China - Part of the Aochi Production Resource Platform, Moto Group is one of China’s largest commercial advertising resource platforms. It has offices and service teams in Beijing, Shanghai, Guangzhou, Hong Kong and Vancouver, as well as three large-scale production studios and a Fortune 500 clientelle and has recently announced its first Moto Stage XR in Shanghai. Brompton Technology is one of the partners that has invested its technology and technical expertise into developing this new facility.
The studio focuses on the research, development and application of XR visual effects technology, creating seamless connection and a perfect immersion into physical and virtual reality across film, broadcast, TV, advertising and other areas.
The studio’s opening ceremony, held on 16 October, attracted many industry leaders including TVCBOOK, Wunderman Thompson, Havas, Publicis, Hakuhodo, Ogilvy, neone, Advertising ‘godfather’ Tomaz Mo, Infiled, and Base FX among others.
“The opening ceremony offered us a perfect platform to re-connect with our clients and offer them the opportunity to experience the power and multitude of creative possibilities of XR technology,” says Moto founder, Phil Cui. “We also had the Brompton Technology team and other key partners participating in an open discussion about the future of XR and the effect of this reality-blending technology on the creative industry.”
Moto Stage XR comprises a large 14m x 4.4m LED volume made up of INFiLED DB2.6 S8 panels and driven by Brompton Tessera SX40 4K LED processors. A t
Germany - Anolis Eminere 1 RGBA LED wall washing lighting fixtures were specified to create mood lighting in a series of breakout rooms in the newest extension to the Estrel Congress Centre (ECC) in Berlin, with the Czech manufacturer also producing some specially adapted ceiling mounting versions of the fixture to suit this project.
The 10 breakout rooms are part of a new 5000sq.m extension project which opened last summer having been under construction for nearly two years, adding an 800 seat auditorium / presentation space and 10 event rooms to ECC’s substantial multi-purpose conference, exhibition and hotel complex which first opened in 1999. It occupies a massive site in the south of Berlin city.
Each of the new rooms can accommodate up to 50 - 240 people, and Estrel’s owner and technical management teams planned mood lighting from the early stages of the design and planning process explains ECC’s technical manager for AV, Thomas Herzberg.
“People in general are much more aware of the power and reach of lighting now, how it can affect thinking and attitude, so we wanted to provide this facility as part of our standard lighting and AV packages,” he explains.
Herzberg and his team chose the Eminere RGBA as the optimum fixture, complete with wide angle lenses as the fixtures had to be mounted close to the wall in each of the rooms.
As Estrel’s requirement was for ceiling mounting units, the factory was willing and able to provide a custom solution for the standard wall mounting
USA - Indie/emo band Foxing entitled their fourth studio album Draw Down The Moon. For the album release show at the Pageant theatre in St Louis, designer Gerry Dintleman reflected the mood of the music with a redolent, theatrical lightshow that drew on a collection of over 45 Chauvet Professional fixtures from the venue’s house rig as well as ten Nexus panels rented from Arch City AV.
“I wanted things to have this emotional power, with very dramatic highs and lows, using as little front light as possible, with the exception of specials,” explained Dintleman. “Since the album is called Draw Down The Moon, I added a moon gobo with my Ovation ellipsoidal for the backdrop. Overall, I just wanted to match the wide dynamics of the record and bring Foxing’s live show to a whole new level.”
Back, key and side lighting were critical to Dintleman’s plans to realise this vision for his lightshow. “I’m grateful to Foxing for giving me creative freedom,” he said. “Before I had any plans for this show, I knew I wanted tons of backlight and key light to set the desired mood. I used lots of hard saturated blues, red, and purples with accents of white. The dark monochromatic looks helped the white burst punch even harder; and the choruses, I used with multiple colours to make them look even bigger.
