UK - Creamfields returned to Daresbury on the British August Bank Holiday weekend with bigger production values - and more flown subs - than ever before.
Led by crew chief Alex Hore and with system designs from Josh Lloyd, Britannia Row provided sound solutions to Arc Stage, Horizon Stage and Stage 4, AKA, the 15,000 capacity Steel Yard (which is so popular, it has become a festival in its own right with events staged in Cream’s hometown of Liverpool, and in London.
Hore, who was Britannia Row’s crew chief, oversaw a 16-stong crew across three stages and worked closely with off-site noise management consultants, Vanguardia.
He says: “The design of the systems and the ethos behind them is to provide the best sounding and largest-area-covering audio we can, whilst limiting the potential for any off-site sound problems. Any stage, at any time, can be called on to adjust levels and frequencies to limit potential issues at particular locations off-site.
“This relies on the skills of the system technicians and FOH engineers to respond quickly to any changes.”
The Arc and Horizon stages saw L-Acoustics K1 chosen for the main hangs. Arc had K2 on ground-fill and delay duties, as well as KS28 for ground subs, ARCS II as ground delays and Kara for front-fill. Horizon had a similar rig, with the smaller capacity requiring few boxes. Arc had an SSL L300 rider, whereas Horizon opted for the Midas touch with PRO2Cs at FOH and in the monitor position.
The Steel Yard system deployment had the arsenal of flown subs, utilising K1-SBs in t
Poland - Glastonbury 2019 headliner Stormzy thrilled audiences at Open’er , one of Poland’s largest annual music festival.
Held in Gdynia on the north coast of Poland, this popular event has attracted a host of names over the years including The Arctic Monkeys, Depeche Mode, Bruno Mars and Radiohead.
This year’s headline acts were Kylie Minogue and Stormzy. Concept for the main stage was undertaken by lighting collective Green Beam Design.
The main stage rig, supplied by Transcolor, included a whole host of Prolights Sunblast fixtures. The external design team requested colour strobes on floor to complete the desired ‘colourful punch’ aesthetic and Prolights Sunblast3000FC were used. The fixtures have a track-record of providing the punch that this performance required, but also the flexibility of the 48 individually controllable groups of RGBW LEDs allowing the design team more creative freedom.
China - The Qing show is a hi-tech, permanently installed stage show produced by the Sunac Group in a purpose-built, 1,600-capacity venue at the Oriental Movie Metropolis complex at Qingdao in the Shandong province of China.
The venue’s architecture has a number of marine elements and is designed to represent a conch. Based on the Chinese legend of Eight Immortals Crossing the the show was conceived, designed and created by artistic director Luke Petit through Art Team Group Asia.
Four years in the making, the show, which covers a floor area of 21,500sq.m, has a cast of 63 performers, features a lifting stage, acrobatics, dance, classic Kung Fu moves, 3D holographic projections and a water curtain fountain to create the perfect fusion of traditional culture and modern stage art. The cast which features 12 main roles, was selected from more than 10,000 dance and drama actors across China and took two years to assemble. The scene fluctuates between land and sea throughout the performance and delivers a rich and vivid background to a spellbinding story. Rave reviews greeted the opening night which took place in April 2019.
Production director Philip Alexi engaged experienced Belgian sound designer Erik Loots for the show and he in turn recommended a Coda Audio sound system for the project. Leading Chinese integrator (and Coda distributor) Tempo, was tasked with installing the system.
Erik Loots reports, “I became familiar with Coda when my old friend Hans Engelen at Viladco became a distributor. When this project was in its ea
UK - The Zero 88 team fully embraced the buzz and excitement of the 2019 Edinburgh Fringe Festival where they were - again - on the ground with training and technical support for a range of their lighting consoles and control solutions.
They also introduced #behindthefringe - a ‘fun and informative forum’ for anyone into fringe performance and involved with a show using Zero 88 products.
Building on this success, #behindthefringe will be launched as a website later in the year as a hub and platform for comments, experiences and opinions, sharing information and connecting people through various Fringe projects linked via Zero 88.
Over 100 different Zero 88 consoles were in action site-wide at this year’s Edinburgh event, which is the largest arts festival in the world, producing nearly 60,000 new performances in over 300 venues across 25 hectic and vibrant days!
These included an ever-growing number of latest generation Zero 88 FLX lighting desks, and generally around the Fringe, Zero 88 is one of the most popular control solutions for a diversity of productions.
