USA - Lighting director Tellson James is using a High End Systems Hog 4 lighting console to drive Mark Knopfler’s Down The Road Wherever Tour 2019. The 10 band members backing the former Dire Straits front man collectively play 49 instruments - from guitars and whistles, to saxophones and fiddles.
“I’m doing lots of pixel mapping of the eye candy in this show,” James notes, “and the Hog 4 is great for that. It is so easy to do on a Hog.”
This is James’ second time as lighting director for Knopfler. Lighting designer Mark Henderson drew the lighting plots for the 2015 and 2019 tours, while James programmed both. The 2019 tour kicked off in April, and is more scaled down for the North American leg, which started 16 August.
“The Change Type cloning feature (for swapping fixtures) is a lifesaver when working club/theatre tours, where you are faced with different fixtures every day, and it works very well,” says James.
“I also use Time Code a lot in other shows, especially when triggering video for lip sync,” he notes. “It's very easy to use with the ‘Learn Time’ feature, whereby you can run cues manually while recording the time code value when you execute the cue. Then it's possible to quickly modify values manually.
“I also love being able to create colour chases from the Effects Engine - a fast and easy way to accomplish colour chases.”
James says: “My friend Vince Foster introduced me on how to use Hog 2, and I had plenty of time to experiment with it (before taking it out on tour) during auto show
USA - Those fans lucky enough to see horror-punk pioneers Misfits on their sporadic 2019 US tour not only get to see a band that literally invented an entire genre in 1977 - they also get to check out a plethora of “rad tricks” from the lighting and video toolbox of lighting director and designer Jon Eddy, who is serving up his visual magic on an Avolites Arena console.
One of the stops on Misfits’ limited tour included headlining Psycho Las Vegas, a three-day music extravaganza held at the Mandalay Bay Resort and Casino, that featured acts ranging from Electric Wizard and Opeth to The Crazy World of Arthur Brown, in addition to Lodi, New Jersey’s favourite punks. Eddy was the LD and designer for the entire festival, where he not only spec’d the rig and did the overall design but was the console jockey for all of the acts - more than 60 total - who were not touring with their own lighting directors. His lighting desks of choice for the massive task: a matching pair of Avolites Arenas cross-rented from Morpheus Lights by Kansas City-based DSS, Inc., the AVL provider for both Psycho Las Vegas and the Misfits tour.
“I’ve been using Avo for a long time and having a console I was intimately familiar with was crucial for a festival with this many acts,” Eddy shares. “I actually had two Arenas networked together; the one on the left was my main surface while the one on the right was a backup, and I kept a video page pulled up there to trigger videos that played along with each song.”
Eddy has been a fixture in the metal and pu
USA - ADJ has announced the immediate availability of its Allegro Z6 motorized linear fixture with zoom. It features six individually controllable 30W quad colour 4-in-1 LEDs; each LED offers a lifespan of approximately 30,000 hours, effectively preventing the need for lamp replacement even if the fixture is used extensively for many years, says the company.
The unit also features a motorized zoom function, allowing the angle of the six independent light beams to vary between 4°-32°. In addition, the bar on which the LED apertures are mounted is fitted with motorized tilt movement, while the precision motors allow for 16-bit smooth sweeping motion.
Rounding out the Allegro Z6’s feature set, the unit also offers variable speed strobe and pulse effects, flicker free LEDs suitable for filming (1200Hz PWM frequency) and 16-bit dimming. In addition, the unit features six preset dimming curves as well as variable speed dimming control, allowing it to be easily programmed and used for a wide variety of applications.
An OLED display on the front of the unit displays the current DMX address and channel mode at a glance. This menu system is battery-powered, which means that during event prep a unit can be set up and addressed without the need to connect a power supply. The fixture also features a USB port, allowing for easy future firmware updates.
Measuring 19.6” x 4.5” x 11” / 500mm x 113mm x 278mm and weighing just 21lb (9.5kg), the unit is both compact and easy to rig. It has a manual Tilt Lock feature for stable transportation a
Philippines - Claypaky fixtures have been working on an array of high-profile projects in Manila, Philippines. RSL (Rhythm Sound & Light Trading Corp.), which offers sound, lighting, video and rigging equipment to a wide range of entertainment and corporate clients, finds Claypaky lighting to be a popular choice among lighting designers.
