Europe - Ayrton has announced the appointment of Matt Hallard as the latest member of its expanding international sales team. Hallard takes up the position of regional sales manager for the UK, Ireland, Benelux, Spain, Italy, Portugal, Croatia, Malta, Greece, Slovenia and Turkey, with effect from 1 April 2021.
Hallard brings extensive experience of the lighting industry and the European market from a career that spans over 20 years. He first cut his industry teeth with an eight-year period as a production manager on cruise ships, after which Hallard returned to dry land in 2005 to launch a career as a specialist in European sales with some well-known moving light brands.
“This was an exciting time in the development of moving lights and I worked with, and learned from, some incredibly talented, hard-working individuals,” says Hallard. “That diversity of experience has served me well, and now it’s time to apply all that learning to my new mission as regional sales manager for Ayrton.”
Hallard is looking forward to working with the Ayrton team as the industry pushes through the global pandemic: “It’s truly a great honour to be joining the team. I have long held Ayrton in high regard as a vibrant company with excellence in execution and a clear, forward-thinking vision (much like the namesake the company was named after). I think that reflects in those who represent the Ayrton brand today. Both my new colleagues and the existing distribution network are some of the most talented people in this, our wonderful industry of light. Many of th
USA - For a large venue, the 115,000sq.ft Sonoran Lawn at the Rawhide Event Centre in Chandler, AZ often feels intimate to concert goers. Perhaps that’s because of the crowds that, prior to the pandemic, packed the site for the national acts that performed there.
When Sullivan King, Ghastly and Shiba San appeared at the venue over three nights, headlining a series of EDM shows produced by Relentless Beats, COVID-19 safety protocols restricted the number of fans that could be present. Those lucky enough to score a ticket had to stay within widely-separated 8ft x 8ft pods.
Everyone was able to enjoy the sense of connectivity that this venue is known for, despite the limited crowd size, thanks to an engaging lighting design by Luis Torres that featured a collection of Chauvet Professional Rogue and Maverick fixtures.
“There was a lot of social distancing at the venue, so my main goal was to connect the limited audience as much as possible to the acts on stage,” says Torres. “By directing light out towards the crowd, we helped to immerse people in the experience so they could feel like they were closer to the stage even if they were in the back row of pods.”
Helping Torres do this were the 16 Rogue R2X Beam units in his rig. Flown, four apiece on downstage, mid-stage and upstage truss, and positioned on the DJ riser, the 231-watt moving beams were used to direct bright light over the crowd. Drawing on the intense output (134,000 lux at 15-meters), Torres was able to cover the entire spacious venue with beams.
During much of the sh
Zimbabwe - The rhythmic Afro-pop dance floor sound of Ammara Brown flows through a musical path that is distinctly different from the jazz infused offerings of Tamy Moyo. Yet both of these multi-instrumentalists and All Africa Music Award winners exude a captivating aura every time they step on to the stage.
This was plain to see on 12 February when they joined forces for Girls on the Move, a two-hour pay-for-view livestream on Gateway Stream Music intended to celebrate and raise awareness of Zimbabwean women in music.
Providing a lively and brightly coloured setting in support of their performances was a Blessing Bero designed lightshow that featured Chauvet Professional Maverick and Rogue fixtures, including eight MK2 Spot units, four R2 Spots and four R2 Washes, all of which were supplied by Events Evolution.
Working in coordination with video designer Tatenda Gaylord Rushwaya, Bero reflected the personality and music of the two artists, each of whom performed separately during the livestream, after briefly meeting on stage. At the same time, he relied on recurring patterns in light angles and thematic colour mixes to create a consistent, unifying image throughout the livestream.
Key to highlighting the artists and their backup performers was downlighting from the Maverick MK2 Spot fixtures. At times, Bero tightened the zoom on the 440-Watt moving fixtures to create a circle of light around each person on stage. For dramatic effect, he also created spot circles in front of the performers, adding greater dimensionality to the stage.<
Estonia - Robe moving lights and two RoboSpot systems provided a neat solution for the 2021 Eesti Laul competition to select Estonia’s entry to this year’s Eurovision Song Contest.