Zero 88’s product manager for entertainment Jon Hole believes that the fringe is a good place to meet and train potential new technicians and users and get them into the Zero groove. In recent years, he and his team have maintained a strong presence through the event, ensuring that anyone using a Zero 88 product - has full access to hands-on support. This year an impressive 89 new Zero 88 lighting desk operators were trained.
Zero 88 consoles were working hard i
USA - The first annual Peak to Sky festival in Montana in early July featured Mike McCready (Pearl Jam), Chad Smith (Red Hot Chili Peppers), Duff McKagan (Guns N' Roses), Josh Klinghoffer (Red Hot Chili Peppers) and Taylor Hawkins (Foo Fighters) on the bill. Local event producers Outlaw Partners and lighting suppliers Jereco Studios were at the sharp end.
“We knew going in that we would have to put together a package that would be fitting of some of the biggest names in rock n' roll,” says Frank Douglas of Bozeman-based Jereco Studios. With at least 75% of the live production done by Jereco Studios during the summer months outdoors, Douglas says that in southwest Montana at least 75% of those shows experience some degree of inclement weather. “From sustained high winds, to hail, to rain, to snow, our most exposed fixtures need to be able to withstand that. Elation has led the way with their large selection of IP-rated fixtures.”
The 4th of July weekend Peak to Sky festival, curated by McCready, featured two days of rock music under the striking backdrop of Lone Mountain in Big Sky, Montana. Produced by award-winning media and events company Outlaw Partners, fans witnessed history as multiple hall of famers took to the stage as an ethereal sky and picture-perfect sunset played out in the background. The festival also featured multi-Grammy Award-winning artist Brandi Carlile and Seattle-based female rockers Thunderpussy.
Douglas, who served as lighting designer, programmer and lighting op with lighting design and programming assistance by La
UK - Allen & Heath mixers tackled FOH and monitor duties for We Out Here Festival (see LSi September 2019), held for the first time this August and curated by BBC Radio 6 DJ, Gilles Peterson, his Bronswood Recordings label and Worldwide FM. Taking place across four-days in rural Cambridgeshire, the family-friendly festival showcased a line-up of underground artists and DJs.
Supplied by Glasgow-based A-Live Sound, five dLive and four SQ systems were chosen to run FOH and monitors across seven stages. Director Iain Mackie comments: “I chose to invest in dLive and SQ as they’re the best sounding consoles on the market right now. With dLive specifically, unlike some other manufacturers, it has endless high-quality plug-ins - especially the Hypabass FX and Dyn8. It’s also incredibly easy for visiting engineers to just rock up and mix the band as the whole system and interface is very intuitive and well laid out.”
The main stage featured two dLive S7000s and two DM64 MixRacks paired with three Dante cards for virtual soundchecks, multi-track recording and channel splits between consoles. “This was my first real gig on the S7000 and while I’m used to running festivals on competitor consoles, this event will be a particular favourite for a long time. dLive is so easy to use, self-explanatory and it sounds really great,” comments Martijn Van Renterghem, chief system designer at A-Live
UK - Harlequin Floors has been picked to supply dance flooring to the English National Ballet’s new home in London City Island. The new location aims to bring world-class ballet to the widest possible audience and officially opened its doors last night (12 September).
The building has been designed by award-winning architects Glenn Howells Architects and combines top training, fitness, rehab and teaching facilities, seven stage-sized rehearsal studios and a unique theatre size production studio with five-storey fly tower unrivalled in the UK.
With funding from the Arts Council England’s Capital Large Grants programme and the National Lottery, the £3m investment brings both the English National Ballet and English National Ballet School together under one roof for the first time.
Harlequin installed over 1900sq.m of Harlequin Activity sprung floor and Harlequin Cascade vinyl surface and 200sq.m of Harlequin Standfast vinyl performance surface. An additional set of Harlequin Liberty sprung floor panels were also supplied for touring use.
Melissa Chapman, group marketing manager at Harlequin Floors, says: “We are delighted to have been chosen by the English National Ballet to supply and install our world-class performance floors in their new home.
“For over 40 years Harlequin has worked closely with the dance community and experts in biomechanics to develop a range of sprung and vinyl performance floors designed to meet the unique needs of dancers.
“Our range of performance flooring helps to provide an optimal environment
South Africa - The Roodepoort Theatre has seen various transformations since opening its doors in 1981, but one of the most recent has been the investment of an L-Acoustics ARCS WiFo system supplied and installed by DWR Distribution earlier this year.