“RSL owe its longevity in the business to the dedicated Men and Women working for the company and of course, the equipment we use,” says Neil B. Centeno, project manager of RSL. “With options increasing at a rapid pace, we have to adopt and be smart in our equipment choices. Equipment has to have class while being rugged, be refined while being tough, durable and most of all, be reasonably priced. Lopie Guzman, vice-president of RSL points out that most lighting designers go for Claypaky fixtures; they are a staple in most of our events. They have been tested through time in corporate shows, concerts, multi-level marketing shows, branding, activation, TV shows and even commercials. We will continue to trust Claypaky . . . simply because they’re worth it.”
RSL supplied lighting designer John Batalla with 19 Claypaky Sharply Plus and 09 Sharpy Wash 330 fixtures for a commercial shoot for flavour seasoning Aji Ginisa, which features a musical number. Staged at The Shooting Gallery Studio.
RSL also furnished lighting for several TV shows for broadcast and media network company GMA 7. Lighting designer Dominique Gallardo chose 12 Sharpy Plus fixtures, 08
UK - White Light has recently supplied the lighting equipment for REDD, a new dance show at the Barbican Theatre.
Devised by the Olivier Award-winning hip-hop partnership Boy Blue, REDD is a piece of dance surrounding the five stages of grief. Told through the movements of nine dancers, it offers an introspective journey into loss and examines how we are affected by those irreversible moments in our lives. It features a lighting design by Charlie Morgan Jones.
Jones comments: “REDD is a beautiful show which takes its audience on an unforgettable emotional journey. In terms of lighting, it’s an interesting piece as there is no actual set! With that in mind, my main brief was to create the five distinct ‘worlds’ of grief - the solitude of depression, the featureless denial, the sharpness of anger, the bold bargaining and the brightness and hope of acceptance”.
This was the first time that Charlie had lit a dance piece, although he emphasises how he “approached this show as I would any other - although I do appreciate the importance of side light in dance pieces”.
Creatively, the team decided that the lighting rig would be on display throughout the entire show, becoming an extra character in itself. As a result, Jones had to draw on equipment that would be artistically appropriate as well as aesthetically attractive.
Jones contacted Jonathan Haynes at WL in order to draw on his perfect rig. He explains: “The bulk of the work on REDD was done with 48 Par Cans with long top hats. I absolu
USA - With its 400 lighting fixtures and video panels, the 103-universe main stage rig at this year’s Made in America festival packed an intense punch. That was very fitting, given that it was located at the foot of the “Rocky Steps” outside the Philadelphia Museum of Art. But like the famous underdog pugilist, the “Rocky Stage” rig drew its power from something other than size.
“This was our boldest rig yet, but ironically we used a little less gear overall this year than in the past,” says Patrick Dierson of The Activity, who oversaw production on this, and two of the festival’s other stages. “It’s never about the amount of gear you have, but what you do with it.”
What Dierson and his team “did” with their gear package, which included 68 Chauvet Professional COLORado Solo Batten fixtures supplied by 4Wall Entertainment, was create a rig that immersed fans in the performances of stars like Travis Scott and Cardi B.
Dominating the rig was something The Activity team dubbed the 'Oculus', a dimensionally angled, three ringed overhead video/light truss structure that looked as if it were descending from another world. Also commanding attention were the massive vertically oriented video walls on either side of the stage. Dierson relied on the COLORado Solo Batten fixtures to tie these two powerful visual elements together, and endow the rig with much needed flexibility.
“The COLORado Solo Battens were the main source of eye-candy for the rig,” he says. “We mounted them 90 degrees out toward the crowd.
USA - High End Systems has announced the latest upgrade to the Hog 4 lighting console range, OS v3.13.
Hog 4 OS v3.13 contains improvements to the infrastructure of Hog 4, including a more robust handling of the command line and other internal processes. It also includes new additions to the Plots feature, including new plot objects like groups, palettes and lists, including text in the plot, more options for handling images and shapes, align to grid, and more.
Sarah Clausen, console product manager, comments: “This release brings users some great new tools they can use in their plots, making them even more useful. In addition, we have brought back the ability to use multiple MIDI inputs on a system. Happy Hogging!”
UK - GoboPlus.com and its sister companies FollowSpotPlus.com, CutColourPlus and Inluster enjoyed a very successful PLASA 2019, showing off the latest products in its range.
