Hungary - Budapest’s Rumbach Street synagogue, designed by Viennese architect Otto Wagner and completed in 1872, has recently been restored to its original Moorish revival style exquisiteness and glory. It has re-opened to the public after decades of dereliction following a partial reconstruction in the late 1980s / early 1990s which ran out of funds, and this more recent effort which was finished during the pandemic.
In addition to being used for prayers and other spiritual activities, the main chamber (sanctuary) and other related spaces have been reimagined and kitted out with the latest technologies. AVL Trade was chosen to integrate a full lighting and AV system into the synagogue as the final detailing of the restoration project which has transformed the venue into a set of stunning modern event spaces for Hungarian Jewish umbrella organization, Mazsihisz.
AVL Trade’s Csaba Csanadi has worked on the project for over two years, the initial approach and invitation for the company to tender on the project came just as the pandemic was starting. For moving lights he specified a selection of Robe fixtures including 12 x T1 Profiles, 12 x Spiiders and 16 x LEDBeam 150s.
These luminaires were all selected for flexibility and because they fit nicely and neatly into the space, offering multiple options for the venue’s mix of activities.
The synagogue is tucked away in one of the narrow winding streets of Belvaros, the historical centre of Pest old town in the east of the Hungarian metropolis which is also a colourful party district. “I
USA - Lighting and visual designer Rob Ross of New York and LA based technical production company Rob Ross Design used over 500 Astera Titan Tubes to highlight architectural and industrial areas at Tesla’s new Gigafactory in Austin, Texas for the automotive giant’s recent facilities launch party, Cyber Rodeo.
Covering 2,500 acres along the Colorado River and offering over 10m sq.ft of factory floor, Gigafactory Texas is a manufacturing hub for Tesla Model Y and the future home of Cybertruck.
Rob and his team were asked onboard by the Cyber Rodeo event’s creative director Stefan Beckman and producer Mark Seed and tasked with designing a creative illumination scheme for the vast environmental spaces involved in the event, including interiors and the building exterior.
This epic mission saw close collaboration with LD Tom Sutherland and his team from DX7 Design who created lighting for Cyber Rodeo’s three stage and entertainment areas.
The enormous main space utilised for the event measured 3800 ft x 1200 ft and stretches the equivalent of seven city blocks.
Looking at photos, videos, walk-throughs, plans, and renders were useful for getting an impression explained Rob, but it wasn’t until he finally stood in the space for real during the first reccie … that he truly felt and understood its scale and enormity!
This was the first trigger for creating an atmosphere for guests to be engaged, impressed, and put in the mood to party by proactive lighting.
“We had a free rein to suggest ideas which was great fun,”
Italy - The 66th edition of the Eurovision Song Contest was held by the EBU at the PalaOlimpico in Turin, attracting a TV audience of 200m and - for the first time in three years - there was an almost full audience at the venue.
RAI RadioTelevisione Italiana, as host broadcaster, took the lead in setting up the stage, which this year revolved around The Sun Within designed by Francesca Montinaro, an ambitious new stage concept based on the light of a kinetic sun. The multilevel stage set-up was complemented by spectacular waterfalls, large LED video walls and - as always - an impressive array of lights ready to set the competing artists' shows on fire.
Claypaky was there with over 400 lights, including 120 Sharpy X Frame, 64 Xtylos, 25 Mini Xtylos, 42 Arolla Profile HP, 25 Stormy CC and 144 Sharpy Wash units. Particularly prominent among them all were the new Claypaky Sharpy X Frame hybrid lights, which flanked the two side catwalks that led from the upper stage down to the stage below.
The Claypaky Xtylos fixtures were arranged along the two top side edges of the structure and were particularly visible in the fanned-out coloured light that cut through the audience. They also had the essential task of creating the lighting effect that accompanied the presentation jingle at the beginning of each song.
The Claypaky Mini Xtylos HPEs were fitted in unusual places: thanks to their great compactness, they were installed inside the stage-side trapdoors, from which sharp blades of coloured light shot out. The Claypaky Arolla Profile HPs and Sha
UK - Pale Waves was formed in 2014 by lead singer and guitarist Heather Baron-Gracie and drummer Ciara Doran while they were at university in Manchester. The band was later joined by guitarist Hugo Silvani and bassist Charlie Wood, completing the lineup. Eight years later, the English indie rock band released their second album, Who Am I? in February this year, that peaked at number three on the UK Albums Chart.
