the Ironhide to set a really captivating, tone.”
Another thing the video did was showcase the capability of ASG to create powerful images with light and atmospherics using Chaivet Professional fixtures. “We worked some nice looks with our WELL Fit uplighters and our foggers,” said Cooper. “Between the colours and the smoke we created the right kind of attitude.”
Key to setting this mood was the rich red glow from the 14 WELL Fit fixtures used in the shoot. Playing off against the vehicle’s dark colour it endowed the video with a deep, underground vibe. The lighter red hues that covered the area surrounding the truck then added a sense of passion.
“We looked at a variety of di
USA – One of the newest and brightest hubs for Houston’s performing arts scene, The Gordy, has equipped its three theatre spaces with stage lighting technology from Vari-Lite and Strand.
Designed by architects Gensler and theatre consultants Charcoalblue, The Gordy is named for philanthropists Russell and Glenda Gordy, and home to performing arts producer Stages. Its three intimate theatre spaces - the 252-seat Sterling Stage, the 220-seat Lester and Sue Smith Stage, and the 134-seat Rochelle and Max Levit Stage - provide settings for a variety of live theatre experiences.
“For lighting, flexibility was key, alongside quality of light output, a deep colour range and smooth dimming resolution,” said The Gordy’s technical director, Joel Burkholder, who chose over 300 Vari-Lite and Strand fixtures, including 200 tungsten-source SPX ellipsoidals.
“We love the SPX’s innovative features,” said Burkholder, “such as the locking shutters, the resolution of lens tube placement, the consistent field of light across multiple fixtures, and the fine-tuning of the focusing.”
LED-based fixtures including 55 VL800 PROPARs and 10 SL STRIP 10 IP units add colour and flexibility. “The PROPAR’s motorized zoom was the big selling point,” said Burkholder. “The wide zoom range and the deep colour work perfectly for our down-light and back-light system. We use the zoom function far more than we had imagined we would.”
He concluded, “We’re very happy with the lighting, especially during the pandemic, when we had to shift programm
France - Ayrton has appointed Fabian de Brücker to its sales team. De Brücker joins Ayrton as regional sales manager for all French-speaking countries and regions with effect from 1 September 2021. Brücker’s new role includes responsibility for maintaining a high level of designer relations, as well as promoting and supporting the Ayrton brand across these regions.
Fabian brings a wealth of industry experience having worked with many major lighting brands for over 25 years. He has built an extensive network among lighting professionals, but has developed a particularly close relationship with Ayrton.
“Fabian has always been a great advocate of the Ayrton brand since his days working with Axente, so his joining us is a huge bonus,” says Ayrton’s global sales director, Michael Althaus. “His years of experience means Fabian has super-strong designer relations in France. We are very proud to have him as the latest addition to our team.”
“This is a completely new role for me and I am very excited to join a company I have admired for so long,” says de Brücker. “I have represented some of the leading brands in my professional life, but Ayrton occupies a special place, in part due to a great relationship and friendship with Yvan Péard, founder and CTO of Ayrton but, even without that, because Ayrton is the most innovative brand on the market.”
UK - Astera’s PixelBrick won a 2021 PLASA Award for Innovation – one of two lighting products out of the six 2021 winners selected from 29 entries – as the PLASA entertainment technology trade show returned to Olympia after a pandemic forced absence in 2020.
The judges commented, “this is not just another battery uplighter, but a well-engineered and thought-out lighting system augmented with a wide set of accessories.” They felt it would allow designers a greater degree of creativity in an assortment of lighting applications.
PixelBrick has been carefully crafted by Astera’s R ‘n’ D team and is designed for concerts, events, filming, or broadcast scenarios. It can also be utilised as a compact, light (1.1kg) and exceptionally handy up-lighter or hung anywhere and become a universal light for accenting and texturing buildings or facades. For exterior use, its IP65 rating is resistant to rain and other elements. PixelBricks can be joined together to make all sorts of funky shapes and combinations!
Astera exhibited on the booth of its UK distributor, Ambersphere Solutions. The PLASA event – one of the first industry expos to be staged ‘post’ pandemic – proved a busy and upbeat environment for people from across the industry to re-start, re-connect and finally meet again face-to-face as things start moving forward after an extremely tough period.
Astera’s sales & marketing director Sebastian Bückle revealed that many customers specifically asked to see the PixelBrick having already seen it online. “I think the i
USA - It may well go down as one of the most moving live music moments never seen. At the conclusion of the We Love NYC: The Homecoming Concert, after a bountiful feast of big looks, New York’s own Paul Simon was to take the stage to sing The Boxer, lit only by a soft tungsten glow.
It would have been a very special scene, notes Tom Kenny, lighting designer for the start-studded Central Park show, one that he, like some 80m TV viewers who tuned into the concert, would have loved to have seen had the show not been called off early due to lighting strikes associated with the approaching tropical storm Henri.
In addition to cancelling Simon’s performance, the weather washed out appearances by Bruce Springsteen, Cynthia Erivo, Elvis Costello, Patti Smith, Maluma and The Killers among others. Still, there was much about the evening to celebrate. Over half the Live Nation concert, which was produced by Diversified Production Services, Done + Dusted, and Clive Davis, was completed, providing an uplifting celebration of the city, it’s creative drive, and live music’s journey back from the pandemic.
Providing a captivating visual backdrop for the spectacular show, was Bruce Rogers’ bold set, along with a massive lighting design by Kenny that featured over 600 fixtures and 108 IP video panels from Chauvet Professional that were supplied by 4Wall Entertainment.