Lighting and set designer for the finale show and the two semi-finals that preceded it in Tallinn’s Saku Suurhall arena was Rene Jõhve, who was approached to work on the project by Estonian national broadcaster, ERR. This was his tenth year of lighting the finale and semi-final events which were aired live, and - for obvious reasons - this year were staged without an audience.
The lighting rig included a selection of Robe fixtures including two BMFL WashBeams, 13 x DL7 Profiles, 12 x 300E Spot, 42 x Pointes, 25 x Spiider LED wash beams, 18 x LEDBeam150s and eight MMX WashBeams, plus other lights, all of which were supplied to the production by rental company Cuuclub.
The streamlined main stage design was triangular, with angled side struts meeting above the centre to create a triangular arched ceiling over the upstage section which were clad in LED panels, leaving the forestage open.
The transparent stage floor also contained tilted LED screens, and another main triangular LED screen upstage had lights rigged on both edges to accentuate its shape. A long and elegant runway at the front of the stage connected it to a smaller B stage out in the centre of the arena. Had there been an audience, this would have been right in the middle.
The geometry of the stage lent itself to a lot of dynamic beam lighting effects and worked brilliantly on camera even with
Hungary - ChamSys has appointed Chromasound as the exclusive Hungarian distributor of the QuickQ series of consoles and QuickQ software. Wannabe Studios, the current ChamSys distributor in Hungary, will focus on the company’s flagship MagicQ range of products. Both companies will distribute the ChamSys SnakeSys line.
“We are focusing our distribution to better serve all levels of the market in Hungary,” comments Aziz Adilkhodjaev, international sales and business development manager for ChamSys. “Wannabe Studios is a strong partner, and now having Chromasound on board expands our capabilities even further.”
Based on Chromasound’s extensive 20-year experience in the market, ChamSys is confident that the company will be able develop the QuickQ customer base even further, according to Adilkhodjaev. “Chromasound’s understanding of this market makes them ideally suited to represent the QuickQ series in Hungary,” he says. “We look forward to working with them.”
For his part, Imre Makkay, CEO of Chromasound, states: “We are very eager to be involved with a series of products that offers forward thinking solutions. The QuickQ family empowers customers to accomplish more with lighting. It represents a very contemporary approach to lighting control at events and installations. This is a great opportunity for us - and our entire customer base.”
USA - Nimbus, the latest line of luminaires from Altman Lighting, is a personal virtual lighting studio featuring the Halo ring light and the Sidekick fill light.
“We saw a need in the market for more than a ring light, so we created a lighting kit that anyone can use, anywhere,” says Nicolas Champion, vice-president of sales and marketing.
The Nimbus Series LED battery and USB powered fill and ring lights were designed for video conferencing in home or office studios. The 6” Halo is a tunable ring light that can be powered from either the Sidekick (sold separately) or any USB device. The Sidekick is a high output 180 LED tunable white (3000K to 6000K) non-glare soft light that is fully dimmable and battery/USB powered. The compact design of this luminaire (no larger than a cell phone) allows for easy mounting, transportability, and discrete placement in your video environment.
USA - The Events United team and production manager Kevin Hart returned to live work in March at the Space Coast City Fest in Melbourne, Florida.
For Events United, the two-day evangelical conference represented its first large-scale live event (with the exception of a few smaller outdoor projects) since the pandemic started. As if putting together a stage for Dove Award winners Casting Crowns, Zach Williams, Social Club Misfits, Andy Mineo and other praise music stars while dealing with COVID-19 safety protocols wasn’t enough, they also had to contend with problematic weather throughout the two-day event.
“The winds got pretty intense at some points. The gusts ended up peaking around 35 mph.” said Jon Martell, who made up the Events United team along with Donald Van Slyke, Chase Clark, Ryan Lane, and Joel Pelletier.
As a result of the wind, the festival had to shut down for most of Sunday, putting time pressure on the crew. “Our headliner couldn’t load in until later that afternoon and we ended up building a “C” stage out in the audience so we could have some of the program happen without being on the main stage,” said Martell. “The PA was landed, the lighting rig was high and tight, and the LED walls were lowered, but the show was able to go on without any danger.”
At dusk, the winds died down, and the festival moved forward as planned. Events United supported the stars on stage with an immersive light and video show that featured Chauvet Professional Maverick and STRIKE fixtures as well as X6IP and F4IP video panels.