Currently touring across five countries and with more US concerts coming up, Patchwork London is providing tour and production management services to the band, which includes two DiGiCo Quantum 225 consoles for FOH and Monitors supplied by SSE Audio.
“Due to a massive increase in touring projects we support, we needed to invest in new, high quality consoles,” says Calum Mordue, touring director at Patchwork London. “The Q225s ticked all the right boxes. They’re next generation consoles, hugely powerful and relatively compact in size so can easily service both a tour bus and trailer tour or an arena tour.”
Despite having worked with Pale Waves’ management company and record label for a long time, this is the first tour Patchwork London has supported. “We decided on the Q225s because of their smaller footprint and massive feature set. The console is small enough to squeeze into Dublin Academy and not out of place in the Roundhouse,” explains Mordue.
The engineers on the UK leg of the tour were Calum, on monitors and Lee McMahon at Front of House.
“As we were going into a new campaign, Patchwork gave me the
Portugal - Teatro Garcia de Resende was recently renovated and selected ETC lighting solutions including ArcLamp luminaires, ArcMesh Drivers and an Echo control system to upgrade the space.
The theatre, which is recognised for its interior ‘Italian-style’ architectural beauty, was built in the 19th century and is a part of the European Route of Historic Theatres: a route around Europe which distinguishes the most beautiful, historic theatres that represent European cultural heritage.
The theatre’s technical director, António Rebocho, was in search of LED lighting to replace the existing tungsten lights in the building. He particularly wanted an LED solution which would not compromise the quality of the light or increase maintenance costs. After researching various options, António decided to go with ETC’s ArcLamp luminaires commenting that he had “never seen the room so beautiful - the new lights enhanced all the colours, especially the red tones”.
ETC dealer, NAN Audiovisuals installed 108 ArcLamp lights with Fade to Warm feature technology into the Teatro Garcia de Resende. The LED luminaires provide quality light, smooth dimming and up to 90% energy savings.
António Rebocho comments, “ArcLamp has improved the quality of light in the theatre whist simultaneously reducing the maintenance costs related to lamp replacements and energy consumption. Being able to control the lighting from the installed button stations and lighting desks was also a great improvement.”
ETC regional sales manager Konstantinos Vonofakidis ad
USA - The Church at Sterchi Hills is enhancing its mission with immersive worship experiences, delivered by Avolites and its fully integrated Synergy package. The growing ministry in Knoxville, TN has continually upgraded its A/V infrastructure since splitting off from Second Baptist Church in neighbouring Clinton, TN in 2019.
The church believes that effectively communicating a message begins with embracing new technologies to create a high-energy, highly engaging worship environment. For its latest growth project - building a new worship centre - the church turned to Andre Huff, a veteran lighting designer with national touring experience and also the architect of Second Baptist Church’s lighting system.
The Sterchi Hills team had a vision for converting its stage area’s back wall, 55 feet wide and 20 feet high, into a giant video surface. Realizing the possibilities, Huff immediately signed on to be lighting designer and to manage the control of this blank canvas. He had previous experience with the Avolites Ai media server and Avolites consoles on his last tour and recommended the technologies for controlling video outputs and lighting seamlessly in the new Sterchi Hills facility.
“The Avolites server with Synergy and Avolites consoles were the perfect fit for this installation project,” said Huff, who is also the founder and owner of Limelite Design Service, a lighting design, sales and consulting firm specializing in worship, live events and television. “Using a proper media server gives the church media department the video computin
UK - Stage Precision (SP), and technical business development specialist, Neutral Human, have announced a strategic partnership alongside the launch of Stage Precision to the wider market.
SP is an independent data and control platform that enables users to build complex control-systems and previsualise or pre-programme technological workflows for the global live events market.
“The industry’s creative technologists have adopted SP as part of their trusted workflows. It has enabled the high-end projects to develop with pioneering complexity, so now it’s time for the wider industry to discover such this ground-breaking tool,” says Neutral Human’s founder, Sarah Cox.
“What drew me to working with SP is the fact that the product is community-led. Its development comes from working alongside its userbase on real world challenges and finding solutions to those problems.”
SP keeps track of all position and control data around live events, broadcast, XR, VP, and installation projects, connecting devices between the digital and physical world through a unified 3D space.
“Essentially, it’s a user interface or a software that solves problems within interactive media installations and broadcast virtual production,” says SP managing director, Michael Giegerich, who also co-owns bright! studios.