“The side lighting really wound up being the foundation of the rig,” continued Dintleman. “I supplemented most of my front light with side light, sometimes only using one side to get sharp shadows on the artists. They were in ev
Japan - A classic concert took place recently at the Tokyo Metropolitan Theatre Concert Hall, featuring Nobuaki Fukukawa. One of the world's most active horn players, he is also principal player in the NHK Symphony Orchestra and a major name in the orchestral world.
At this recent recital, Mr. Fukukawa had the clear desire to emulate his recordings from King Records and play the songs on it in the form of an eight-horn ensemble, by overdubbing himself.
Mr. Fukukawa and King Records consulted with Koichi Ishimaru, sound master at Tokyo Metropolitan Theatre, and he suggested “treating the loudspeakers as musical instruments”. His idea was that Mr. Fukukawa should perform live on stage to create the one part while the seven remaining parts should be played back one by one through the surround speakers, with the recorded source created in Pro Tools.
However, this was no easy task. The system had to be able to reproduce the accurate horn tone and unique localisation with natural sound. To solve this challenge, Mr. Ishimaru selected Martin Audio LE100.
He explains, “I was particular about coaxial speakers because they can accurately express the sound source of musical instruments. I was convinced it was going to be successful.”
Mr. Fukukawa stood in the centre of the stage surrounded by seven chairs, each of which supported an LE100, arranged facing in different directions.
“The bell of the horn is usually facing backwards when being played and so instead of pointing the speaker directly to the audience seats, I tried a similar
USA - San Francisco’s Outside Lands Music and Arts Festival now in its 13th year, returned to Golden Gate Park for a special Halloween weekend edition. For three days, more than 74,000 concertgoers flooded into the park’s vast lawns to experience sets by headliners The Strokes, Lizzo, and Tame Impala, along with more than 80 additional acts performing on four stages and in two tents.
Since the event’s inception, festival producer Another Planet Entertainment, Bay Area rental company UltraSound, and Meyer Sound have worked in close collaboration to provide a world-class audio experience.
Since the inaugural festival in 2008, Meyer Sound systems have supported the annual festival’s main stage, with strategic system designs meeting the duelling goals of providing clear, consistent sound and keeping the sound contained within the sprawling urban park, which is surrounded on three sides by residential neighbourhoods.
“In 2019 we did a system redesign, which really helped out with noise mitigation, which is something each year that we really work hard on to try and improve upon,” says Josh Osmond, director of operations at UltraSound. “This year we did a repeat of the same design, which includes a combination of Leo and Lyon main-hangs left and right and Lyon side-hangs. 1100‑LFC subwoofers are flown left and right, and we have a sub arc of 1100-LFCs in the pit and Leopard front-fills.”
The distributed system incorporates five delay towers. The front three employ Leo and Lyon loudspeakers, with the back row of two towers consisting
USA - Designer and programmer Keith Hoagland and co-designer Steve Leopard of Leopard Production recently lit a corporate event livestream for country band Sixwire with special guest Steve Augeri, the lead singer of Journey from 1998 to 2006.
Accounting for the small studio space that the livestream was shot in, the two designers deliberately kept their video wall backdrop simple. “In some instances, it’s better to approach video with the less is more mindset, especially when space is an issue,” said Hoagland. “In this case, having a quite backdrop with a series of smaller video walls, allowed us to paint the area between those walls with rich colours. This gave us depth of field for the cameras to read.”
The duo lined the walls of their set with seven video panels in a U-shaped configuration. Rather that show the same images on each, they devoted one or two sections to IMAG images and displayed breakout patterns on the rest.
The multiple images worked to make the space seem larger. Then to give it texture, they covered the floor in vivid washes and a wide range of gobo patterns created with 24 Chauvet Professional Rogue RH1 Hybrid fixtures supplied by MP Productions. (Leopard Production supplied the rest of the gear.)