USA - With up to 50,000 people in and out of the Georgia World Congress Centre each day over a two-day period in February, the Cheersport National Cheerleading Championship in Atlanta may be the largest event to have taken place in the world under the COVID pandemic.
Rental and production company Lite Tek Entertainment supplied and designed lighting for the event and turned to an Elation lighting package of Cuepix and DTW blinders, Protron strobes, SixPars and more to highlight team routines across five different stages.
The National Cheerleading Championship is one of the biggest of its kind in the world. A typical year would see 1,400 teams competing but due to a 50%, reduction in allowed participants due to the pandemic, some 700 teams competed at this year’s event. Nevertheless, the event was huge with stages spread across two buildings and 90 acres.
“This was, to the best of our knowledge, the largest event in the world since COVID with up to 50,000 people coming through the facility two days in a row,” states Lite Tek founder and owner, Darren Lewis. “Cheersport created an effective plan to manage the onsite people flow with guidance from Varsity Spirit and the CDC fulfilling a discrete observation role. There were no spikes or known outbreaks that were traced to the event so it worked out really well.”
Lite Tek Entertainment, based in Richmond, Virginia, has handled all of Cheersports’ regional cheerleading events for the past 15 years and has worked the National Cheerleading Championship event several times. This year, Le
Europe - Prolights will run a series of online webinars on 13 and 14 April, during which the manufacturer will unveil three new moving-heads, one moving-beam and two moving-washes. Prolights will also showcase its latest products from this and last year.
There will also be keynote presentations on film and TV lighting products, architectural fixtures, virtual production solutions and the entertainment lighting fixtures range.
“We are excited to use what would have been a week of tradeshows to host an online event and communicate directly with customers all over the world,” comments David Ferraz, marketing manager at Prolights. “We are eager to shake hands again with all our customers, but while the world makes an effort to open back up again, we will use all tools available to us to keep contact with everyone.”
Since spaces available are limited, interested guests can book their seat now for free here.
USA - ETC launched two new theatrical fixtures as part of a two-day international online event. The Source Four LED Series 3 and Desire Fresnel are designed for theatres “looking to successfully launch themselves into the modern day with incredible brightness, impressive colour mixing, and wireless DMX/RDM features.”
Source Four LED Series 3 is the third generation of the colour-mixing LED fixture. When incandescent Source Four fixtures hit the market in 1992, they quickly became an industry favourite. As technology advanced, so did the fixtures. Now boasting an eight-colour mixing system that includes deep red LEDs, the fixture can produce more nuanced colours. “With Series 3, you finally get your swatch book back,” says Broadway lighting designer Justin Townsend.
ETC has also added a re-designed classic to their portfolio with Desire Fresnel. A true Fresnel with an LED engine, Desire Fresnel has a full eight-colour array, wireless DMX/RDM, an intuitive user interface, and NFC configuration from a mobile device using ETC’s Set Light app. Zoom control is possible from either the front or the back of the fixture, whilst the Fresnel is bright and efficient through the entire zoom range, making it up to 25% more efficient over traditional Fresnel optical systems.
USA - Berkeley Dent, Jason Pastel, Trevor Creany, Dustin Lee and the team at 81 Productions demonstrated the unifying power of music in a real sense during this cold, hard winter.
With live music venues in their area of Roanoke, VA, locked down, and musicians out of work, they launched The Space Shop Sessions, a series of five livestream concerts, each featuring a different Roanoke band, and each supported by a different hometown business. Taking place over a two-month period, the sessions helped feed the local appetite for live music, while also providing gigs for some of the region’s favourite groups, and giving businesses a chance to engage directly with customers.
Helping the 81 Productions team create a flowing series of distinctive, colourful looks that reflected the personality of each band in the livestream series, was the company’s “virtually all Chauvet” livestream studio rig, anchored by a collection of Rogue R1X Spot and R1 Spot fixtures. Arranged in different configurations depending on the band, the Rogue units expanded design possibilities on the studio’s 24ft by 20ft stage.
“Flexibility is obviously critical in this type of project when you have this many bands playing in the same space,” said Pastel. “The Rogues are ideal in this case, because they are such workhorses that will take you wherever you want to go.”