It was while working under the auspices of bright! studios that the team identified the need for a specific 3D data management product while working at the coalface of visual design and technology for live events.
France - The 75th edition of the Cannes Film Festival is, for the first time, hosting a virtual production space powered by disguise - marking a new milestone in virtual production’s expansion into the European film and television industry.
Film and television group Film Soho, is partnering up with virtual production innovators disguise, ROE Visual, global video solutions provider CVP and content studio ZOAN to showcase a virtual production stage in the garden of the Grand Hotel in Cannes - hosting many of Cannes Festival’s A-list participants.
Visitors will step into a virtual production volume, powered by disguise and will become fully immersed into rich environments such as expansive city scapes and lush Icelandic country scenes - all designed in Unreal Engine and Notch. Visitors can drop by the space during the festival to receive demonstrations of the technology.
Powered by disguise’s extended reality (xR) workflow for virtual production, the stage is made possible with the support of LED technology from ROE Visual, camera tracking from Ncam with CVP supporting on-camera and tracking system curation.
“disguise is so excited to support Film Soho in bringing the vast possibilities of virtual production to the Cannes Film Festival and truly connecting with the innovative and disruptive qualities that both the festival, the international filmmaking community and disguise represents,” says disguise CEO, Fernando Küfer.
“disguise xR, combined with powerful graphics supported by Unreal Engine, empowers filmmakers to let t
Australia - Now in its 12th year, Vivid Sydney will transform the Harbour City into an illuminating fusion of creativity, innovation and technology. From 27 May to 18 June, it will host more than 200+ events celebrating the essence of Sydney’s soul including its diversity, beauty, resilience, First Nations culture, and vibrant creative community.
Providing insightful access into what exactly goes on is TDC - Technical Direction Company, a team of project managers, creative technologists, designers and engineers. Alex Rendell, technical project manager at TDC, takes up the story: “After 12 months of planning, our team are so excited to be back working on Vivid Sydney again. The project is a huge logistical and technical rollout for us. It is going to be bigger and brighter than ever. Vivid Sydney will showcase the largest projection mapping display at any single event ever in Australia.”
TDC is illuminating buildings and performance stages with the latest technical advances in LED and projection design and mapping. The company provides backbone technology for signage systems for new immersive experiences on the Vivid Sydney Light Walk. TDC LiveView technology will be in action with over 72 real-time digital way finders. TDC LiveView will guide the audience through the Vivid Sydney Light Walk based on real-time information from traffic management, police and emergency services to ensure a great audience experience.
Newly-appointed Vivid Sydney festival director, Gill Minervini officially kicked off the technology delivery for Sydney’s signatur
Germany - MA Lighting has released the grandMA3 software version 1.7. This release offers MAtricks in presets, reworked preset editor, easier creation of recipes, faster programming of phasers and more intuitive timing and speed.
In addition, there are new features as well as ‘lots of improvements’. XYZ programming, preview functionality and a DMX tester have been implemented. Important menus like Backup and Patch have been reworked for a faster and easier workflow.
Importantly, the grandMA3 software release version 1.7 takes the next step towards a future-proof lighting control system. It reacts to the rising complexity of shows and the increasing requirements in the different market segments.
The software delivers ‘a massive parameter upgrade for most grandMA3 devices’. The parameter upgrade just comes with the software update to grandMA3 v1.7.
Brazil - The 2021 Copa América tournament was the 47th edition of the international men's football championship organised by South America's football ruling body, CONMEBOL. Clear-Com’s Brazilian partner, Savana Comunicações, in conjunction with Mediapro Group Paraguay, were charged with providing the video assist referee (VAR) equipment and expertise for the Copa América games taking place in five different stadiums in Brazil.
Clear-Com products can be configured in multiple ways to meet the communication requirements of VAR, and each of the five stadiums used a different combination of Eclipse HX Digital Matrix System, HelixNet Digital Network Partyline, FreeSpeak II Digital Wireless Intercom, Clear-Com Encore Analog Partyline, LQ Series of IP Interfaces and V-Series Iris Panels to make VAR implementation possible during the tournament.
A video assist referee is an appointed match official who reviews decisions made by the head referee with the use of video footage in order to minimise human errors. This process requires efficient, reliable communications with very low latency between the VAR referee reviewing the footage, the head referee on the field, and the video replay operator, as it can greatly influence the outcome of a game.