The company presented the Rosco Image Spot Mini. A scaled-down, weatherproof version of the Rosco Image Spot, Image Spot Mini is a compact 13W LED gobo projector with a 1,050lm output, three colour temperatures (3000K, 5500K and UV) and a weight of 1kg (2.2lb). Image Spot Mini offers a choice of three interchangeable lenses (11°, 17° and 25°) and promises crisp, clean image projection across its flat field for a distance of up to 8m. Available in black, silver and white, Rosco Image Spot Mini comes with an onboard manual dimmer and a range of optional accessories including an iris and framing shutter. Rosco Image Spot Mini is ideal for projecting with GoboPlus.com’s extremely high resolution glass gobos.
A 0-10V and a DMX-controlled version of the projector will be available soon, says the company.
Meanwhile, FollowSpotPlus.com showcased a range of profiles, Fresnels and followspots from Italian lighting manufacturer LDR. This included the newly released architectural Fresnel lantern, Tondo F, a 80W LED 10°-55° Fresnel with non-dimmable LED source that produces a warm white (3200K) beam which can be focused with a slide control. Optional barndoor accessories can be added, and colour filter fitted beneath the removable front ring or with the addition of an optional colour frame.
GoboPlus.com also reported its most successful promotional items to date - e
UK - Lighting control manufacturer Zero 88 enjoyed a busy PLASA Show 2019 at Olympia in London. The company’s new RigSwitch remote controlled switching system received its UK tradeshow debut and a host of other practical power, data and control solutions were presented.
RigSwitch is a customizable range of switching cabinets from 12 to 96 relays per cabinet, with four pre-designed options to cover the most regularly requested combinations. All relays feature power-on, DMX control and remote switching, using anything from a simple contact to a network of engraved keypads and touchscreens. Each channel has an MCB as standard, with additional options of RCBO, ELCB and AFP (Arc Fault Protection) for installations requiring further protection.
The product is designed for anything from entry level installations right up to the most complex multi-level projects and is affordable and cost-effective for all.
Other multifunctional products shown were the Betapack 4 - one product with six dynamic variants; the ZerOS Server - one product with three different uses and a new Data Distribution range supporting both DMX / RDM plus the latest Ethernet protocols.
All lighting desks on the stand were running on the latest ZerOS 7.9.6 software release which is available for all ZerOS consoles.
Product manager Jon Hole commented that the quality of the visitors to the show was “consistently good” and that the footfall was busy throughout, especially on the Monday and Tuesday mornings.
Running concurrently with the first two days of the show, Zer
UK - Robert Juliat has emerged from an “extremely successful” PLASA 2019 with its exclusive UK distributor, Ambersphere Solutions, where it continued to celebrate its Centenary Year with new products.
The French manufacturer presented the Maestro server for SpotMe, developed in collaboration with tracking specialists, zactrack, extends the capabilities of RJ’s award-winning SpotMe, the bespoke 3D position-tracking system for followspots, by enabling it to operate with any DMX lighting control console. SpotMe has functioned with the PosiStageNet open protocol which is run by only a limited number of consoles, but with the Maestro extension, a designer can take control from any DMX console. The lighting console, even the simplest DMX model, retains the pan and tilt control and gets, in return, additional DMX channels to modulate the tracking parameters calculated and managed by the Maestro server.
Meanwhile, the Dalis Access 863 is a 150W LED four-colour cyclorama light with all the functionality and quality of the original at a low price point to make Dalis technology accessible to those on a smaller budget. Featuring a four-colour mixing system (red, green, royal blue and warm white 2200K) Dalis Access 863 delivers powerful, smooth coverage and a variety of pastel and saturated colours. Its body shape and location of controls and connectors underneath the unit makes Dalis Access 863 equally perfect for cyclorama or footlight applications.
Also presented was Dalis 864 Footlight, a 150W four-colour version of the original Dalis 862 tuneable whi
Vietnam - Ba Sao Investment Co., Ltd recently installed a Harman Professional Solutions networked audio, video, light and control solution at Van Lang University to deliver pristine sound and alluring lighting for performances, presentations and events.
Founded in 1995, Van Lang University is one of the first and most distinguished private universities in Vietnam. With three sprawling facilities across Ho Chi Minh City, Van Lang University offers an array of educational amenities, including an expansive technology center, a smart library and a world-class concert hall. In order to provide exceptional sound and lighting for events in the concert hall, Van Lang University hired Vietnam's premier AV distributor, Ba Sao Investment Co., Ltd to install an AV solution. After surveying the location, Ba Sao Investment assembled a comprehensive Harman Professional Solutions networked AV system.