When Virginia Electric took to the stage for a session, Pastel went with more stylized looks with ambers, magentas, purples and greens playing off against one another. “One of my favourite looks oc
China - League of Legends’ World Championship 2020 Finals were staged at the new Pudong Football Stadium in Shanghai, a high-profile, hi-energy event notable for many things, which – in addition to being an eSports calendar highlight – included a spectacular production lighting design by Mat Stovall of LampedUp and his team.
Thirty-seven Robe RoboSpot systems were part of a large lighting rig for the event, specified by Mat and associate LD Trevor Stirlin Burk of Visual Noise Creative, and supplied by Christie Lites out of their UK and US bases to the event’s main technical contractor, Creative Technology (CT) Shanghai.
Robert Roth coordinated for Christie Lites, working closely with the CT Shanghai team headed by Aaron Ross Durdin, Sam Tibble and Daniel Sun.
Mat wanted RoboSpots on the event for several reasons. He needed “a quality white light source” to key talent for the opening and closing shows and during the gaming action, with capacity to cover specific choreographed aspects, plus coach and team ‘moments’ throughout the tournament.
With a massive performance area to cover in the centre of the stadium, Mat was not sure that it would be possible to physically get operators into all the required locations, so RoboSpot was his go-to solution.
The 37 x Robe BMFL moving light units were positioned everywhere - on the downstage trusses, above and below the two giant LED screens onstage that flanked a huge central scenic Paifang arch, and on top of this elegant 33m-high centrepiece of Joe Kale’s scenic design which w
Bahrain - Woodroffe Bassett Design (WBD) recently designed and delivered a new lighting and video installation on the façade of the Sakhir Tower at the Bahrain International Circuit (BIC) in time for the first Grand Prix of the Formula One season. The circular viewing tower is the centrepiece of the BIC and has become a key visual element of the television broadcast of the race, seen all over the world.
The design of the scheme enhances the night-time drama of the track illumination installed in 2014 and follows the original visual concepts that were developed in collaboration with architectural design practice Stufish in London five years ago.
The dynamic and colour-rich scheme is a deliberate counterpoint to the myriad of powerful white lights that illuminate the track during the night races. The design explores the geometry of the spectacular building and articulates its elegant circular form, but also gives the tower a dynamic that reflects the speed and power of the motorsport that literally surrounds it.
The content that plays on the tower was developed by Dandelion and Burdock in London and is a mixture of Bahraini cultural elements, abstract patterns, FIA and F1 related logos and schedule information. This plays out over the period of the race weekend, building to a climax for the race itself. Particular care has been given to avoid distracting the drivers when they are on the track to the point that no red, yellow or green content plays during the race to avoid being mistaken by the drivers as part of the FIA warning lights.
The Netherlands - The sustainable AFAS Theatre, which is incorporated in the new HQ of software developer AFAS, named the AFAS Experience Centre in Leusden, has recently been equipped by Rolight with 74 Infinity TS-260C7 Profile engines from Infinity’s Signature series.
The AFAS Experience Centre has been designed from the ground up to create an “experience” for clients, employees and visitors - a complex that includes office space, meeting rooms, relax areas, demonstration rooms, fitness area, gym, educational spaces, studios, patio & atrium suitable for events, exhibitions and social gathering. The complex takes ecological and environmental aspects into account as much as possible.
Almost energy neutral, it is fitted with solar panels, sedum roofs, heat pumps, heat exchangers, triple glazing, a multitude of sensors and 50 charging stations for electric vehicles.
When it came time to furnish the theatre area, specialists from Rolight found a fitting candidate in the Infinity TS-260C7 Profile engine to light up the main stage. Its efficient, high output LED light holds up to the principle of environmental awareness that has been used throughout the Centre’s design, making it a solid choice for the application, while ticking all the boxes.
74 fixtures with a total output of over 330,000 lumens were used to provide lighting to the main stage. The TS-260C7 is able to produce light in seven colours with a CRI of over 96, ensuring a very natural illumination of the stage. The fixtures are combined with 58 Irises, 54 TLT-235- and 4 TLT-1
Germany - Fine & Bright’s Hybrid Studio Berlin is located in the bustling heart of Germany’s capital. The new 425sq.m space is housed in a century-old former malt factory. Its black and white tile floor and industrial fittings serve as reminders of the building’s past, whilst its advanced design make it suited to provide clients with COVID-safe options for connecting to customers through virtual productions, or (once it is permitted by the government) with combined virtual/live events accommodating an audience of up to 50 people.