“The communication is the most important part for the VAR team. It’s important that the audio is clear and intelligible because we are recording it for playback that can impact who wins the game,” said Sergio Miño, technical manager, Mediapro Paraguay.
Five major Brazilian stadiums - the Maracanã,
Spain - The Auditorium de Palma de Mallorca is a multifunctional building that accommodates theatre, opera, ballet, musicals and concerts, welcoming around 100,000 total visitors annually to its large, 1,700-seater hall. Emulating its inspiration, the Royal Festival Hall in London, the hall is designed in such a way that the stage is optimally visible from all seats. The theatre’s latest investment is Cameo spotlights from the Zenit and Opus series for use in the hall, as well as for the exterior lighting of the building.
Four Zenit W600 outdoor LED wash lights are currently lighting the theatre’s main facade. Three further units are to be added in the future for the side facade. In the hall itself, 12 Zenit W600 wash lights (which feature interchangeable lenses) are used on the cyclorama screen at the rear of the stage. In addition, 16 Cameo Opus Spot Moving Heads are used to provide flexible stage lighting. The setup is completed by seven Cameo OPUS SP5 Profile Moving Heads, which provide the front lighting from a lighting bridge 30m away.
“The Cameo spotlights are becoming increasingly popular and often appear in riders,” confirms Marc Ferragut, director of the Auditorium de Palma de Mallorca. “We tested several models from different manufacturers in advance. Cameo is unbeatable in its class, including in terms of support from Cameo and the Adam Hall Group.”
The Auditorium de Palma de Mallorca is planning to invest in other Cameo solutions in the future, in particular in the F1 FC Fresnel spotlights. In addition, Cameo F2 FC, Opus W5
USA - Last year, David Beebe became one of the first house LDs to add Chauvet Professional’s Maverick Force S Spot to his rig when he took shipment of six of the then-new 350W lightweight movers from JRLX at The Birchmere club, where he’s been looking after the lighting since 2004.
At the time, Beebe explained the move by saying he was expecting the new fixtures to add “another dimension” to his lightshows, allowing him to incorporate new looks to reflect the diverse mix of artists that take to The Birchmere’s stage. This April, he provided another example of how the fixtures have exceeded his expectations when he created a deeply evocative show that morphed from psychedelic to old school rock, to jazz looks.
This time, the show has an extra-special personal touch for Beebe, as the band he was lighting were the Rock and Roll Hall of Famers, The Zombies. “I listened to them as a kid,” he said of the group from St. Albans UK. “They were always special.”
“I try to never to repeat looks throughout a show,” he said. “It bores me to be repetitive and I don’t want to bore the audience either. For the Zombies, I wanted some psychedelic looks which I got mainly using the video wall and some colour scrolling. The rest was straight rock and roll or ballad looks. I like to do darker looks with a lot of overhead lighting and many of the bands seem to like that as well. Keeps the light out of their eyes! I used the mirror ball on one song and lot of swirly stuff on the video wall.”
Beebe’s six Maverick Force S Spots contributed
France - Christie is the official projection technology partner for the 75th Cannes Film Festival. The event, which runs 17-28 May, will see projectors from across Christie’s broad portfolio powering screens throughout all venues. The festival is set to welcome approximately 35,000 guests, a significant increase over last year’s 24,000. Christie will provide installation and show support for the occasion, as it celebrates its 16th year as technical partner.
“It is a tremendous honour to continue our association with Festival de Cannes, with its renowned prestige and rich history making it a truly unique celebration, year after year,” says Adil Zerouali, senior sales director, Cinema EMEA, Christie. “We will aim to showcase this year’s outstanding line-up of films in the most visually impactful way possible with our leading projection technology. It’s great to see that the festival has returned to its usual point in the calendar, and I’m excited to see it back in full force, with all the vibrancy, talent and creativity we’ve come to expect.”
Christie has supplied an array of both RGB pure laser projectors - which were successfully introduced in 2021 - and Xenon illuminated projectors to cater to the dedicated rooms and screen sizes throughout the festival. The RGB pure laser projectors include the Christie CP4440-RGB, CP4330-RGB, CP2315-RGB and CP2306-RGBe models - all of which are DCI-compliant.