“Van Lang is one of the most prestigious universities in Vietnam, and they required a state-of-the-art AVLC solution to produce world-class events in their concert hall,” comments Nguyen Huu Tuan, sales director, Ba Sao Investment Co. Ltd. “Aiming to provide the University with a user-friendly system, we selected a range of Harman Professional products for their unrivalled flexibility, intuitive controls and superior sound and light quality.”
Ba Sao Investment equipped the concert hall with a JBL VRX932LAP line array loudspeaker system and VRX918SP line array subwoofers for class-leading sound with brilliant highs and deep lows. JBL PRX815W floor moni
USA - When Juan Ocampo sets up a festival rig one of his primary goals is to make it versatile enough to accommodate the varying styles of different visiting LDs. True to this philosophy, he designed the rig at this year’s Winnetka Music Festival to be as flexible as possible, selecting Chauvet Professional Rogue R2 Wash and Strike 4 fixtures, in part because they can play so many different roles well.
However, shortly before the festival started Ocampo learned that most of the 28 bands performing at the event wouldn’t be traveling with LDs. Instead of relying on the rig to work with various individual styles, he and his team would have drawn on its versatility to create unique looks for the different acts themselves.
“Initially, the biggest challenge I had was to make sure that the lights were positioned and placed in a way that would make the visiting LDs happy,” says Ocampo. “But we ended up lighting 99-percent of the acts ourselves. The challenge then became how do we create different looks for each band and genre? We were able to do this by using a variety of colours, positions, and movements that complement their performances.”
Positioning 16 Rogue R2 Wash fixtures upstage, mid-stage and downstage, Ocampo used them for a variety of effects, while also building a wide, even wash of colour to add depth and dimension to the stage. He also relied on their intense output to cut through the atmosphere and throw brilliant colour on the bands and audience. For more dynamic performances, he used the Rogue units for chase sequences.
USA - Indie singer-songwriter Mitski has endeared her to a growing fan base. She followed up a successful 2018 tour with a 2019 spring outing that also saw the artist playing summer dates before wrapping up in September with two New York shows at Summer Stage in Central Park.
Lighting design for the Be the Cowboy tour was by John Foresman, who employed an Elation rig of Platinum HFX moving heads and SixPar 200 colour-changing PAR lights to complement the emotive singer’s lyrically rich songs. Lighting supply was by Pisgah AVL of North Carolina.
Mitski’s songs are played along melodic lines that can vary in tempo, with carefully choreographed movement key part of the show. Foresman describes his design as dynamic with a lot of energy during the high points and still calmness during the quieter points of the set. The design, he says, was focused around the choreography and making Mitski and her movements the centre of the show.
The lighting designer says that colour played an especially important role in the shows. “The colours I used vary based on the mood and feel of each individual song, often changing colours as the songs change in tone. For songs that keep a similar tone throughout, I typically opt to keep the colour palette static. I find that knowing when to change colours, or when to remove colour entirely from the look, is critical to capturing the tone the artist is trying to convey in their music.”
Much of that colour came from SixPar 200 LED PAR lights with six-colour LED chip that gives an expanded palette of colour
Europe - Iconic German hard rock band Rammstein have been on the road again as part of the European Stadium tour, a visual and sonic extravaganza of lighting, video and pyro effects.
Roland Greil from Woodroffe Bassett Design (WBD) created the lighting design together with Patrick Woodroffe and specified 56 Robe BMFL WashBeams, 12 BMFL Follow Spot LTs (long throws) and six LEDBeam 150 moving lights - among many others - for this tour.
WBD was contracted to produce and coordinate the tour’s production design including lighting, set and video design plus technical integration.
The lighting was a collaboration between Roland and Patrick Woodroffe who is also the show designer. Florian Wieder and Cuno von Hahn looked after the set design, and Jeremy Lloyd from Wonder Works directed the technical aspects of the design and integration. The band are also very involved in their stage presentations.
Most of the lighting hardware is integrated into the set design, so it was an interdepartmental effort from the very start, requiring great fluidity and a close working relationship between Roland, Patrick and Florian. One of the many advantages of WBD working like this was to create the exact lighting positions they wanted right from the start as part of the overall ‘environmental’ design. Video was amalgamated with the set in the same style as lighting.
