Spain La Ciudad del Rock Arganda del Rey hosted electronic music festival A Summer Story on 21-22 June as 100,000 attendees enjoyed the latest music trends highlighted by Claypaky fixtures.
The festival has become one of the epicentres of electronic music in Spain Its fifth edition, produced by Disorder Events, featured performances by more than 70 artists, as well as large screens and spectacular lighting that combined tungsten and LED technologies.
A Summer Story featured four stages with lighting designs that mixed moving heads, LED bars and blinders, among others, all controlled from a grandMA2 full-size console supplied by Stonex.
Disorder Events and Enrique Jiménez of Fluge Audiovisuales worked together to light four stages. Fluge Audiovisuales was once again in charge of providing the AV equipment, including Claypaky Sharpy PLUS fixtures.
The main stage had a pyramidal structure 35m high. Its integral design was by Eduardo Valverde of Pixelmap Studio with programming and operation by Juan Manuel Lázaro Ordiales.
The Live and Techno Stage, designed by Jiménez, showcased several types of Claypaky fixtures. “The difficulty of the design was that this scenario hosted two very different types of performances on Friday and Saturday. The lighting design had to respond to these two different configurations, so we needed very versatile equipment,” he says.
Jiménez used eight A.LEDA B-EYE K10 devices to meet the challenge. "A.LEDA K10 could act as a street light in wash mode during the daytime and work with the LED surface a
China - Elation has been providing lighting solutions for Royal Caribbean International cruise ships since the first Oasis class ship launched in 2009. That trend continues with Royal Caribbean’s latest luxury cruise liner, Spectrum of the Seas.
Custom-built for the Chinese market and accommodating 4,246 guests, Spectrum of the Seas set sail from Shanghai in June as the largest cruise ship in Asia. Similar to Royal Caribbean’s previously launched Quantum class ships, Spectrum of the Seas features first-at-sea amenities including Sky Pad, a bungee trampoline experience, and two-level family suites with an in-room slide.
Built at Germany’s Meyer Werft shipyard, Amptown System Company (ASC) served as system integrator for sound, light, video, projection, media control and networking of media technology for the entertainment areas of the ship, working closely with the Royal Caribbean architects and technical team under the leadership of Royal Caribbean’s Superintendent SLVR & Architectural Lighting, Christopher Vlassopulos. Vlassopulos co-ordinated the design and specification for all the entertainment equipment in all three Quantum class ships’ public spaces, including the entertainment lighting systems, and served the same role on Spectrum of the Seas.
Spectrum of the Seas is an environmentally friendly smartship with energy-efficient entertainment lighting systems. She boasts a similar lighting package template as the Quantum class ships although with some updates and changes. “To keep up with the evolution of LED fixtures, the newe
Flamboyant ‘90s pop icons the Spice Girls’ 13-date summer stadium tour, Spice World – 2019 Tour, kicked off at Croke Park Dublin in May to culminate in June at Wembley Stadium (where else!), transforming 1990s nostalgia into 21st century excitement as they went.
Helping to bring the near-vintage flavour to modern sensibilities was a fan-based, fully-invested design team brought together by Creative Director Lee Lodge, comprising set designer Jason Sherwood, choreographer and stage director Paul Roberts and lighting designer Tim Routledge, under the art direction of Kate Moross, who succeeded in creating a show that was a fusion of theatricality and live music on a touring scale.
Into this set up Routledge, a keen advocate of Robert Juliat Dalis fixtures, introduced over one hundred RJ Dalis 862 150W LED footlights with the purpose of bringing a heightened sense of glamour to the girls on stage.
“Our main aim was to achieve two things,” he says. “Firstly, the show was to look amazing in daylight from the get-go - some stadium shows can be a little dull in the daylight hours and we wanted it to be ‘all guns blazing’ from the start; and, secondly, to ensure the Spice Girls and their dancers look glamorous at all times, by lighting them as beautifully as possible.”
The main challenge to maintaining this intensity of focus throughout the show came in the form of the 30m x 11m main stage and long 41m diameter catwalk that curved 34m out into the audience. “Followspots can only do so much,” says Routledge.