The Christie CP4440-RGB, CP4330-RGB and CP2315-RGB models feature Christie Real|Laser illumination, which delivers outstanding colour an
Europe - Hans Zimmer hit the road this spring on a much-anticipated tour. Delayed due to the pandemic, his 19-piece band and an orchestra delighted fans all over Europe.
The lighting design was delivered by John Featherstone from lighting and visual design studio Lightswitch. John and his team pushed for an all Robe moving light rig for the tour which started production rehearsals in Berlin with 250 Robe fixtures onboard ahead of the first European leg, with lighting equipment supplied by German rental specialist, Satis & Fy.
Featherstone explained how the design process originally started back in 2019 / 2020 with Hans curating his creative ‘dream team’ which included renowned Broadway set and scenic designer Derek McLane, video designer Peter Nigrini, choreographer Barry Lather, and of course, himself. “Hans is a master at putting collaborators together,” stated Featherstone, and in this case, hand-picked a team of experienced practitioners known for their flair and style, all of whom brought their own dynamics from different disciplines to the Zimmer-sphere.
The lighting team was rounded out with Featherstone’s daughter Hailey Featherstone as lighting director and Chris Herman as programmer. “I was really fortunate to have such a fabulous team working with me, they really embrace collaboration and making this job great and rewarding,” he noted.
It was the breadth, richness and detail of the music that inspired the team as a starting point for the lighting design.
Hans had arranged 12 vibrant new suites of his great
USA - Scorpions recently released the19th studio album of their, over 50-year, band career. After several weeks at the Zappos Theatre at Planet Hollywood, Las Vegas, they started the Rock Believer world tour in early May beginning with a special concert at Madison Square Garden, New York.
Austrian Manfred Nikitser has been accompanying the internationally successful band as lighting designer since 2016. In addition to the lighting design, Manfred also created the complete show design (stage set and video) for both the Sin City Nights residency in Las Vegas and for the subsequent tour.
Manfred selected the remote follow-spot system from Dutch manufacturer Follow-Me: Follow-Me 3D SIX. The centre piece of this redesigned show is a pyramid-shaped drum riser in front of a semi-circular stage set made of custom-made metal grilles, which houses numerous spotlights and blinders. The atmosphere created evokes a classic rock ’n’ roll look.
Back in 2019, when Manfred used a Follow-Me system for the first time during the final concert of the Austrian cult band Erste Allgemeine Verunsicherung in the Wiener Stadthalle, he was quickly convinced of the advantages. “Thanks to Follow-Me, one person can control several lamps, which can reduce personnel costs but more importantly, allows the follow-spot operator to focus 100% on tracking while the dimmer and colour can be controlled from the desk,” he says.
“In the early stages of the Scorpions production, there were still a few bugs that we had to learn how to deal with. The system is now working reli
UK - A complex, and reconfigurable Martin Audio Wavefront Precision design throughout the new Blackpool Conference and Exhibition Centre is the brainchild of system designer Samuel Williams of Derby-based Media Powerhouse.
The first major building development at the Winter Gardens complex since the construction of the Opera House in 1939, the venue, set on two levels, is one of the largest of its kind in the north of England. It features the necessary infrastructure for hosting modern conferences and exhibitions. Media Powerhouse’s integration includes cutting edge projection video and smart lighting technology as well as Martin Audio scalable line arrays in each of the eight rooms
The exhibition space is set on the first floor, with a large 2,000-capacity conference space on the second floor. It is conceived as four separate but reconfigurable venues on both floors. With a total 2,400sq.m of reconfigurable space, the venue is designed for large events. The space can be combined with other venues throughout the complex to further expand the 7,000 capacity.
Williams, who also acted as the consultant, was aware that the spaces needed to function as both stand-alone spaces, or divided into smaller cells with the partitions removed. This would require the technical infrastructure to be highly flexible, with pre-sets for all technical services available for each room configuration.
He was also aware that the venue would need to cater for a raft of different events - from the recent Conservative Party Conference to pure theatre productions and ful
Poland - The country’s largest drama theatre has reopened after lockdown, to reveal a major renovation to its various spaces, which took up much of 2021.
In order to preserve its impressive heritage, it was recognised that Jan Kochanowski Theatre in Opole (JK Opole Theatre) would need to undergo full modernisation, and a thorough overhaul of its technical infrastructure, fulfilling a dream it had nurtured for several years.
The cost of reconstruction was budgeted at PLN 25m ($6m US), with over half coming from EU funds.