The 38-metre-high central tower features a central transparent video screen, which can move up and down, and is made up from four vertical rails, each loaded with BMFL WashBeams and a l
USA - City Theatrical’s Multiverse wireless DMX/RDM technology is currently being used to provide DMX data for the windmill and carousel lighting features at Historic Hudson Valley’s The Great Jack O’Lantern Blaze at Van Cortlandt Manor in Croton-on-Hudson, New York.
After 10 years of working on The Great Jack O’Lantern Blaze, the lighting design team from Jay Woods Design chose Multiverse wireless DMX for its ability to broadcast multiple universes of DMX data across an open field to receivers that are in constant motion. With an anticipated total audience of 170,000+, the Multiverse wireless DMX system was also an ideal solution for its ability to have a small radio footprint despite transmitting in a crowded radio spectrum.
“With the Multiverse Transmitter, we were able to focus on setting up and talking to a single device, as opposed to setting up multiple devices,” says Jay Woods, owner of Jay Woods Design and Lighting Designer for The Great Jack O’Lantern Blaze. “Broadcasting multiple universes from one device means fewer power supplies, a more compact package, and potentially lower wireless DMX costs.” The lighting design team installed four Multiverse SHoW Baby units, two as receivers and two as transmitters, to communicate two universes of DMX data to the windmill design component. The team used one Multiverse Transmitter to transmit DMX data on the 2.4GHz band to four Multiverse SHoW Baby units used as receivers for the four-universe carousel. All receivers were installed within one NEMA enclosure per set piece, hidin
USA - Summer’s not over yet, at least not for country singer-songwriter Thomas Rhett who continues his headlining Very Hot Summer tour of North America. A large complement of Claypaky Mythos 2 and Scenius Unico lighting fixtures is accompanying the tour, which is in support of Rhett’s fourth studio album, Center Point Road. The tour kicked off in Montreal last April and will conclude in Nashville in October.
New York City’s Fireplay is serving as the lighting and production designers for the Very Hot Summer tour with Upstaging, the lighting vendor. “We’ve worked with TR for about five years as his shows keep expanding and growing,” notes Nick Whitehouse, co-founder of Fireplay. “This tour is based on a concept we all developed together. Looks progress throughout the show and are different for each song so there are lots of cues and lots of energy on stage.”
Apart from two IMAG screens there are no major video elements so the lighting design conveys the mood and stories of Rhett’s setlist. Six ground-supported trusses rise up along the back wall of the stage and arch over the first few rows of the audience.
Whitehouse selected 156 Claypaky Mythos 2 fixtures, which are positioned “everywhere” in the truss and used as beams, washes, strobes and effects lights. “We were looking for a hybrid beam-wash-spot, and Mythos is the only fixture that combines all of those capabilities,” he says. “Their compact size was also a factor: When you have that many in an amphitheatre you need to keep the weight
The Netherlands - Lichtwerk (Light works) is a Netherlands-based technical production company which works closely with a wide selection of lighting and visual designers, particularly for theatre shows, tours and corporate events. The company recently invested in Robe’s fantastic T1 Profile LED moving light, which is designed for theatre, touring and TV.
Jacco Pattist founded the company in 1995, and his association with Robe goes back to the very early days when the Czech manufacturer was still an OEM supplier. Once Robe was launched in 2002, Lichtwerk was an early adopter of the brand, a trend that continued through the ColorWash 250 series, then the ColorWash 750 and ColorSpot 700 series, the DT 3000 and 7000, and more recently with LEDBeam 300s MMX Spots / WashBeams and LEDBeam 150s. The latest T1s were purchased because, collectively as a company, “We love tungsten!” declares Pattist.
Lichtwerk had been waiting for a profile LED fixture that was suitably ‘equivalent’ in quality and feel to the classic lightsource, and for something that was truly ‘theatre-grade’ in terms of its white light capabilities. When Robe launched the T1 last year, “it had all the qualities I needed,” says Pattist. “It is silent, smooth, lightweight and the output quality is fantastic. It has all the attributes you need for detailed and accurate theatre lighting.”
He adds that reliability is the big red line for a busy rental company, and that’s a characteristic he knows Robe can deliver on. “Ever since the OEM days back in the early 2000s . . . Robe
UK - On the surface, My Favorite Year and Children of Eden are very different shows. The Stephen Flaherty-Lynn Ahrens musical takes a farcical behind the scenes look at 1950s television, as a hapless writer tries to keep an irascible matinee idol from a bygone era out of trouble before his appearance on a live show. By contrast, Steven Schwartz’ Eden recounts the story behind creation in the Book of Genesis.