“We developed this studio with our partners ICT AG and the Malzfabrik, in order to offer our customers a high-quality and fully equipped space for digital and hybrid events during the COVID-19 pandemic,”explains Robert Ulm, CEO of Fine & Bright. “The studio has all the digital tools required for the quick and direct implementation of virtual conferences, interviews, live streams, press briefings, panel discussions, product presentations and music events in a safe, attractive environment.”
Helping to ensure that Hybrid has the flexibility to fulfil its mission is an adaptable studio stage outfitted with four separate rigs. By lowering one of the rigs over the stage, the design team can create a new setting quickly, depending on the needs of the client.
“Our technology here is permanently installed,” says Ulm. “Our philosophy is to be ready to play at any time, so we can also enable our customers to carry out projects at short notice.”
The studio’s lighting system is critical to helping i
USA - Innovation Nation, the CBS Saturday morning TV show about change-making technologies, recently called on Verge Aero, to find out more about the new aerial technology.
Produced by The Henry Ford Museum of American Innovation and Litton Entertainment, Innovation Nation presents stories of history’s technological turning points, as well as looking at the innovations that are changing the world around us. With drone light shows offering spectacular additions - or even alternatives - to traditional fireworks displays, the technology was ripe for further investigation by the educational programme.
Verge Aero’s drone fleets have been seen performing aerial celebrations at high-profile events including Joe Biden’s victory speech in Wilmington, Delaware, back in November. Presenter Alie Ward visited the company’s headquarters at Pennovation Works, part of the University of Pennsylvania in Philadelphia.
Alie met with Verge Aero founder Nils Thorjussen to see how the team “choreographed their engineering, artistic, computing and aviation skills to create a dance of lights in the sky”. They discussed the process of design and preparation, and the powerful proprietary software that makes it all possible. As she found out, it’s not just about complex choreography.
“In order to get to the point where you can actually do this, there is an incredible amount of engineering work that goes into creating the software that allows you to do it - reliably, and also safely,” explains Nils.
In a live demonstration Nils and Alie watched a
Europe - Typically utilised before and after performances and during intermissions as practical audience lights, house lighting has traditionally played only a minor role in creating the atmosphere of a space. With the advent of dynamic LED house lighting however, that has all changed. Today’s house lights have taken on a more flexible and increasingly important role as an integral part of a broader and more immersive lighting design impression.
In Elation’s 1 April Coffee Break, Alistair Smyth and Frederik Afif delve into the adaptable aspects of Elation’s colour-changing Fuze Pendant. This LED downlight produces high CRI variable tones to flood a space in hues of colour or functionally wash a venue in shades of white light. Add in a multitude of control, connectivity, mounting and lens options and it is the ultimate lighting tool for modern house and area lighting applications.
The Elation Coffee Break on the Fuze Pendant will air live on Thursday, 1 April at 11:00 a.m. CEST. Tune in at www.facebook.com/ELATION.Pro.Europe/live/. No registration is required.
The Elation Coffee Break is an online presentation series from Elation’s European office in Kerkrade, the Netherlands that takes an up-close look at some of the company’s most popular product series. To view previous Elation Coffee Break webinars, please visit www.facebook.com/ELATION.Pro.Europe/live/.
The Netherlands - The new MIMIK cultural centre situated next to the IJssel river in Deventer has been outfitted with a number of Infinity’s professional theatre lighting fixtures. TS-260C7 Profile Engines equipped with TLT-1230 Zoom lenses and Irises, TF-260C7 Fresnels with barndoors and TCYC-7 Cycloramas were used by Rolight to provide the desired illumination.
In the MIMIK, a theatre, four movie theatres, and a grand café are merged into a cultural experience. Open all day and easily accessible, its programme aims to surprise visitors time and time again. MIMIK follows up on the success of film house De Keizer (the emperor) and Theater Bouwkunde (Building Science theatre). Combining both with hospitable catering creates a vivid meeting place that ticks all the boxes for current and future generations.