Initially presenting opera and symphony performances, today the Roodepoort Theatre is a dynamic and diverse receiving house that plays host to an array of shows ranging from ballets to musicals, revues, dramas, dance competitions, bands and live recordings.
Over the years the theatre has stayed abreast with the latest lighting equipment, while aesthetic renovations, including new seats and flooring, have created a fresh and modern look. The new L-Acoustics system enables the theatre to offer a professional service to external companies making use of their facilities and a quality experience for the audience.
“The venue accommodates 328 people and has steeply raked seating and a large stage,” says Chris Pugh from DWR Distribution. “The flown configuration consists of two ARCS Wide and four ARCS Focus with four SB18M subs. Side-fills are comprised of two X8, while four 5XT do front-fill duty. LA4X and LA12X amplifiers power the entire system. The result is a smooth and beautiful sounding system.”
Technical manager Melony Eksteen says: “Growing up in a typical coloured community, our greatest resource as kids was the richness of our imagination and creativity. I remember always being drawn to ‘behind the scenes kinda work’ as we fearlessly undertook to build modelling ramps
USA - The Tony-nominated The Wedding Singer played Boca Raton’s Olympic Heights Performing Arts Centre this summer, with a lighting design by Clifford Spulock that featured Chauvet Professional fixtures.
“There are a lot of different emotions that go on in this show,” says Spulock. “It starts out with a massive party at a wedding. I light this with huge bump changes and big hits that play off the music. Light from my fixtures cut through the haze into the audience at this point to create a very immersive, energetic opening that encourages the audience to get up and dance to the music.”
Among the lights that Spulock had fun with were two Rogue R1X Spot fixtures that were positioned on the apron electric. Filling a variety of roles in the lighting design, the 170W LED fixtures were used for front light specials as well as to illuminate the mylar drop during party scenes. Drawing on their dual gobo wheels and 16° beam angle, Spulock also relied on the Rogue units for gobo breakups on stage, as well as for aerial effects.
Also key to Spulock’s design were the 12 COLORado Batten 144 Tour fixtures. These RGBWA linear lights were used to wash the stage in a range of colors to reflect the emotional peaks and valleys of Robbie’s journey. Half of the batten units were positioned on the stage apron, three stage left and three stage right, while the remainder were placed one apiece on three scaffolding positions.
“We had great results with the COLORados shooting up on each actor during the “Saturday Night in the City” scene,
Hungary - Robe moving lights helped keep pace with the demands of an eclectic mix of music and creative presentations on the main stage of Budapest’s Sziget Festival.
The stage saw performances from Martin Garrix, The 1975, Florence + The Machine, Foo Fighters and Ed Sheeran, who played to 80,000 fans a day for seven days.
The base main stage production / house rig was designed by Mark Kontra from rental company Colossal, who have supplied lighting for this stage of the event for the last several years.
The production lighting incorporated 172 Robe lighting fixtures which were a mix of BMFLs, Pointes and ColorStrobes.
It was designed to be practical, bearing in mind the amount of own kit coming in, offering all the breadth, fluidity and capabilities of a properly thought-through house lighting rig.
“We needed a powerful reliable rig with the flexibility to support all their designs, and obviously a premium brand that all these top-level designers find acceptable,” explains Mark, adding that Robe ticked all the boxes for the best quality, highest impact and smallest footprint fixtures available. The house rig was located on four straight overhead trusses.
For the size of the Sziget main stage, they chose the power and intensity of BMFLs. With 72 on the rig - 40 BMFL Spots and 32 BMFL Wash XFs there was plenty of latitude, and these were joined by 64 Pointes and 56 x Robe LED ColorStrobes, together with some Moles.
Colossal services numerous festivals with lighting each summer - including the main stages for Balaton Sou
UK - Following a critically acclaimed UK tour, the stage adaptation of Captain Corelli’s Mandolin promptly transferred to the West End for a recent nine-week season at the Harold Pinter Theatre.
Lighting the show throughout has been Malcolm Rippeth, who as with the touring version, made heavy use of Martin by Harman’s MAC Encore Performance CLD and MAC Aura XB fixtures when the show moved to the West End - supplied as part of the lighting package by White Light.