The answer was Routledge
World - Dreams and nightmares are the main themes of the Billie Eilish When We Fall Asleep world tour - the first major tour for this young internet sensation whose career is experiencing a meteoric rise. Helping this seventeen-year-old, Indie pop phenomenon to dizzying heights is the tour’s wonderfully creative set design, the central motif of which is a flown bed, inlaid with 24 Ayrton MagicDot-R lighting fixtures supplied by PRG.
Erik Anderson of Cour Design is the creative director behind this incredibly dynamic show. Anderson and his partner, Gordon Droitcour, have been working with Eilish since late 2017 and on this occasion, collaborated closely with production and lighting consultant, Nick Whitehouse at Fireplay, alongside lighting director and programmer, Tony Corporale and lead programmer, Dominic Smith.
The stage design is an intricate structure revealing a forced perspective with a diamond-shaped raked video floor and an overhead truss to match. Midstage there is the main feature of the flown bed which is iconic to much of what the singer has to say, and dramatically brought into focus by the novel lighting beneath. Anderson explains: “The MagicDots are rigged to the underside of the custom scenic bed piece (built by Gallagher Staging Nashville), and are utilized during three specific automation moments during the show. We needed a compact, fast-moving light that could be rigged in a grid formation, to act as a sort of custom chandelier when the bed underside was raked out toward the audience. At one moment we use this look to s
Belgium - Lucenti has introduced their latest additions to their portfolio, the Blackwave Collection. It consists of LED bars with a 20mm pitch and comes in two lengths, a 100cm LED bar with 50 pixels called the BW100 as well as a 50cm LED bar with 25 pixels, the BW50. Both are powered and controlled by the designated PixlDrive1.
These bars unleash “a whole universe of creative possibilities, any pixel can be fully controlled in any shape at any given time”. Their lightweight but robust engineering done in Belgium, is the result of light technicians, rental companies and light designers giving their extended feedback from real-life experiences, says the company.
The in-house developed Pixel bus data system by Lucenti, ensures ﬂuent RGBW colour mixing with smooth dimming and synchronization between each pixel and driver. Combined with interchangeable ﬁlters it allows for strong vibrant saturated colors all the way to pastel tints. With 50 powerful pixels per meter, these bars give “unparalleled output even during bright daylight without the need for smoke”.
Given that the BW100 and the BW50 are designed to be used in demanding environments like stages, festival decoration, club interiors and on the move with rental companies, Lucenti opted for a double chambered lightweight metal housing, providing enough strength to interlock multiple bars and resulting in an IP66 rating.
The Blackwave tubes come standard with a stealth black ﬁlter, with options including transparent clear flat, frosted flat, frosted tube and frosted square cov
Europe - The Showtec Mistique is a CO2-based hazer which produces an extremely fine haze. It is the solution for many theatre and television productions because it is quiet, says the company.
The oil-based hazer-fluid is carried by and dispersed through the CO2 so there is no need for an additional pump which means no noise-pollution.
Features include: very even and thin haze ensures no visible cloudy effect on stage, customisable output direction for extra flexibility, silent operation with output and fan speed remote controllable by DMX and W-DMX.
Belgium - The 89m high tower of the majestic Saint Bavo's Cathedral is off limits to the public, except for 10 days in July when Ghent rolls out the welcome mat for the Gentse Feesten. Normal rules, whether at the Saint Bavo’s tower or anywhere else in Ghent, don’t apply during this annual music and theatre festival that draws over one million people to this Belgian city.
Lighting the way for visitors at this year for the 176th edition of the festive event was a massive collection of Chauvet Professional fixtures that were used at over 15 stages and other venues. Among the fixture brightening Belgium’s second largest city during its annual escape from the ordinary were the Maverick MK1 Spot, Maverick Storm 1 Wash, Maverick MK1 Spot, Rogue R3 Wash, Rogue R2 Wash, and the COLORado Solo Batten. Additionally, over 200 COLORdash Par H12IP fixtures were used throughout the festival site.
Sono brought lighting excitement to the festivities at Korenmarkt with BSL using the COLORdash Par-Hex 12IP, while Phlippo Productions supplied the stage with Rogue R1 FX- B fixtures. Sono also used the COLORdash Par-Quad 12 IP at Nordic House and A-Pluss.