The theatre is fitted with a retractable grandstand and can be transformed into a 162m² (1740ft²) festivity hall with the push of a button. Situated along the river IJssel, the foyer and bar on the first floor offer a great view on the surroundings.
To implement the appropriate internal lighting in the cinema rooms and theatre, Rolight have been asked to advise, supply, and install the necessary equipment. They have chosen the Infinity Signature Series TS-260C7 Profile Engine and TF-260C7 Fresnel fixtures to accommodate the professional environment of MIMIK. In total, 50 TS-260C7 Profile engines were combined with 50 Infinity TLT-1230 15-35°Zoom lenses and 50 Infinity Irises to provide lighting in the spaces.
They were augmented by 22 TF
UK - Dan Ridd, Steven Haynes and a team from Clearsound Productions in Shipston on Stour marked the culmination of a week of #LightItInRed ‘heart’ actions around the country with a livestream broadcast featuring mixmaster DJ Benji surrounded by a heart-shaped lighting rig designed by Steven and featuring Robe moving lights.
With overall direction by Dan Ridd and camera and humour direction by Andy Cox, the multi-camera broadcast included two drone feeds plus assorted visual highlights from the last year of #LightItInRed campaigns. These have focused on keeping the entertainment, production, and performance industry visible and relevant during the pandemic and consequent shut down, and this content was eloquently wrangled by #LightItInRed’s Sarah Berryman.
Working alongside Steven on lighting were two fellow Rose Bruford College students, Sam Jones, who programmed and operated the grandMA console running the lighting, and technician Daniel Bow, who were joined by George O’Connor of Dragonfly Lighting in Banbury. Also assisting the Clearsound livestream on the night were drone pilot Danny Gibbs and Matt ‘Toff’ Roff.
Seventeen Robe Spiiders were at the heart of the matter, set up in the yard in front of the Clearsound warehouse.
It was during the drawing and pre-vis stage that Steven and the lighting crew realised just how complex it is to create a heart shape accurately!
The Spiiders marked the outline of the heart contour, with the intervening spaces filled by LED battens and the DJ console right in the centre. The rig wa
UK - The National Theatre’s production of Clint Dyer and Roy Williams’ Death of England was performed at the Dorfman Theatre in spring 2020 before the venue closed due to the COVID-19 pandemic.
The one-man show was an intense study of grief and identity in Britain, performed in-the-round on a cross-shaped stage by Rafe Spall in an explosively energetic performance. Dyer’s direction, and Sadeysa Greenaway-Bailey and ULTZ’s stark set demanded equally dramatic lighting from the outset, which was provided by dance and theatre lighting designer, and NT regular, Jackie Shemesh.
Shemesh chose four Ayrton Diablo 300W LED profile fixtures as central features of his design, which he mainly deployed as followspots to track Spall’s every move.
The Diablo fixtures were rigged above the four inner corners of the cross stage, side-mounted and dropped 1m lower than the rest of the rig to allow clear sightlines to every angle of the stage. “I felt very strongly that the Diablos should be lower than the height of the Dorfman as I wanted them to be visible to the audience as part of the overall design concept,” says Shemesh. “Diablo’s small form factor proved a definite advantage: they just looked right and their compact size did not obscure the audience sightlines.”
The Dorfman Theatre is the smallest of the National Theatre’s three spaces with a 450-seat capacity, and a balcony on a level with the lighting rig. “The Diablos were rigged only 2m - 2.5m from audience yet we had no complaints about noise,” says Shemesh.
Italy - The Lucca region has given birth to many of the greatest voices in opera, but every spring and summer, Tuscany’s historic piazzas resonate with the impassioned sound of another kind of music, as they play host to world famous blues festivals.
In 2015, Lucca joined the list of Tuscan cities celebrating the musical genre by starting a blues festival of its own. Given the city’s evocative charm and rich musical tradition, the Lucca Blues Festival was an overnight success, attracting internationally acclaimed artists and legions of fans.
This year, because of the pandemic, the live event was cancelled, but the Lucca Blues festival continued its robust celebration of all things blues with a series of livestreams from Amandla Productions Studios, a versatile broadcast facility set up inside the city’s 1,500sq.m event centre by locally-based Amandla Productions.