Based on Louis de Bernières’ best-selling novel, Captain Corelli’s Mandolin is a story of romance in the face of the Second World War, set on the idyllic Greek island of Cephalonia.
The creative team did justice to this epic story in just two and a half hours of stage time. “Consequently there were jump-cuts throughout the play, split screens, and montages of years passing,” says Rippeth. “These are devices we are used to in cinema, but have to be achieved differently in theatre, where we chose to keep everything on display. We stripped the aesthetic back to a single suggestive set which never changed, and lighting became critical in giving the audience a clear sense of the different locations, periods and psychological spaces of the story.”
Helping to achieve this were 12 MAC Encore Performance CLD LED moving heads. “These gave us maximum punch for cold scenes and images of warfare, but they were then able to have a beautiful warm quality, at perfectly adequate intensities,” explains Rippeth. “Having units as bright and versatile as the MAC Encore
UK - Leeds Trinity University has upgraded the lighting infrastructure of its TV studio facilities to next generation systems utilising Vista by Chroma-Q lighting & media control.
The university was one of the first establishments to have professional TV studio production facilities as part of its courses. Student applications range from live daily news and culture shows to interviews or scenes for documentary and film productions.
After upgrading its original tungsten lighting to all-LED DMX rigs, the university wanted to invest in a control solution which staff and students would find straightforward to operate, whilst also being widely used professionally.
They invested in new control systems for both TV studios which utilise the latest Vista 3 software, with hands-on controls provided by Vista MV control surfaces.
Mark Willett, the university’s senior technician for media services commented: “The more sophisticated lighting had left us struggling to program our old console. We had been looking for a replacement and Vista 3 turned out to be just what we needed.”
With limited space to accommodate the lighting control systems and to build sets, the compact yet versatile Vista system matches the University’s needs.
Willett comments: “The Vista system takes up a lot less space than a huge lighting desk, yet it’s very powerful. In addition, it gives us a lot of creative flexibility to paint sets with light and create different moods for different shows.”
After being so impressed with the Vista 3 software and
Sweden - Yamaha VXL1 slimline line array loudspeakers are proving the solution of choice for many houses of worship, radically enhancing sound but without compromising the aesthetics of church interiors.
Opened in 1815, the current Gothenburg Cathedral is the third on a site in Sweden’s second largest city which dates back to the early 1600s. The building has seen a constant series of improvements, including being the first Swedish church fitted with central heating, plus a number of major restoration and renovation projects.
The latest upgrade has been to its sound reinforcement system. Installed 11 years ago - including a Yamaha LS9 digital mixing console, DME24N digital mixing engine and ICP1 surface-mount controller - the installed loudspeakers were lacking quality and coverage by today’s standards.
“The main need was to improve the intelligibility and provide a more even sound in the main part of the cathedral and the side chapel, as well as enhancing monitoring for the choir,” says Sten E. Ranwald of Gothenburg-based audio specialists Ljud & Sakerhet.
The cathedral’s classical interior meant that there were very strict rules about the aesthetics of the system, so Ranwald chose a pair of Yamaha VXL1-24 loudspeakers to enhance the sound in the main part of the cathedral and a pair of VXL1-16s for the side chapel, powered by PX3 and PX5 amplifiers. He also upgraded the LS9 to a compact Yamaha TF1 mixing console.
Notably, the DME24N and ICP1 were retained. Even after 11 years, it is a powerful, flexible and reliable solut
The Netherlands - Three festivals in a row on two weekends in August - that’s the order of the day(s) for creative event production specialists The Good Guyz of Amsterdam at the Velsen Valley.
Dance Valley, Dutch Valley and Latin Village Festivals share the same site which features multiple stages and attracts huge crowds. The three electronic music events move between genres and offer up the cream of Dutch and international artists.
The Good Guyz’ Arjen Ott, technical production manager for the three events, has been a fan of Pioneer Pro Audio systems since first hearing XY-3B at the invitation of Wouter Rouijter of Amsterdam Pro Audio rental company AVL. This year he took the decision to introduce an XY-3B system for the Club Onderste Boven stage hosted by SLAM FM, which would be used during the three consecutive Velsen Valley events.
Arjen Ott explains: “I had a relationship with AVL before Wouter took over, but they had a different brand of speakers then and we didn’t rent them. When he took over and brought in Pioneer Pro Audio, he invited me to listen to a system and I thought it sounded great - really warm and punchy and I started renting it for some of the parties I take care of. I think it was around three years ago that I first tested it at my own small festival for around two thousand people. I loved it from that first time and use it regularly for my own events, so it was an obvious step to introduce it here on one of the stages for these larger festivals.”