At Saint Bavo’s, Euro P.A. enlivened the whole square with COLORado Panel Q40 fixtures. The flexible and power-packed stage rig consisted of Maverick MK1 Hybrid, Maverick MK2 Spot, Maverick MK2 Wash, STRIKE 1, and STRIKE P38 units controlled by a ChamSys MagicQ MQ500 Stadium console.
In the shadow of the Saint Jacob’s Church, Matthieu Verpoort ran a powerful show on his ChamSys MagicQ MQ500 Stadium cons
UK - Adlib supplied full production - sound, lighting, video and rigging - plus crew for the recent UK tour by Daryl Hall and John Oates, whose impressive string of top 40 hits stretch back to the 1970s.
After the UK tour, an Adlib control package and video servers went on to the Latin American leg of the tour, and then returned to Europe with the addition of a full audio package for the third segment and euro festival run.
Adlib’s Craig Hamilton - based in the Glasgow office - project managed and co-ordinated all things sonic, liaising closely with Daryl Hall & John Oates’ audio team of FOH engineer Chris Salamone, monitor engineer George Squires and US supplier Firehouse’s stage tech, Jeff Child.
Adlib’s Billy Bryson was the system tech, Jay Petch was the monitor and stage tech for the UK section of the tour and Billy was also the tech on the European festival dates.
They again chose to work with an L-Acoustics PA to achieve the precise sound they wanted, deploying 12 K1 plus 4 K2 down-fills for the main arrays and 12 K2 for the side-hangs.
For lip fills across the stage six L-Acoustics X8 were utilised, with out-fills comprising four ARCS II per side.
Subs were 16 x KS28, deployed in four blocks of four, tipped on end. The onstage sub in each stack was reversed and run in cardioid mode, at the request of Chris Salamone in continuity with the setup on their most recent US tour.
Adlib specified an Outline Newton multisource processor which matrixed between the main DiGiCo SD10 FOH console, the DiGiCo S21 backup
France - Production designer Jean-Christophe Aubrée has taken over the lighting for two major stadium shows, featuring French band Indochine (aka Indo).
It was a comfortable position for Aubrée, to find himself in. Having previously worked with other well-known artists, and formerly operated in an assistant design capacity with Indo, he stepped up for the last two last shows of the long-running 13TOUR, which took to the road back in February 2018.
Nicola Sirkis, Indochine’s leader, decided to create a whole new show for these two last stadium dates as a big surprise and experience for the fans. And helping provide a fitting finale were well over 1,000 lighting fixtures, including 794 GLP impression X4. All were supplied via PRG France from their bases across Europe.
The vast majority of the X4s were consigned to the lighting roof with another 36 populating the cross-shaped stage and proscenium edge, creating volume and depth, and 36 of the smaller impression X4 S positioned around the band on stage.
Jean-Christophe Aubrée has regularly turned to GLP’s LED solutions on festival rigs across Europe. “Most recently, I have been using the X4 Bar 20 and the awesome JDC1 hybrid strobe to create very interesting looks,” he says.
At the Stade Pierre-Mauroy in Lille, where the shows took place to sell-out audiences of 30,000, the lights were hung at a height of 30m, and therefore needed to deliver full power.
“I was looking for a reliable product that would achieve consistency over 758 units without any variation in terms of co
UK - Westlife are back after a seven-and-a-half-year hiatus, with a new production for the 20 Tour ahead of their much-anticipated new album, Spectrum.
One hundred and forty-eight Robe MegaPointes were prominent on the touring lighting rig - specified by lighting designer Tom Sutherland.
The first leg of the tour culminated in two sold out nights at Dublin’s Croke Park stadium playing to 170,000 fans. The gig was streamed live to cinemas worldwide.
Tom Sutherland of DX7 Design is part of a new creative team. He was asked onboard by show producer / director Brian Burke, and the two combined forces to create the production design that is supporting Nicky Byrne, Kian Egan, Mark Feehily and Shane Filan on the 20 Tour.
The performance space is defined by a large 70ft wide video screen upstage - which splits in two horizontally - and a full video floor, with columns of side and top lighting making up a large and dynamic box. Upstage at the back was a flying platform running the whole stage width, and several of the lighting trusses that also moved.
With musicians stationed just in front of the left and right stage wings, there was a totally clean space for the group to use, and the emphasis was all on the four of them, supported by slick video treatments and classy matched lighting looks.