“We wanted to fill space, not only on the floor, but in the air as well,” said Hoagland. “Given the size of the space, we used a lot of RH1 Hybrids, and we spread them out as much as possible too. Since the space for this shoot was quite small, I wanted to have as much spread on fixtures to cover not only the air
Austria - For the two million Austrians who tuned in every Monday to watch the country’s 2021 Ninja Warrior championships, keeping pace with the gifted young athletes as they raced across unstable bridges, swung along series of hanging rings, and hauled heavy weights up a ‘salmon ladder’, would have seemed like an impossible task. But, for Bernhard Endl, it was a matter of routine.
Endl didn’t physically run through the new show’s gruelling obstacle course, but he did keep pace with its athletic participants, when lighting the programme on Austria’s Puls4 network. Powering his 89-universe 936-fixture lighting design was a ChamSys MagicQ MQ500M console.
“This was a fun project with a different set of challenges than you typically face on a tour or other kind of show,” said Endl. “We had to create an even illumination over the entire parkour with all its obstacles. The big thing is that these obstacles changed daily. So, we had to build a flexible design to be able to adjust rapidly to the changes.”
Endl positioned his keylighting from five or six different points along the parkour course, depending how the obstacles were configured for the day. His principal light source were floodlights mounted at the trussing of the obstacles, downside, frontside, backside. He also had profile fixtures on truss oriented in the same direction as the cameras, as well as two to four wash lights focused on each obstacle.
Most of his show was timecoded, but some cues were manually called up. At pivitol moments of victory or defeat, selected cue
Spain - Used for everything from indoor rock shows to open-air flamenco events, Zero Dbs’s APG inventory demonstrated its flexibility over the course of an 80-event summer calendar in southern Spain.
Cabra-based Zero Dbs boasts one of the biggest APG inventories in the region, having worked with the French manufacturer since 2012. For the 80+ live events it helped produce this summer (20 June to 20 September), the company leaned heavily on its APG equipment, which includes 20 Uniline Compact line-array speakers, four SB118 subwoofers, two Unitrack flightcase racks, and ten compact DX (Dispersion series) multipurpose speakers and stage monitors.
Spain saw “an explosion of events” in the summer months, and businesses like Zero Dbs had to be ready to respond to the unprecedented post-lockdown demand for live shows, according to the company’s owner, Juan Antonio Cuevas. “The public reacted with a great desire to go back to attending outdoor events,” he explains. “We must have catered for 35,000 people in just three months”.
As a result, it was an extremely busy three-month period for Zero Dbs, which worked on everything from concerts and festivals to corporate events and theatre shows, and with performers in a dizzying array of genres, including jazz, folk, flamenco and classical music stars such as Dorantes, María José Llergo, Israel Fernández, Kiko Veneno, Fuel Fandango, León Benavente and María Peláe.
To meet the demands of this diverse array of live events, the company made frequent use of the SMX15, APG’s high-performa
South Africa - Faith Broadcasting Network has consolidated a vast following of approximately 264m viewers worldwide since its inception two decades ago, with satellite, terrestrial and digital broadcasts reaching worshippers all around the world. With headquarters in South Africa, and studios in the USA and the UK, MyFaithTV is the largest religious broadcaster on the African continent.
To accommodate such growth, the Faith Dome - the ministry’s base in East London, South Africa - has been undergoing renovations for many years. Parts of the premises have been refurbished to house different aspects of the ministry’s work: including a number of television studios, humanitarian aid warehouses, activity spaces as well as their main broadcasting studio.
In 2015, work commenced on the ceiling to replace it with the dome we see today. Stage Audio Works were called upon to design and integrate a sophisticated audio, lighting and rigging solution for the main arena based on d&b’s A-Series loudspeakers, Cameo and Hog4 lighting with Stage Plus truss.
In early 2021, the ultimate round of renovations to the main broadcast studio was concluded, and the Faith Dome was officially completed. At maximum capacity, the indoor arena holds a staggering 10,500 live attendees, making it the largest in the Eastern Cape.
SAW’s brief was to provide the Faith Dome with audio and lighting solutions to support their existing broadcasting channels, as well as live events. Dr Andre Robert, founder and CEO of the River Group, comments: “It was important for us
UK - Bristol based experiential company Pytch has added to its stock of Martin Audio loudspeakers, used in both their rental stock and virtual studio.