Different? Indeed! But both shows offer audiences the shared experience of departing from everyday reality and cry out for brightness and colour on stage - which is what Nic Farman provided for recent productions of the plays at Mountview’s new theatre. Aiding him in this undertaking was a collection of Chauvet Professional Ovation fixtures supplied by White Light.
“I’ve worked on a number of productions for Mountview before, so when I was approached to light the first shows in the school’s new theatre, it was an opportunity I couldn’t pass up,” recalls Farman. “The two shows were rather different, but from a lighting standpoint they shared some things in common - and each was a fun challenge!”
Farman had his design fill a somewhat different role in each production. For My Favorite Year he relied on lighting to distinguish between the scenes that happened behind the camera and those that took place “on air.” With Children of Eden is mission was also about establishing different senses of location. However, since this show recounts the story of creation, he used lighting to add a
UK - ETC and High End Systems celebrated a successful tradeshow following three days of busy stands, Tech Talks seminars and a win for ETC’s Augment3d at the PLASA Awards for Innovation.
The new 3D programming environment, which is part of the upcoming Eos v3.0 software release triumphed at PLASA in a ceremony that celebrates the year’s most pioneering product designs. Judges commented: “This will change the way lighting design and operation works by increasing speed in the lighting workflow and making the process from design to conception easier to manage.”
This was proven during the tradeshow at ETC’s Augment3d challenge event where participants were invited to create five focus palettes on an Eos family console in the quickest time possible using either encoders, a mouse click (in the 3D model) or the Augment3d Focus Wand. The quickest time recorded was 37 seconds on the Focus Wand, notably faster than the best time on the encoders, which was 3 minutes, 32 seconds.
“By combining the power of previsualisation, live interaction and augmented reality, Eos console users can now work quicker and more efficiently before and during production periods,” comments ETC market manager, Rory Fraser-Mackenzie.
Alongside Augment3d were several new innovations including the latest moving lights by High End Systems. The newly launched SolaWash 1000 and TurboRay fixtures were on the stand for visitors to see. SolaWash 1000 wowed crowds with its full-curtain four-blade framing system and dual frosts that give designers the ultimate versatility;
UK - White Light has recently supplied the lighting equipment for the UK tour of The Lovely Bones.
Based on Alice Sebold’s novel, The Lovely Bones is a coming-of-age story about Susie Salmon who is observing her family from the afterlife as they try and deal with her death in different ways. Adapted by Bryony Lavery, the production is directed by Melly Still and features a lighting design by Matt Haskins.
Haskins comments: “Bryony Lavery's adaptation is a mesmerising piece of theatre that, despite its often dark subject matter, proves uplifting and cathartic. The text actually expanded and changed heavily through the rehearsal process and what emerged was a very physical, and visually experimental way of storytelling.”
As such, Haskins soon realised that he needed to have a flexible rig to respond to the new ideas as they unfolded throughout the process. “The main brief for everyone was how to give a sense of heaven and earth,” he continues. “Set designer Ana Inés Jabares-Pita created a 'stealth' set that comprised of a giant two-way mirror set at 45° to the show floor edged with earth, and an upstage horizontal line of corn protruding from its base. Behind the mirror were two tiers of decking on which our actors could also appear.
“This arrangement proved to be a giant Pepper's Ghost effect, relying on carefully positioned lighting that would then allow us to superimpose real and reflected images together; as the lines between heaven & earth become blurred”.
Haskins then approached the Hires Team at WL to
USA - 1600 Pennsylvania Avenue is the ultimate special-event address, but that venue tends to be booked up at least four years in advance. So the team at Everlast Productions did the next best thing: they projection-mapped a detailed simulacrum of the presidential residence on a three-dimensional stage they constructed in the International Ballroom of the Washington, D.C. Hilton Hotel for the annual leadership event of Power Home Remodelling Group.
And it was, thanks to Everlast Productions’ use of an Avolites Ai Q3 media server as the mapping engine paired with a Tiger Touch II lighting control console and the manufacturer’s Synergy software.
“This was a huge projection event - it had to be very detailed, and it had to be built literally overnight,” says Washington Arias, Everlast Productions’ CEO, referencing the large-scale mapping project in which multiple projectors had to apply projection to a three-dimensional set, right down to a credible Oval Office, where keynote speeches, presentations, and an interview with former president George W. Bush would take place.