At Velsen Valley, for front of house, AVL installed six XY-3B an
Germany - After taking Las Vegas and London by storm, Channing Tatum’s Magic Mike Live will now move on to Berlin. Inspired by the hit Magic Mike film franchise, the latest production will open at the newly remodelled Club Theatre at Potsdamer Platz in November this year.
Having supported the London show since its opening last year, full service technical production company Hawthorn has been chosen to supply lighting equipment to the new Berlin production.
Conceived and co-directed by Tatum, Magic Mike Live is a large-scale, live production show featuring a group of extraordinary artists who perform an immersive 360-degree dance and acrobatic spectacular.
With a rig almost double the size of the West End production, 500 fixtures to be precise, Hawthorn is supplying lighting equipment to the specification of theatre lighting designer Philip Gladwell. This includes 68 Robe Spiiders, 86 Martin Rush PAR Zoom 2s, 62 GLP X4 Bar 10s and 28 Martin MAC Encore Performance CLDs.
As with the Vegas and London productions, audiences of Magic Mike Live Berlin can expect a lighting design more akin to a music video than a traditional theatre production. Packed with visuals and effects, the punchy rig also features Robe Mega Pointe, Super Spikie and LEDbeam 150 fixtures. The impressive set up will all be controlled using two Gio @5 consoles.
“We are really pleased that Hawthorn is looking after all of our lighting needs for the Berlin production of Magic Mike Live after they did such a great job for us in London,” says G
UK - Ocean Colour Scene's drummer, Oscar Harrison, leads a double life - he's the drummer and multi-instrumentalist with Birmingham's Ocean Colour Scene and a leading DJ in his own right.
Determined to make himself heard, Oscar has just taken delivery of a new rig from PA manufacturer, Yorkshire-based BishopSound.
Oscar says: “I recently found myself at a friend's wedding party and was stunned by the sound I was hearing. I was amazed at how the sound filled the room with over 400 people, with no sound loss or punch on sound quality. I got investigating. My friend was using Orion15" full range and Beta 18" subs from BishopSound. For me, the system ticked all the boxes.”
Oscar's new BishopSound rig comprises: two BO115A4 Orion 15A4, two BB218S, four BB118s Beta 118 Subs, two Beta BB115 speakers, two BSS4 Telescopic Poles plus assorted cables.
USA - Lighting designer Benoit Richard specified two High End Systems Hog 4-18 lighting control systems for Rob Thomas’ Chip Tooth Smile Tour 2019.
“The Hog 4 controls everything in my design and has an extensive use of the pixel mapping engine on most of the fixtures in the rig,” the LD says.
Since his years as a former High End Systems designer and programmer, Benoit continued to use Hogs on projects ranging from tours and television specials to blockbuster films. “I was super happy when Bandit Lites purchased the two new Hog 4-18s for the tour earlier this year,” he says. “And I love the fact that they are manufactured in the USA.”
Richard programmed the show for the Matchbox Twenty co-founder with lighting director Patrick Hayes, who carries out his design on the road. Hayes was introduced to Hogs while participating (and winning) the inaugural Hog Factor USA Collegiate Lighting Programming Competition in 2015. He toured recently on a Full Boar 4 with The Decemberists.
“I really like working with Patrick,” Richard says. “And after being ‘the guy’ who ran the light show for two of Rob’s first three solo tours, it was emotionally difficult for me to let someone else take over. But Patrick was the perfect fit to be on Rob’s touring crew.”
Hayes says: “The 4-18 consoles have been rock-solid, and coupled with the latest v3.12 software, it’s provided a fantastic interface. The 4-18 feels just like the last generation of the Hog 4 but better. The larger screens and aluminium encoders give the desk a sleeker
Canada - At a time when the background noise in audio is all about 3D sound and immersive experiences, arguably an extravagance suited to famous concert halls and exotic experimental music, it is contrary to the flow that a d&b audiotechnik Soundscape system is being applied at a church in Calgary, Alberta.
Thriving it may be, yet the pastoral team at First Assembly, Calgary is not prone to moments of irrational exuberance or wanton financial profligacy. For them Soundscape provided an entirely affordable solution to a seemingly intractable issue between acoustics, worship and sound reinforcement.