They have purchased a further 24 of the ultra-compact, DD6, utilising Coaxial Differential Dispersion technology. At the same time, they have ordered five SXP118 subwoofers for low frequency extension.
The reason for this latest purchase - which brings Pytch’s stock of DD6’s up to 48 - is to fulfil a contract to provide a full AV package for one of the country’s largest arenas, including an exhibition space. “We have been appointed sole in-house provider to the arena,” confirms Pytch founder, Johnny Palmer.
DD6 has been chosen for its versatility. “Most of our installations are not defined by volume but intelligibility and DD6 has become an essential tool to deliver the customer experience - whether for parties, jazz nights or any genre.”
Popular as near-fills on major concert touring and festival deployment, the DD6 provides an advanced solution to the requirements of even coverage over wide angles and medium throw distances (the short throw horizontal dispersion of 120°, narrowing to 90° as the distance increases).
Palmer sees the DD6 less as simply a loudspeaker but rather as a scientific solution in which the critical element is audibility. “Sound design is all about delivering messages acoustically in a consistently coherent pattern. We focus on the individual audience experience, whether it be from delays or lip fills, and Martin Audio has that capability.
USA - World Harvest Church is a major operation. The 122,000sq.ft main building is home to a sanctuary that seats over 5,200 people and contains an auditorium, a television studio, a children's ministry that includes Sunday school for children newborn to sixth grade, the Harvest Preparatory School, the ministry’s administrative offices and more, all on a 57-acre campus in Columbus, Ohio. The church even incorporates Valor Christian College, a co-educational institution located on the property.
The church’s most recent acquisition - a new DiGiCo Quantum338 console, serving as its monitor mixer - is an addition to its existing DiGiCo infrastructure, which includes an SD8 console mixing front of house and an SD-Rack that has now been upgraded to include 32-bit ‘Ultimate Stadius’ microphone pre-amps.
The audio system infrastructure update further involved moving all of the DiGiCo platforms to an Optocore fibre network, handled by Orlando-based Owens Audio Video Design, which also sold the DiGiCo systems, as well as a Nexo PA, when they were installed earlier this year.
“World Harvest Church tends to hang onto their systems and get the most ROI from them as possible, which isn’t unusual,” observes Bob Owens, owner of Owens Audio Video Design. “They’re a long-time customer and a long-time DiGiCo user - we sold and installed the DiGiCo D5 console that they had in the sanctuary for monitors before we sold and installed the SD8 there in 2010. The Q338 is a great choice for them - it takes them light years beyond where the D5 was, with more
Norway - Stavanger Concert Hall is a glass and steel architectural building occupying a waterfront location in Norway’s ‘oil capital’, where the hustle of marine-based industries fuse with a passion for culture and live performance.
The venue - busy reopening for an action-packed autumn - has not been quiet during the pandemic period, which has seen the delivery of 66 x Robe Esprite moving lights and 24 ParFect 150s, all part of an ongoing technical upgrade overseen by head of lighting, Nils Foss.
The new fixtures are rigged in the 1,200 seat Fartein Valen concert hall, named after the Norwegian composer Fartein Valen and featuring a magnificent organ made of 65,000 parts. Fartein Valen is home to the Stavanger Symphony Orchestra.
They are also in the fully flexible multi-purpose Zetlitz hall which has capacities of 850 seated and 1,900 standing and is used for a wide range of performance - from rock concerts to contemporary opera. It is named after poet, Lutheran pastor and Stavanger native, Jens Zetlitz.
The Concert Hall has some large highly attractive foyer areas which become flooded with natural light and are also used for various events, and there is a large outdoor amphitheatre for summer shows.
The 48 Robe Esprite Profiles and 18 Esprite PCs are distributed between the two main rooms and have replaced a quantity of older moving lights purchased when the building opened in 2012.
The ParFect 150s have superseded older conventional LED side lights as part of Zetlitz’s permanent house rig.