Tom specified MegaPointes to be the principal hard-edged and effects fixtures, chosen for their brightness and versatility which enabled him to create a series of perfect ‘fun factors’ for the colourful, upbeat extravaganza of movement and
UK - Stage Electrics has been appointed as the UK distributor of Ultratec Special Effects, a large-format pyrotechnic effects manufacturer.
Stage Electrics has already invested £10,000 worth of initial stock and will be stocking a range of large venue pyrotechnics from the company. “We believe having a comprehensive range of Ultratec on the shelf in the UK is what our customers need to support their shows. We’ve chosen a range of stock, including a variety of professional mines, comets and gerbs from 20ft to 200ft,” comments Paul Roughton, national sales manager at Stage Electrics.
“We are looking forward to working alongside Ultratec and building a strong partnership,” continued Anna Western, sales director of Stage Electrics.
Saudi Arabia - The inaugural edition of Jeddah World Fest on July 18 took place in the grounds of King Abdullah Sports City, Jeddah, and attracted a sell-out crowd of almost 40,000. This was the largest music festival held in Saudi. Protec delivered an extensive audio, lighting and rigging package for their client The Manual on behalf of Roqu Media.
This event ties in with Vision 2030, a progressive plan which sees the country open up as an entertainment destination and relax some of its stricter laws around events. With the country’s General Entertainment Authority set to inject upwards of an estimated $60bn into the sector over the next decade, Jeddah World Fest is the first of many events which will fuel the AV and events sector in the Middle East.
Featured artists included Janet Jackson, 50 Cent, Chris Brown, Liam Payne, Steve Aoki, Tyga, Future, R3wire and Varski.
Project manager for Protec, Luke Doyle reports, “The show looked and sounded incredible. The stage structure was the largest ever seen in the Middle East. This type of event had never been done to this scale in KSA and it was a great show to be a part of for sure. Definitely one to remember. The crowd were fantastic and it was almost emotional to witness.
“As the line-up wasn’t 100% confirmed until last minute we were under immense pressure to fulfil the technical rider for each artiste. We had catered well technically for the event using stock from our Riyadh and Dubai warehouses, however, we had to move quickly to discuss the requirements with the relevant artiste’s
UK - Following the announcement of their partnership with DTS earlier this year, GDS has appointed Hallam Smith as a product manager for the Italian brand.
Hallam will be working exclusively on promoting DTS products to the UK market. With almost a decade of lighting experience behind him, he started out helping with concerts and shows at university, leveraging that into freelance work and eventually a role at Cambridge-based lighting company Pulsar, where he worked in product management and technical sales support, while also gaining valuable experience in lighting design and programming installations.
Smith says: “DTS are already well recognised in Europe and they have some fantastic products. What we want to do is get the word out and to really make DTS products a key part of the lighting industry in the UK. I’m excited to be meeting with lighting designers, architects and hire companies to show them all the incredible products that DTS have to offer.”
DTS new Alchemy 5 LED Fresnel light is up for the PLASA Innovation Award, and as their UK partners, GDS will be showing and demonstrating this product at PLASA 2019 this September.
GDS head of sales James Hall comments: “We have been blown away with the quality of DTS products and have already seen fantastic installations at this year’s Eurovision Song Contest and the Leeds Trinity Shopping Centre in the UK. The innovation at DTS aligns perfectly with our core philosophies to pioneer LED
Italy - Summer 2019 sees the latest edition of the Jova Beach Party. Inspired and headlined by Italian singer, songwriter and rapper Lorenzo Cherubini (Jovanotti), the infamous travelling ‘festival village’ is mid-way through its summer-long tour armed with over 100 Prolights fixtures.
The travelling Jova Beach Party festival is spending July and August making its way from the south, stopping at 15 beach locations until it reaches the summit of Plan de Corones, hosting festivals as they go. Jova Beach Party will welcome over 63 international acts, DJs and artists from around the world. From riviera to riviera, the main stage is set to entertain visitors from evening to night. With such a vast space available, the festival village includes children’s’ play areas, sees people sunbathing, swimming in the sea, and has frequently featured as a travelling wedding venue.