“As a fan, I would have loved to have seen this concert take place in its entirety, but the evening provided us with so many wonderful memories as it was,” said Kenny
The Netherlands - Schouwburg Kunstmin is a theatre and performing arts venue in the Dordrecht, which has invested in Robe’s T1 Profile LED moving lights.
The sale - delivered by Robe’s Benelux distributor Controllux - was just before the pandemic shut down the industry in March 2020, and with re-opening now on the horizon, the theatre is looking to add more T1s to the inventory to replace their aging 2Ks on the FOH bridge with an LED source.
Head of lighting Bart Meester and head of technical and facilities Martijn Lohuis were both involved in this latest Robe investment. Bart has been head of lighting at the venue for 15 years.
It followed another set of T1s, LEDWash 300+s and LEDBeam 150s purchased in 2019 for M3, a fully flexible ‘bare floor’ performance space just up the road at Energiehuis, a reimagined old power station building now dedicated to culture and the arts. This vibrant multipl-hall, multi-purpose venue is used by several different promoters and organisations, and M3, its largest space, is programmed and run by the team from Schouwberg Kunstmin.
Separate to that, other halls and rooms in Energiehuis also contain various Robe fixtures that have been supplied over recent years by Controllux.
The current spectacular neo-renaissance style Kunstmin building dates to the 1930s - when what is now the Main Hall was added - and it is now a designated national heritage-protected ‘monument’. It has seen several renovations over the years, the latest in 2012-14 which saw a substantial reworking and enlargement of the prod
UK - The PLASA Show returned to Olympia London from 5-7 September, receiving high acclaim and marking a return to normality following the 18-month closure of the live events sector.
As the first entertainment technology tradeshow in two years, the PLASA Show 2021 co-located with the ABTT Theatre Show and succeeded in reuniting the industry for three high-spirited and productive days in Olympia’s Grand Hall.
Even though the number of attendees was reduced this year, they remained top quality and similar to previous years: 2/10 were company owners or directors and half were specifiers or final decision-makers. Theatre and touring were most prominent with one third of those attending working in production or venues.
Anticipation was high as the doors opened, with a steady stream of visitors keen to check out the next generation of products and catch up with colleagues. Lee House, marketing manager for Ambersphere, comments: “When the doors opened on Sunday it was great to see so many people coming through them. This show certainly exceeded all expectations we had. Yes, the show floor was smaller this year, but the atmosphere was bigger than ever.”
Nick Boggon, marketing manager for Sound Technology, adds: “We probably weren’t alone going into the show not knowing what to expect, but those concerns didn’t last long. Understandably stands were smaller than previous years but it still felt like the PLASA Show. There was networking of course, but also a genuine desire to see new products and technology trends.”
The ABTT Theatre S
UAE - AO Drones, part of the AO Creative stable of companies, launched a 600-strong fleet of drones inside Dubai’s 150m-high landmark Frame structure, for a campaign to announce the July unveiling of the UAE’s first Nike Jordan Concept store.
The event was specifically designed to be filmed for a Nike Jordan digital and social campaign, with the 600 AO drones programmed to generate a four layered, three-dimensional, rotating facsimile of the Jordan ‘Jumpman’ logo. The logo then morphed into a fully scannable 3D QR code, enabling potential customers to discover more about the store.
Owing to COVID restrictions in Dubai, the client could not make the show public, so the activation was designed to be filmed from the get-go.
“The huge Dubai Frame provided a spectacular illuminated border for the Jumpman logo and QR Code,” says Marco Niedermeier, show producer at AO Creative. “We animated the Jumpman icon with strobes and colour but creating the figure in 3D was challenging, especially as the object was presented in four layers and then rotated 360°.”
When the team turned the images 360°, it meant that everyone in the park and surrounding apartments could see and scan the code.
In addition to the drone show, AO Creative employed three camera drones to film and photograph the event. The resulting video was then edited for a Nike Jordan digital and social campaign across the brand’s communication channels.
AO Creative also delivered full event production, including the lighting execution, which added drama and atmosphe
USA - New Yorkers gathered in Central Park on 21 August to celebrate the city's comeback from COVID-19 with one of the most diverse and star-studded line-ups ever assembled on one stage entertaining beneath a complement of Elation IP-rated luminaires.
Organised by NYC in partnership with music producer Clive Davis and Live Nation, the show offered a potpourri of genres from LL Cool J to Barry Manilow. Scheduled to be headlined by Bruce Springsteen, Paul Simon, Patti Smith, Elvis Costello and others, the concert was stopped a little more than halfway into a planned five-hour show due to lightning storms tied to approaching Hurricane Henri. Still, performers like Jennifer Hudson, Carlos Santana, LL Cool J, Andrea Bocelli, Earth Wind & Fire, Kane Brown, Journey and Barry Manilow, among others, were able to take the stage.
Despite the weather, the show was a huge success with a crowd of 60,000 responsible and vaccinated music fans celebrating the return to live music. “It was a good example of how you can put on a safe, large live event,” stated veteran designer Tom Kenny, who was brought on the project by Diversified Productions Services (DPS) to design lighting.
Kenny teamed with renowned production designer Bruce Rodgers on the spacious open stage design, which featured generous amounts of automated lighting and huge NYC letters across the front. “We only had about an hour of darkness so it needed to look big and spectacular during the day but we didn’t want to depend on lots of gags,” Kenny explains. “So powerful lighting was a must