“It was time for
USA - As the first of its kind, the 1DayLA event saw 20,000 members mobilised between 18 and 24 July to offer communities across the county of Los Angeles help and hope. It culminated in a massive concert named The Freedom Experience, which was hosted at the new SoFi Stadium and subsequently aired on YouTube, where volunteers and contributors from across the Los Angeles region gathered to give one final cheer to this celebration of humanity, and enjoy the experience.
The concert featured a star-studded line-up, with performances from headliner Justin Bieber, Tori Kelly, Chandler Moore, Chance the Rapper, Jaden Smith, and Grammy Award-winning artist, Kari Jobe. 4Wall Entertainment provided lighting, video and rigging, including Brompton 4K Tessera SX40 LED processors and ROE Visual LED panels.
“That weekend was just unbelievable for the 4Wall team, and we were so thrilled to provide our service coast-to-coast at The Freedom Experience in Inglewood and Rolling Loud Miami, as well as at the Latitude Festival in the UK,” says Wayne Romanowski, 4Wall account executive/video production.
ROE LED screens adorned the stage powered by Brompton LED processing, ensuring superb image quality. In addition, disguise media servers, Sony camera flypacks, engineering, switching, and recorders were also used.
The centre screen comprised 168 flown ROE Carbon CB5 LED panels in airframes, measuring 24ft wide by 7ft high, driven by a Brompton Tessera SX40 processor with three Tessera XD 10G data distribution units keeping cable runs to a minimum. 4Wall opted for
South Africa - Idols SA 2021 became the first television show in South Africa to use a fully grandMA3 - software and hardware - lighting control platform, chosen by Joshua Cutts and Andre Siebrits from Visual Frontier to run their lighting design for the final televised segments of the popular and high-profile singing competition.
Other ground-breaking aspects for this year’s broadcast shows included a move away from the State Theatre venue in Pretoria after several years, decamping to Studio 10 at the Urban Brew Studios in Johannesburg. With that came the need for a completely different aesthetic approach and treatment.
“The objective was to ensure it looked amazing from all camera angles,” explained Josh, adding that his own Idols expertise - this is his 17th series - plus Andre’s fresh eyes as an LD has been “a great combination”.
Knowing the show and its demands and challenges very well, and being experienced grandMA users, the two felt it was the right time to deep dive into the power of grandMA3. Over 200 moving lights plus other LED fixtures and some conventionals, all adding up to 17,000 parameters and 34 universes of lighting control, were run using one grandMA3 light console with a grandMA3 XT as tracking backup. These were running over a fibre network comprising one grandMA3 processing unit L, three grandMA3 4Port Nodes, one grandMA3 8Port Node and two MA Network Switches.
Andre likes the fact that the grandMA3 system needs considerably less physical hardware to control larger numbers of parameters, and they only
UK - Live music venue, Rock City in Nottingham boosted its house lighting rig for October this year - a busy period including some lively university Freshers Week events - with a rig of 60 Robe moving lights, with extras supplied via rental and production company Zeal.
Rock City’s lead project lighting designer Will Brown explained that with the post Covid re-opening of live shows, they wanted to make a big impression, especially to make up for last year when everything had to be cancelled!
Will designed lighting to cover an array of events, from popular bands to heaving club nights, as people from all over the city celebrated being able to congregate, have fun together and enjoy live music again.
While many bands will bring their own productions and floor packages, historically for crew the venue is famous for band productions loading out while the disco is pumping full tilt, full of ravers - so the house lighting rig is smartly designed to work with this on both functional and creative levels.
The 18 x Robe Pointes are owned by Rock City and were in residence before Will arrived six years ago.
“They are a perfect fixture for us - fast, very versatile, robust - and we use them all the time,” he stated. “It’s hard to find another light of its class that can do as much as a Pointe.”
They get moved around a bit - rigged and re-rigged according to the event schedule - with a typical set up being 10 in the roof and eight on the stage and are frequently used as side stage washes for shows.