In addition to Jova Beach Party’s desire to bring people together, they also teamed up with The World Wildlife Foundation (WWF) in a bid to raise awareness of the environmental impact of litter on beaches. Armed with the philosophy of, ‘leaving the beach cleaner that it was found’ the Jova Beach Party continues its tour of the Italian coastline. Along with Jovanotti, the event welcomes the likes of Benni Benassi, Paradise Club, Afrotronix, Bombino, Ackeejuice Rockers and many more acts from all corners of the globe.
The Jova Beach Party commissioned over 140 IP rated Prolights ArenaCOB4FC from rental company Agorà.
When discussing the design elements of the Jova Beach
Argentina - PR Lighting fixtures were out in force when a group of associates and event planners known as the Burkina took over the Zarate Yacht Club on the outskirts of Buenos Aires to celebrate the country’s annual Friendship Day.
The ensuing ‘Fiesta Burkina’ saw 3,000 people revel under the lighting to the music of well-known DJs such as Mariano Trocca and Federico Prieto - part of an advanced production that was masterminded by local sound and light technology specialists, Caio Sonido.
The venue, located on the coast of the Parana River is familiar to Caio Sonido, as it is here that they produce their annual end of-year party (on 31 December) when more than 6,000 people join in the festivities. The company has been providing all infrastructure, including LED screens, staging and structural effects, to the Yacht Club for events stretching back more than 25 years.
Lighting technicians from Caio Sonido designed the lighting rig which was programmed and operated by Vieites Valentin and Cordoba Axel.
The effects included 20 PR Lighting JNR 350 BWS and16 x XR 300 Beam. The company has a huge inventory of more than 150 PR Lighting fixtures, built up over a 12-year period and in addition to the above, includes such products as Pilot 575, XR 1000, JNR Flat PAR and XLED 590 Zoom.
At the Zarate Yacht Club the JNR 350 BWS and XR 300 Beam were easy to rig as the roof has a solid infrastructure suitable for hanging all sound and lighting. The JNR 350 BWS were suspended from four rigging points, forming an H with the truss sections, onto whic
Canada - Time seemed to stand still at the Centre Vidéotron, Quebec City, on 25 May, as French-Canadian stars from the 1960s and 70s performed at La Tournée des Idoles. The artists were supported by a light show designed by Andre Langevin, with help from programmer Francis Guitard and systems tech Jerome Guitard.
Anchoring the rig, which was supplied by LSM were 36 Chauvet Professional Maverick MK3 Profile fixtures. The new high output (51,000 source lumens) profile fixture was selected by LSM after extensive research.
“This is the first of what will be many shows for us with the MK3,” says Gil Perron, the resident lighting designer for LSM. “We compared six other units to this fixture before choosing it for our inventory. As a rental company with a wide range of clients and projects, it was important for LSM to choose a lighting instrument that would be as effective at large scale arena shows as it is at corporate events.”
According to Perron, the Maverick MK3 Profile resolved a “very basic dilemma” for LSM. “In the past we had to ask ‘do we go for high output or high CRI?,” he says. “As it turned out the MK3 was the only luminaire that could bridge that gap, with a very powerful LED engine for rock and roll, and a drop in CRI filter that we believe will become a very frequently specified request from theatrical, corporate and TV LD’s. Aside from the CRI, there was the absolute necessity of having a framing system that the MK3 satisfies. The presence of framing on movers is fast becoming a must on many projects in our
UK - Mark Ronson’s ‘Broken Heart’ visual and lighting design concept was initiated by his creative director Jed Skrzypczak and is a combination of two mirrored silver heart set pieces which wrap the DJ booth, coupled with integrated lighting that is co-designed by award winning LD Tim Routledge and Ben Cash from Flare Lighting.
Framing these scenic pieces are four ‘half heart’ lighting props, graceful curved metal stems each rigged with 21 equidistantly-spaced Astera AX3 Light Drop wireless LED fixtures - 84 in total.
The artist wanted something eye-catching and cool to go match the music – a largely fluid set, carefully crafted for each show, with some centrepiece anthems and other parts inspired by the magic and vibe of the moment.
He wanted the lighting and the look to be theatrical and dramatic as well as different from a ‘standard’ electronic setup. In addition to the Asteras, there is a row of BMFL moving lights at the back together with tilting LED battens upstage, also part of the extras package.
The two offstage AX3 heart stems are slightly further upstage, adding depth and three dimensionalities, while a large video screen plays a dynamic selection of visuals throughout, all helping to connect Ronson’s immersive mixology with his audience.