Justin Wells, First Assembly’s technical director, saw it as an uncomfortable divide between parts of their congregation and the heart of music worship. “Music is a huge part of what we do and within our church we have highly skilled musicians. For people who come for that, it has the potential to be inspiring. For our Sanctuary, what we sought was an audio system that could place everyone in the sweet-spot of the sound image, something that could reach those sat at the periphery of our 240° fan shaped room and give them that inclusive experience.”
Wells and executive pastor Shane Penney called upon the services of Sapphire Sound, an audio, video and multimedia specialist headquartered in Abbotsford, British Columbia with a permanent office in Calgary. “We had worked with the Church on a number of things in the past,” explains Ben Burrell of Sapphire. “Lighting upgrades, small pieces of kit here and there, that sort of thing - but this w
UK - Now well into its ninth decade of technical innovation, RG Jones Sound Engineering returned to Glastonbury for the eleventh consecutive year to support headliners Stormzy, The Killers, and The Cure on the Pyramid Stage, and to extend its expertise to the Genosys Stage and the new IICON stage at Block9, and a reconfigured West Holts stage.
RG Jones has enhanced the Pyramid Stage since 2007 in one of the longest uninterrupted runs of audio services of any sound company at Glastonbury in recent times. The 18-strong on-site team, headed up by production manager Ben Milton with production engineer Mark Isbister on stage, collectively brought to the largest green field festival in the world a wealth of expertise in delivering audio to an extremely large crowd under notoriously challenging climatic conditions.
The main aim of the system design, developed by festival sound consultant Simon Honywill and Martin Audio’s Jason Baird from Jim Cousins’ original concept, was to apply Martin Audio’s MLA technology to provide an even and consistent spread of coverage and sound pressure level across the arena, and meet the Glastonbury audience’s increasingly high sound quality expectations.
The Pyramid Stage PA was composed of MLA and MLA Compact elements, with eight delay positions – two of them new for this year to ensure solid coverage to the extreme far corners – of MLA and MLA Compact cabinets optimising coverage up and across the expansive field. A broadside cardioid array of 32 MLX subwoofers stretching across the entire width of the stage pro
Saudi Arabia - Called upon by event producer Maestro Group to light the King Cup Final in Riyadh, lighting designer Koert Vermeulen used the versatility of a rig exclusively from Vari-Lite, a Signify (Euronext: LIGHT) entertainment lighting brand, to deliver his stadium-scale design. His creation utilised 350 Vari-Lite fixtures, including 100 of the new VL10 BeamWash and 100 fixtures from the LED-based VLZ range.
The King Cup, the highlight of the Saudi soccer season, was held in May at Riyadh’s King Fahd International Stadium. The event included three separate shows - a five-minute pre-match entertainment, a 17-minute half-time show, and a post-show entertainment featuring an hour-long set by Saudi popstar, Rabeh Sager.
Vermeulen, of Belgium-based consultancy ACTLD, is no stranger to the challenges of designing on a stadium scale, and the variety of demands it makes of a lighting rig. Using six different Vari-Lite models, Vermeulen created a dynamic and flexible show lighting environment with depth and texture, for both live audience and television cameras, encompassing the pitch and performance area, the audience seating and the stadium structure.
Discussing his approach to the design, he says, “We are collaborating with the artistic director, Haitham Dghaili. It’s his vision we interpret. We deliver what is possible and then maybe add a few sparkles of our own on top.”
The powerful effects capabilities of the VL10 BeamWash offered sparkles aplenty. Vermeulen positioned these around the outermost audience perimeter to serve “as bea
UK - Esports Championship Series (ECS) Season 7, the latest iteration of the world’s most-watched CS:GO (Counter-Strike: Global Offensive) tournament, took place earlier this year, culminating in a four-day final in June at The SSE Arena, Wembley, London. The 16 groups that started the event were gradually reduced to four teams, which then battled through a knock-out competition to determine the season’s champions.
The tournament was run by FACEIT, the competitive gaming platform for online multiplayer PvP gamers, which boasts more than eight million users and 12m online gaming sessions each month.
disguise rental and studio partner, Bluman Associates, was commissioned by FACEIT to provide a 4K video display solution and management for the event. Bluman Associates have a disguise rental fleet including gx 1, gx 2 and solo servers - as well as the newest addition to their fleet, the gx 2c, which was used to power the ECS Season 7 tournament.