For Freedom Week (
USA - When The Fennec, Birmingham’s new music venue opened for business, ownership called upon long time audio engineer Michael Panepento, owner of Alabama Music & Audio Supervision, to create and install “an unrivalled sound experience” at the new Parkside District hot spot. Panepento found the solution The Fennec management was looking for with a PA system featuring various loudspeakers, subwoofers and stage monitors from Eastern Acoustic Works (EAW).
The Fennec is a two-story venue, with the main restaurant and event space on the first floor and a dedicated private event space that can be rented out on the second. The design of the building did present some challenges to Panepento that were solved with the combination of products from EAW, including the RSX Series, RS Series, RL Series and VF Series PA components.
“We needed to use point source speakers because the space has 13ft ceilings,” says Panepento. “Having used EAW before, I knew they would have a speaker that could overcome that issue. The team at EAW sent us RSX series demo speakers that we tried out in the space, and they sounded great. The demo really helped solidify EAW as the right choice for the venue.”
Since the first floor/main level is all open and there is no divider between the restaurant and the live space, Panepento needed to be able to deliver powerful sound that could be contained within about 50ft so as not to adversely affect the diners. The EAW PA system Panepento installed on the first floor included three RSX129 boxes in a LCR set-up along with two R
UK - Video technology rental company and technical creative production specialists, 80six, recently hosted a series of virtual production Discovery Days at its new virtual production studio facility in Slough.
The events were staged in response to the growing appetite for information about virtual production technology and techniques, and allowed those in attendance to gain insights into the world of virtual production. Directors of photography, film and TV producers, cinematographers, and representatives of production and post production houses, all took advantage of the opportunity to explore the workflow and real-time technologies required to power both live and on-set productions.
3LR Lighting Ltd, representative for international manufacturers of architectural, film, entertainment and broadcast lighting and control, was an event partner, alongside ROE Visual, Brompton Technology, Cooke Optics and Mo-sys. US manufacturer of LED lighting and control, ETC, represented in the U.K. by 3LR, was present to demonstrate its fos/4 LED fixtures in a working virtual production environment.
Barry Grubb, 3LR business development manager for broadcast, television and film lighting, comments: “It was great to see ETC present the fos/4 range to an audience of directors, DoPs and other key players in the film and broadcast sectors. It’s historically very difficult to gather all the right people in one place at one time, and this event gave us a unique opportunity to meet with, and spend some focused time, talking to key players and decision makers in the ind
Romania - A Kinesys Apex automation system with new Kinesys Vector control console was used to create kinetic effects created with six 7m diameter motion-controlled trussing circles each rigged with 10 moving lights above the audience of the Galaxy Stage at the 2021 Untold Festival staged in the BT Arena venue at Cluj-Napoca.
The Kinesys system and services were supplied by Denmark-based automation specialist Motor Stage Automation to ABT Motion Rigs, with the system design and specification developed by Adrian Visenoiu, rigging manager for six of the seven stages at this years’ event, and Motor Stage Automation’s Blake McNally.
The Galaxy Stage presented a strong line-up of techno talent - Charlotte de Witte, Paul Kalkbrenner, Nina Kravitz, Amelie Lens, Tale of Us, Seth Troxler, and many, more over the three days.
The initial Galaxy stage design with a big centrepiece came from Mindscape Studios, and the moving circles were an idea from Andrei Predut of Apart Productions, lead lighting designer for all of Untold’s periphery stages. Adrian was tasked with making everything move and ensuring that lighting didn’t interfere with projections and other visual elements that were key to the aesthetic of the space.
Adrian already had plenty of ideas about how the circles should look, move, and bring a true additional dimensionality to the visuals, and flying objects above the audience, it was essential to have only the safest kit, so he was happy to go with the Kinesys Apex system as this meets all requirements for ‘live’ flying of obje
Austria - Located close to The Graben, one of Vienna’s most famous streets, renowned architect Matteo Thun created the design and atmosphere of Bar Campari, Campari Austria’s flagship location. An Alcons Audio pro-ribbon system delivers the audio.