The project, which took eight months to fulfil, included the renewal of the main building façade, the entrance and surroundings, the modernisation of stages and auditorium (including ventilation), as well as sound and lighting systems. This included a complete Optocore fibre network, based around the deployment of five AutoRouters.
The theatre layout itself includes the 575-seat Big Stage, with an impressive revolving stage; Small Stage (with 193 seats, in amphitheatre auditorium style); a Ground Floor stage known as the Bunker - and a Model Workshop (Modelatornia), with 140 seats in customisable configuration. This is where the idea of modernising the theatre's electroacoustic system first began in 2017 with the possibility of producing sound from each side, in any configuration.
As part of this project, a new theatre façade was made, and the ventilation and air conditioning system and part of the electrical installation of the building were modernised. At the same time, the Centre for Theatre Education was also est
USA - Butch Allen and André Petrus lit Nigerian superstar Burna Boy’s two-hour One Night In Space show at Madison Square Garden on 28 April.
The massive lighting design for the sold-out concert turned the venue into a giant lightbox that stirred the imagination with outer space images. Yet for all its multi-faceted flourishes, the design process followed a basic formula.
“Burna Boy’s music provided the road map, and we followed it,” said Allen, noting that the end result was a design based on “visual harmony” between the image, atmosphere and the artist’s performance.
Lighting the way on that road map and contributing to that atmosphere were Madison Square Garden’s house lights and an impressive rig provided by 4Wall Entertainment that featured 68 COLORado PXL Bar 16 fixtures from Chauvet Professional.
The motorised RGBW COLORado units with their 200ﹾ tilt were critical to creating the show’s spaceship vibe. Using the fixtures to outline the outer edge of the “starship stage” and circular “spaceship trusses”, Allen and Petrus reinforced the theme of the concert. “They were our nod to close encounters,” Allen said of the battens.
Elaborating on the symbolic theme of the evening (the first ever MSG concert headline by a Nigerian artist), Allen said, “It was like a 190ft starship carrying all of us through our one night in space.”
Pre-programmed and time coded by Petrus at his Nashville studio, the fantastical show energised the entire arena without distracting the live audience or detractin
UK - Spectators who saw this year’s Allam British Open in Hull witnessed some of the world’s greatest squash players compete for the $165,000 (US) prize.
With squash enthusiasts all around the globe also able to tune in to the event live via SquashTV, as well as via the official Facebook page of the PSA World Tour, organizers were keen to create a riveting production. Toward this end, Firefly AV was brought on board to award the tournament with a sporty visual flair. Helping them in this endeavour were Chauvet Professional Maverick MK2 Spot and MK2 Wash fixtures, along with Rogue R1 Washes and R2X Beams.
The squash facilities at the University of Hull’s Sports Complex provided an appropriate setting for the event in which World No.1 Mohamed ElShorbagy would defend the title he won in 2019. (COVID forced the cancelation of the 2020 competition, which is close to marking its 100th anniversary.)
While the glass-walled courts offered great spectator viewing both at floor and balcony level, the challenge for Firefly was to create a lighting concept which would heighten the intensity of the event for spectators on location, whilst also providing stunning looks for viewers at home without distracting the players.
The solution was to incorporate an all Chauvet Professional rig that was both hung from suspended trussing and positioned on the floor. From here, Firefly's lighting designer John Richards could programme a number of different scenes and visual effects through his Chamsys MQ500M lighting console to provide illumination of the courts, a
Spain - Casa Batlló, the famous Barcelona architectural work of the modernist architect Antoni Gaudí, has fused Panasonic projection technology with a pioneering cultural visit to create an award-winning experience. The multi-sensory museum offers a glimpse into the mind of the greatest exponent of Catalan modernism through an artistic immersive experience.
Using Panasonic technology, Casa Batlló has reinvented various spaces across the building. The Gaudí Dome room uses 36 Panasonic projectors (PT-RZ660 and PT-JS200 models) and a dome with more than 1,000 screens to represent the mind of a young Gaudí. The natural universe that inspired the Catalan architect comes to life, allowing the visitor to participate in the creative experience. The projectors, equipped with ultra-short throw lenses, allow video to be projected onto surfaces that are difficult to map with any other technology and that ensure visitors cannot inadvertently block the projected image.