The idea was to use the Asteras to add this architectural context to the lighting design and he co-ordinated this aspect of the lighting design. The AX3s are attached to the stems via their magnetic back plates which are extremely strong and one of the beauties and ingenu
USA - Elation sale representative companies RL Wilson & Associates and JLH Marketing have hired Grant Geiselman as a product specialist. He will assist both firms with product demos and overall knowledge of all Elation Professional product lines.
Geiselman, who has been involved in the entertainment technology industry since the age of 13, has developed a comprehensive technical skill set that includes lighting design, programming, networking, software development and more. Most recently working as a freelance designer and programmer, he has extensive experience working on lighting and video design projects across Southern California.
UK - White Light has supplied the lighting equipment for the recent West End transfer of Captain Corelli’s Mandolin following its critically-acclaimed UK tour.
Based on Louis de Bernières’ best-selling novel, Captain Corelli’s Mandolin is the story of romance in the face of the Second World War set on the idyllic Greek island of Cephallonia. The production marks the novel’s first major theatrical adaptation and marks the 25th anniversary since its original publication. For both the UK tour and West End run, the lighting design was by Malcolm Rippeth.
Malcolm comments: “As a creative team, one of our main aims was to find the look and feel of Cephalonia and the other spaces featured across the story; the key one being the Italian soldiers fighting their way through the country. In that sense, it was creating a space of peace and beauty in pre-invasion Cephalonia, contrasting with a space imbued with the anticipation of violence. There were also the ‘psychological spaces’ that certain characters experienced during the clashes of warfare.”
With Captain Corelli’s Mandolin being such an epic story, the creative team had to ensure they did this justice in only two and a half hours of stage time. Malcolm explains: “There are lots of jump-cuts and montages of years passing throughout the play, which are devices we're used to in the cinema. That said, we were keen to make this show as theatrical as possible and embrace the medium.
“As a result, we stripped the aesthetic back which immediately allowed this. Gi
USA - Australian band Ocean Alley completed a 32-city tour of the US and Canada earlier this summer. For the mainly small venue dates, Max Baldwin, the band’s lighting designer utilised Professional Rogue R1X Spot fixtures supplied by Squeek Lights.
“Our entire idea was to get looks in 400 or 500 capacity rooms with limited stage in North America that were similar to what we got at giant festivals and amphitheatres in Australia,” says Baldwin. “Obviously, we couldn’t duplicate the Australian looks exactly, but we could reflect the spirit of those shows with a smaller rig. The Rogues were essential to our plans. Working them with the various house rigs we encountered gave us a lot of options.”
Although he varied the arrangement of fixtures from night to night, depending on the configuration of each venue’s stage, Baldwin typically positioned a Rogue R1X Spot fixture on either side of the drum riser. He also placed units on the stage left and stage right deck.
From these positions, the 170W LED spots were used to create a variety of vibrant production looks. Drawing on the fixture’s three-fact prism, Baldwin created intense aerial effects that filled small and mid-sized venues with vivid light. He also evoked surreal moods for some of the band’s more ethereal songs by backlighting its members with a range of richly saturated colours.
The versatility of the Rogue R1X Spot gave Baldwin the flexibility to conjure up an endless array of looks that reflected the wide range of material in Ocean Alley’s 14-song, 70-minute set, whi
Germany - Robe’s new IP65-rated iPointe moving lights were prominent among lighting fixtures on the main stage at this year’s Elements Festival, a two-day showcase of house music in the amusement park at Dormettingen, 80km southwest of Stuttgart, Germany.
The festival is staged in a picturesque environment landscape and built on a former mining area, complete with its own artificial lake and beach. The event features three vibrant stages of music and is known for its high production values.
Lighting for the main stage - located in a natural dip in the topography - was designed by Raphael Herrmann whose company Prolite Event also co-ordinated the supply of the lighting kit which included eight Robe Pointes and 16 LEDBeam 150s as well as the 22 iPointes, plus some other lights.
Raphael has lit the main stage since Elements Festival started five years ago and has been involved in designing and supplying lights and running his own associated business since 2000.