Bar Campari is owned by Peter Friese, of Vienna’s Zum Schwarzen Kameel (The Black Camel), one of the city’s highest profile restaurants.
The owners contacted Wolfgang Sauter, founder of Vienna-based systems integrator Pro Performance, with a brief for an audio system that had to deliver quality sound, performance and reliability. It also had to blend in with Bar Campari’s décor, which is based on the lively aesthetics of Italian cafés and the graphics designed by futurist artist Fortunato Depero for Campari in the first half of the 20th century.
As well as sound quality, containment was also important, as there are strict laws in Vienna regarding maximum sound levels, especially in the city centre. The Alcons VR5 pro-ribbon mini monitor was chosen for Bar Campari, the RBN202 pro-ribbon HF driver delivering intelligibility and dynamic output, while the horizontal and patent-pending vertical dispersion ensured very accurate coverage.
Nine single 5” VR5 monitors were mounted on custom-made brackets, with an Alcons 4x2.5kW Sentinel10 amplified loudspeaker controller chosen to manage the system.
“Planning, quotation, execution and the result convinced us that we found the right sound partner,” says Peter. “This audio system has allowed Bar Campari to enhance the high-quality amb
USA - Lighting designer Jeff Croiter and set designer Beowulf Boritt engendered the connection between actors and audience in their work for the current (and fourth) iteration of Freestyle Love Supreme at Broadway’s Booth Theatre by creating an immersive atmosphere that enveloped both the stage and the venue itself.
“We want to have a club-like look and feel throughout the theatre as the audience enters,” said Croiter, who was also responsible for lighting the three previous productions of the show. “At times throughout the show, it’s important to be able to have a connection between the audience and stage.”
Helping Croiter accomplish this is a collection of Chauvet Professional COLORado 1 Solo and COLORado 2 Solo fixtures supplied by 4Wall Entertainment. The RGBW washes connect to the audience, the moment people begin to enter the theatre.
Drawing on the fixtures’ zooming capabilities, Crotier has tight beams directed at the entrance, creating the desired club-like atmosphere for arriving guests and heightening their sense of expectation. Later as the show begins, the beams widen to wash broader areas in colour.
“We have about 60 of the COLORado fixtures in our rig,” said Croiter. “They are the first thing the audience sees when they enter. We have them hung all over the theatre, focused every which way. They hit the ceiling, walls, an audience from behind. There’s also a system hanging around the first truss portal that points at the audience.”
According to Croiter, the colour rendering capabilities of th
USA - A Martin Audio MLA Compact loudspeaker array system was chosen by partners, North Carolina-based RMB Audio, when locally based Duke University’s Spring and Fall 2020 graduation was postponed until a time of greater health safety. That time was determined to be 26 September 2021 - when undergraduates, graduates and professional school class members (and their families) were invited to participate in the delayed celebration.
The stage was set up with the imposing Duke Chapel - an English Gothic 210ft-tall structure in the centre of campus - as the backdrop. Student seating started downstage and extended back 300 ft. Large trees, with low branches 13ft above the ground, occupied the corners of the audience seating, making it necessary to project sound in a slice to pass beneath the foliage to focus on the audience. “MLA Compact is capable of providing focused sound to avoid reflective surfaces and that technology was needed,” says RMB Audio founder, Cooper Cannady.
Six MLA Compact cabinets were placed on decks, far off stage right and left, and separated by 170ft. Coverage started with the first row of seating and covered a slice out to 120ft. The delays, 100 ft from the stage, consisted of six WPS cabinets placed on decks, far left and right. These were driven by Martin Audio iK42 amplifiers in one-box resolution to provide even coverage of the remaining 200 ft of seated and standing audience.