“We were keen to have the gx 2c servers on the project as it was the first opportunity we had to use them,” said Simon Hudson, project manager, Bluman Associates. “They performed very well, and we didn’t even get the chance to push them to their full capability on this occasion.”
The gx 2c servers feature two HDMI 2.0 VFC cards. Two 4K@60 feeds were required for the production, simplifying the video signal pipeline. The gaming aspect of the project relied heavily on HTML5, and disguise's Web module enabled the FACEIT Dev team to send five live2k HTML5 Rasta over a pre-rendered wireframe, p
Singapore - Ayrton MagicBlade-FX and Mistral spot luminaires were recently supplied to the Church of Our Saviour in Singapore by Ayrton’s exclusive local distributor, Total Solution Marketing Pte.
The Ayrton fixtures were chosen for a number of reasons, as technical director, Ron Chiam, explains: “Because we only have a small space, we needed fixtures that were small and compact, but at the same time powerful enough to create a vibrant atmosphere. It was the first time we had heard about Ayrton, but soon realised that these were the fixtures to go for in the space that we had. They are used during moments of worship and are also used to create 3D-like lighting for our camera crew, so that they can capture what is on and off stage with ease.
“We have four MagicBlade-FXs rigged up on our flybars in a V-shape, so that we can fan them out to create some eye candy effects, or close them in for that extra breath-taking moment when there are solo performances. Two Mistrals are situated on the floor on top of boxes at our stage lip. These help to colour and project patterns to the roof and side walls. Another two are hung out on our side bars to give the audience some colour.”
Chiam was delighted with some of the special features and ease of use of the Ayrton fixtures. “One of the moments where these lights stand out is when you can blend two gobos together to create some sort of texture, without it looking like a messy array that distracts the congregation. Instead, each gobo is blended with another in different rotations to create a certain typ
UK - one thousand six hundred fans descended on the Indigo at the O2 to enjoy a Sri Lankan ‘pop’ music show. This event, designed to provide an essence of Sri Lankan music was headed up by Palinda Samarasinghe from Lankan Imaginative & Foremost Events.
Ruary Macphie, touring project manager from Matrix UK Solutions (Matrix) ensured the correct equipment was supplied to fully enhance and deliver the content on the show. Overseen by Ruary, the team performed a thorough pre-show check of all the show equipment, an opportunity to modify, prep and test the video equipment - this took place in the warehouse of parent company Anna Valley. At this stage, the team ingested the Sri Lankan filmed footage and programmed it to 55 tracks.
Ruary comments, “It is essential to pre-rig and thoroughly test show equipment – this takes place as a given for all our events. However, for this particular event the accuracy of the load and kit was paramount, we had an unbelievably tight load in schedule with very early sound checks taking place on the show day. There was no room for error, everything needed to rig perfectly. Thankfully everything went to plan, we were perfectly on-time for the sound boys.”
For the actual show Matrix supplied AV3 LED fed with a Green Hippo and video capture card allowing Indigo camera pictures to be put on the screen. The LED consisted of a large 6m x 3m backscreen, hanging off trusses further downstage, equally spaced to provide a great visual effect were 6 pods (4 x 1m x 3m and 2 x .5m x 3m) using 3 x 4k Nova star processors.
Europe - Creative Technology (CT) first became involved in professional golf over 30 years ago, since then the company has steadily built its relationship with the European Tour providing AV technology at numerous tournaments throughout Europe, the Middle East and into Asia and Australia. CT has been appointed approved supplier to the Tour in recognition of their long-term engagement.
The European Tour, headquartered at Wentworth in Surrey, manages the majority of premier golf tournaments across Europe and the Middle East, including the Ryder Cup on its four-yearly visit to Europe.
Dave Crump, CEO of CT in Europe & the Middle East commented, “Creative Technology has a long, proud and successful relationship with golf in Europe providing LED screens to around 40 events per year and having been involved in every European Ryder Cup since 1985.”
LED screens have historically been the focus of CT’s supply and whilst this continues there has been a significant shift in priority in recent years. Golf is one of the most challenging sports to support with large screen displays, typically played in full daylight and ideally bright sunlight means screen brightness and contrast is crucial, coupling this with a requirement to display high density graphical data and TV images which typically include a tiny white ball on a uniform green background means the selection of display technology is crucial.
Recent developments have allowed smaller pitch outdoor screens to achieve satisfactory brightness, contrast and uniformity meaning higher density data