The Ai Q3 media server was the source for all of the static projected content but also was used as a low-latency switcher, handling all kinds of static and motion NDI and HD-SDI feeds to accommodate interactive programming from Derivative’s TouchDesigner software, multiple cameras and various keynote presentations.
Arias notes that the trend in high-end event production now is to construct detailed physical sets whose verisimilitude can be further enhanced by highly
Germany - Almost 30 years after Thomas Fenzl and Thomas Moritz joined forces to create the successful West Berlin rental house, PAM Events, their company is still setting the bar high for large scale productions both in Berlin and Germany at large.
After looking to replace and update their stock of conventional Fresnel fixtures, PAM Events joined forces with a number of other Berlin-based rental houses in acquiring 48 Chauvet Professional Ovation F-265WW, 24 F-55WW and 24 E-260WW fixtures as part of a Berlin-wide cross rental platform.
In a move echoing the collaborative efforts of Fenzl and Moritz behind the Berlin Wall, the Ovation fixtures were able to win over the wide collection of Berlin-based rental companies, such as Lichtwerk, Audio + Frames, Spice Events, Huth Events, Edelmat, Wemme-Evennt, and Atlantis-VT with their versatile yet highly efficient Fresnel style output, which is suitable for a wide array of purposes.
“We conducted several tests with different manufacturers,” comments Thomas Moritz. “During demos with the Ovation fixtures on the Chauvet Professional Roadshow in Germany last year, the Ovations made a pretty good job in our view - so much so that we immediately considered them as a replacement for our halogen Fresnels.
"Not only did the Ovation fixtures outperform the classic 1kW Fresnel lens significantly in output, they also have a very homogeneous light distribution, which is a crucial factor for us,” continues Moritz. “As a result, the Ovation is proving to be more than a match for the old Fresnel fixtur
South Africa - Lighting designer Joshua Cutts from Visual Frontier used Astera Titan Tubes to light various segments of the final of The Voice South Africa 2019, which was staged at the Mosaïek Teatro in Fairlands, Johannesburg, and broadcast on M-Net Channel 101.
Josh has lit the series since it started in South Africa in 2016. For the finales, he is on the lookout for new, innovative and inventive lighting effects and potential visual eye-candy. This year, they came in the form of Titan Tubes shortly after DWR Distribution had been announced as the exclusive South African distributor. Josh decided to control the Titan Tubes through his grandMA lighting console.
His initial idea was to use eight of the wireless battery powered fixtures to illuminate the dancers for different songs. Then, he and some other core production team members, including choreographer Michelle Oppenshaw, show director Darren Hayward and TV director Nadia White decided that they should also hand-hold them - light sabre style - and spin them around singer Craig Lucas (winner of series 2 in 2017), who made a special guest appearance in the 2019 Finale.
At one point the dancers - holding their Titan Tubes - formed a circle around Lucas and raised their Titan Tubes aloft so their luminescence became passing key light for some dramatic moments during that section of the show.
“Their brightness is great, they have excellent colour rendering for camera and a very dynamic RGB colour mixing engine, all making them ultimately adaptable and versatile,” Josh stated.
Israel - Singer-songwriter Hanan Ben-Ari is currently one of the most popular artists in a country replete with singing talent, and his new tour has just started, complete with a lively and dynamic visual design by Nesi Alfasi, who has included 12 x Robe MegaPointes at the core of the lighting rig.
These are being supplied to the tour by rental company Mega Kol based in Rosh Hayain and headed by Zvika Refaelovich, which has been involved with the artist as an equipment vendor since last year and has worked with LD Nesi for many years on assorted projects.
Hanan Ben-Ari's tour features a 3m diameter circular LED surface upstage made up of over 3,000 smart pixels in strips which are mapped into a series of different shapes and graphic effects throughout the set, providing a digital element that is different from a standard video playback screen.
Eight of the MegaPointes are rigged on the back truss, with four positioned on the floor upstage of the band and their brightness and intensity make them a dominant fixture on the rig.
Nesi loves the brightness and all the features together with the flexibility just 12 units can bring to a dynamic show like this. “Robe has proved itself for producing reliable and hard-working lights which bring a lot of possibilities to any show” he stated.
He highlights the fact that Israel is a challenging country for technologies like moving lights as much of the entertainment industry work is outdoors and in hostile conditions – wind, dust, rain, and excessive heat can all be daily factors, but “the Rob