A far shade tent was fitted with Martin Audio DD6 loudspeakers on stands. Ten of these enclosures were placed unobtrusively on stage, out of camera,
Germany - In September, the International Motor Show (IAA), the world's largest trade show for passenger cars, took place for the first time in Munich as a new concept, IAA Mobility, focused on future-oriented mobility. TLD Planungsgruppe was responsible for the lighting design, among other things, for the Mercedes-Benz presence and chose Elation KL series luminaires as the lighting solution.
The Mercedes-Benz stand was an impressively staged space spread across 3,000sq.m with a total of eight vehicle premieres and the auto manufacturer's electromobility portfolio presented to the specialist audience. "With the new IAA mobility concept at the Munich location, the focus was on solutions on the way to climate neutrality, which also included implementing the manufacturer's presence as sustainably as possible," reports project manager and lighting designer Alexander Orkisch from TLD Planungsgruppe office Stuttgart.
In keeping with the green approach, TLD decided to use trend-setting LED lighting fixtures only. In order to support the studio character of the stand architecture and to ‘calm’ the ceiling image, TLD relied exclusively on one product family, the KL series from Elation.
“Vehicles and exhibits were staged with KL Fresnel 8 CW (Cool White) fixtures, while we worked with the warm white variant for walls and the atmospheric lighting. The very high colour-rendering index and the enormous light output of the LED Fresnels were virtually in no way inferior to classic illumination with metal halide lamp technology,” Orkisch confirms. "Compare
USA - To complement the immersive video content featured on Porter Robinson’s Nurture Live Tour, Ben Coker designed and programmed a sophisticated lighting rig featuring Martin Professional MAC Ultra Performance and MAC Aura PXL fixtures controlled by a P3-50 system controller, all provided by Christie Lites.
Porter Robinson is an electronic musician and DJ who was nominated for the 2019 Grammy Award for Best Dance Recording, named MTVu’s Artist of the Year in 2015 and listed among DJ Mag’s Top 100 DJs for seven consecutive years. After releasing his second album Nurture in April 2021, Robinson embarked on a nationwide tour with stops in 22 states.
Featuring multiple video walls and a video floor displaying synchronized visual content ranging from abstract animated sequences to picturesque nature scenes, the Nurture Live Tour required a lighting rig to complete the experience. To bring maximum immersion to the show, Lighting designer Ben Coker deployed the new Martin MAC Ultra Performance and MAC Aura PXL fixtures, taking advantage of Martin’s flexible P3 platform for detailed pixel mapping.
“Porter has always valued production a lot, and he gets really involved with it,” said Coker. “We put a lot of emphasis on having plenty of flexibility in the show and being able to have different looks and layers throughout, but we try not to use the typical approach where everything’s at a hundred percent all the time. Instead, we try to give video and lighting their own moments and make them both play well together by matching colour an
UK - Ministry of Sound Classical (MoS Classical) is a celebration of 30 years of Ministry of Sound’s favourite dance classics performed by the London Concert Orchestra. As this spectacular show prepared to take to the stage for a highly anticipated return to the live arena, its audio team turned their attention to giving the 50-piece orchestra a new and different kind of in-ear monitoring by choosing KLANG’s 3D personal monitor mixing system.
KLANG was not unfamiliar to the head of sound and sound designer for the show since 2018, Phil Wright, as he has become increasingly familiar with it in recent months.
“I’m involved with the 5G Festival, an R&D project that’s working on finding ways to allow musicians to play together with insignificant latency over the 5G network,” explains Wright. “We’ve been using KLANG on that to great effect, finding that working in a 3D environment brought significant advantages to the project.”
This positive experience meant that when the series of MoS Classical dates landed in his diary, Wright suggested to RG Jones, who were supplying the show’s audio equipment, that KLANG was the ideal monitor system to use and would be a great investment for them.
“They immediately saw the benefit and purchased two KLANG:vokal processors and 12 KLANG:kontrollers from HD Pro Audio,” says Wright, the latter allowing members of the orchestra to control their own mixes, sent by Wright from his DiGiCo SD12 96 at front of house, with associate head of sound, Leigh Davies, in charge of the stage, spatialisi