Being dance / DJ orientated, the Elements stage set-up was different to a standard rock event. The set was also designed by Raphael and featured a 35m-wide pyramid structure, which was supporting striking columns of LED, with a large scenic / LED event logo sign in the centre upstage and above the DJ riser. The highest point of this back wall was 14.5m.
An overhead canopy provided immediate weather protection above the DJ, but the main structure was completely exposed to the elements.
Other challenges included lighting for daylight, as only the final acts of the two-day
USA - ADJ has announced the availability of the PAR Z Move RGBW, part of its PAR Z range.
This 300W C.O.B. LED colour mixing moving head par fixture that is suitable for fixed installation in theatres, churches, concert venues and nightclubs as well as for the temporary production of concerts, theatrical performances, festivals and dance events. The PAR Z Move RGBW houses a 300W C.O.B. LED engine, which generates an even wash and extremely smooth colour mixing with no colour shadows. It also offers variable colour temperature for white light washes, making it ideal for stage lighting as both a key light and a wash.
The fixture is available now in the USA and will become available in Europe from mid-August.
“The whole PAR Z Series, but particularly the PAR Z Move that we released earlier this year, has proved extremely popular with lighting designers looking for versatile LED-powered key lighting / wash fixtures,” comments ADJ USA’s national sales manager, Alfred Gonzales. “However, our customers were quick to tell us that they would value the combination of the PAR Z Move’s moving base and the colour mixing ability of the static PAR Z120 RGBW model.
“As a company it is our policy to always try to act on customer feedback to produce the products that lighting designers and other lighting professionals desire, which is why we are now pleased to introduce the PAR Z Move RGBW to the market. Offering punchy output, versatile colour mixing and agile movement, it is ideal for a wide variety of applications including key light, back light
USA - The Strings Attached tour, Weird Al Yankovic’s “most elaborate and extravagant” production to date, is out with a lighting and video package provided by Bandit Lites. Each performance features the works: costumes, props and a full orchestra accompanying the Grammy-award winning artist as he brings to life his hits including Amish Paradise White & Nerdy and Smells Like Nirvana.
Bandit Lites supplied lighting designer James Hergen a package that would illuminate the stage as well as each local symphony, crafting a design that would allow the production to have trusses up and out of the way as quickly as possible, affording the musicians enough time to load in and begin soundchecks.
VL 3500 Washes and Robe BMFL saturate the stage with textures and hues while Claypaky Sharpys supply additional coverage as well as well-time musical hits and strikes. Bandit also provided 200 Chauvet PVP 6mil video wall panels to showcase Weird Al’s history of songs.
“Jesse Baron, the video technician on tour, has been able to get the wall up and operating with the quick connect mounting and cabling the PVP System is known for,” explains Bandit Lites client representative, Shawn Lear.
Prior to tech rehearsals, Hergen was also able to spend time at Bandit’s Venue One rehearsal facility, getting a head start on programming.
“I am impressed with James approach and thought process for each and every fixture,” Lear says. “Knowing he was having to cover a much larger space and needed to get the trussing o
Germany - The Great Tropical House lives up to its name. Completed in 1907, it remains one of the largest and most impressive self-supporting greenhouses in the world, housing more than 1,400 exotic plant species. On Friday 19 July, the impressive structure took on another important function when it served as the centre of the Berlin-Dahlem Botanical Garden’s Botanische Nacht, an annual one-day summer festival organized by TLT Event AG that features music, magic shows, fantastical tales and non-stop fun in the heart of the German capital.
Glowing like a giant space ship, the massive domed structure that turned out for this night-time event. Outlining the building’s architectural features captivated the large crowd and adding to its stunning appearance were 110 Chauvet Professional ÉPIX Strip IP fixtures that Denny Arndt featured in his lighting design.
Coordinating the ÉPIX fixtures with five lasers, Arndt created sleek and compelling looks on the Great Tropical House that set it apart even from the already colourfully lit festival grounds.
“I used geometric lines and glittery images on the ÉPIX,” says Arndt. “The brightness and intensity of the ÉPIX Strip IP are wonderful. They give me a structure of light that stands out even against the laser light to create a brilliant display. My concept was to give the building a magical, surreal appearance in keeping with the spirit of Botanische Nacht.”
Even the rain that fell on this warm July night couldn’t dampen that special spirit. The IP65 rating of the ÉPIX fixtures helped