In the attic, virtual reality projections bring to life domestic chores, such as washing and ironing, through the eyes of staff from the past. At night in the courtyard, projection mapping creates a dazzling continuous waterfall with seven powerful PT-RS20K laser projectors, each delivering vivid and lifelike images with 20,000 lumens of brightness and mapped specifically to the location using Panasonic ET-D3LEF70 fisheye lenses.
"We wanted to excite the visitor by amplifying the magic of the legacy that Antoni Gaudí left us,” said Gary Gautier, CEO of Casa Batlló. “We have equipped diff
USA - The Bob Burton Centre for the Performing Arts is a 532-seat live performance venue in Fallbrook, California that serves as a joint community/school facility with Fallbrook Union High School. Used for everything from high school productions to local theatre, dance, and music performances, the venue’s aging stage lighting rig was recently upgraded with Elation Professional fixtures as part of an energy reduction grant project
Production and installation company Pyxis Industries of Wildomar, California, worked with the venue on the energy efficient lighting upgrade, which included Netron data distribution, as well as Magmatic brand atmospheric effects.
Chad Costanzo, president at Pyxis Industries, has had a long-term relationship with the venue and explains the project. “The school received an energy savings grant – funding for California schools to pay for energy reduction projects – and applied the funds to an upgrade of their lighting rig which was over 20 years old. Part of the grant requirement was that the upgraded system had to be more energy efficient than what they currently have. The school had a lot of incandescent fixtures and naturally wanted to go LED.”
Besides the energy savings factor, the lighting system needed to be quite flexible as the venue is used for a variety of purposes, both by the school and outside artists. Seeking to replace a number of outdated incandescent fixtures with something more modern, Chad worked with Elation’s Southern California rep, Richard Wilson, to arrange a demo of several possible soluti
USA - It is all fitting that the image of the waif Cosette sweeping Thénardiers' Inn serves as the basis (in slightly cropped fashion) for the emblematic image of Les Misérables. Here, within the grimy walls of this old chop house in Montfermeil, the conflicted forces that at the heart of the musical are crystalized: from the pitiless justice of Javert who seeks to punish the hero Valjean, to the blackmailing mendacity of the Thénardiers, who conspire against him.
From his perspective as a lighting designer, Christopher Robin found Thénardiers' Inn to be one of the most powerful scenes of the play. “I am moved by the look of The Inn,” he said. “It’s a dusty and grungy place that captures the poignancy of this story.”
At a recent production of Les Misérables at the Greensburg Salem School outside Pittsburgh, Robin reflected the remorseless pathos of this spot in all its intensity with help from a collection of Chauvet Professional Maverick Storm 1 Wash fixtures supplied by Star Design Event Services.
“I wanted to be able to throw lots of side light as if from moonlit windows and ambers for the candle-light lighting in the inn,” he said. “I loved using the Mavericks to play with amber and white together. They seemed to be meant for this scene.”
Robin used the six Maverick Storm 1 Wash fixtures in his rig s as side booms, positioning one unit at the end of each electric right at the legs. “With the atmospherics, the side light reads very well,” he said. “The six Mavericks themselves could wash the stage
USA - Full Flood Inc. has chosen Ayrton MagicBlade FX lighting fixtures for NBC’s new, eight-episode American Song Contest, the domestic answer to the popular and long-running Eurovision Song Contest. Volt Lites supplied the MagicBlade FX units, which are exclusively distributed in North America by ACT Entertainment.
Hosted by Kelly Clarkson and Snoop Dogg, American Song Contest will feature 56 live original song performances by artists from all 50 states, five US territories and the nation's capital. It debuted on 21 March 21 and wrapped with a finale featuring the winning performance on 9 May 9. Episodes are also aired on NBC.com, Peacock and Hulu.
Lighting designer Noah Mitz and lighting director Will Gossett, both from Full Flood, are using 144 Ayrton MagicBlade FX for American Song Contest, which shoots on the Universal Studios lot in Los Angeles. “That’s by far the most MagicBlade FX fixtures we’ve ever used in an array such as this one,” says Gossett. “We’ve used MagicBlades on other shows in linear arrangements to border scenery or align with trusses, but it’s great to have such a visual impact in the vertical plane like we do on this show.”
Each MagicBlade FX fixture features seven squared 65mm transmitting lenses and a revolutionary FX optical zoom system. The RGBW high-output LEDs can be individually controlled to create airborne virtual scenery or illuminate sets and performers.
American Song Contest has “a uniquely-shaped performance environment” by production designer Julio Himede in the