Helping to create an immersive, camera-friendly environment for the blue performances, as well as the wide variety of other shows filmed at the studio, is a flexible lighting rig installed by Audiosales Entertainment Solutions that features 34 Maverick MK2 Wash fixtures, 10 Ovation E-910FC colour-rendering ellipsoidals, and 25 COLORdash Batten Quad12 units from Chauvet Professional. Controlling this rig are a ChamSys MQ500 Stadium console along with a ChamSys PC Wing and an extra wing.
Amandla Studios began on New Year’s Eve when, with lockdown restrictions still in place from 2020, the city of Lucca moved its popular celebration indoors for livestreaming. “Creating an indo
USA - Altman Lighting has announced the promotion of lighting designer, and former vice president of product innovation Pete Borchetta to lead the company as general manager.
"We are thrilled to announce that Pete Borchetta has been promoted to the role of general manager,” says Russell Altman, president of Altman Lighting. “His expertise, communication skills and leadership ability have been a tremendous asset to Altman and the lighting industry as a whole.”
Borchetta led the effort to move Altman headquarters from Yonkers, NY to Denver during the pandemic summer of 2020. Russell Altman cites his collaborative management style as having been integral in attracting and retaining strong teams committed towards the common goal of ‘bringing imagination to light’.
“Since our move, we are reorganising around the concept of a ‘collaborative collective’. We are collectively rededicated to our customers and our commitments,” says Borchetta. “Our goal is to earn customers for life through listening, collaborating, and most importantly delivering on our promises.”
Israel - The Weizmann Institute of Science is a renowned public research university in Rehovot which offers graduate and postgraduate degrees in the natural and exact sciences and hosts an annual event honouring the work of Israeli scientists and their contributions to an assortment of projects.
This year for the first time, the format went fully digital in delivery and was still staged at the Weizmann Institute campus’s Sela Auditorium, without a live audience but with as much ‘live’ presentational content as was possible which included lectures, seminars, presentations, Q&A sessions and the bestowing of honorary doctorates and other awards.
Lighting designer Eran Klein of Cochavi&Klein was asked to create lighting for the event and chose an all-Robe moving light rig to provide the flexibility needed to deliver this high-profile broadcast which was co-ordinated by communications agency FaZa.
Their team comprised Liron Zabari, Yoram Friedlander, Dana Klein and Hadas Vilensky, and the goal of all involved in the production was to ensure that director Liron Zabari brought an essential ‘as live’ ambience to all those tuning in to the stream.
In addition to the action being broadcast, recorded, or streamed from the venue, more presenters joined in live by Zoom, Teams and other remote conferencing platforms and three live entertainment segments featured performances by Miri Mesika, Ilanit and Arik Davidoff.
Set designer Izaq Ronen Wasserstein created an impressive diagonally orientated stage that was dramatically minimal
USA - The Illuminate Cities Project recently incorporated Martin VC-Grid LED video tiles supplied by Hayden Production Services into an ‘information-as-art installation’ called Illuminate: COVID-19.
Co-founded by architect Domingo Abrusci and urban planner Alexandra Payne, the Illuminate Cities Project is dedicated to improving cities through data exploration, art, design and engagement. Its pilot project, Illuminate: COVID-19, is an art installation that combines data mapping and lighting design to visually display COVID-19 infection and death rates alongside racial and economic demographic data, highlighting how the pandemic has affected specific communities in New York City.
Brought to life in collaboration with fabrication and design specialist Robyn Squires of RYSQ LLC and lighting designer Elisa Forlini, a RIBA-certified architect, the installation is a large hanging lightbox which Abrusci designed as a map of New York City’s five boroughs. To illuminate the piece, the team required a highly adaptable lighting solution, and chose Martin VC-Grid LED video tiles and P3-PC control software to create an eye-catching design with a flexible, data-driven backend.
“My partner and I both live in Brooklyn, and our other collaborators live in Harlem and the Lower East Side,” said Payne. “All of the neighbourhoods that we were living in were highly impacted by COVID-19. When Domingo and I started talking about the project, he imagined having the entire city turn off their lights to symbolise how the life had gone out of the city.