UK - Lighting rental specialists Version2 supported The Brits Are Coming at the newly re-opened Riverside Studios. Working with award winning lighting designer Tim Routledge, the Version2 team supplied a comprehensive lighting package, including a healthy selection of recent additions to the company’s growing inventory.
The Brits Are Coming TV special is the reveal of the nominations for the BRIT Awards 2020. Hosted by broadcaster and presenter Alice Levine, the show featured special guest performances by nominated artists including Liam Payne, Aitch and Mabel.
Recorded for ITV in front of a live audience, this was one of the first and one of the largest productions staged within the newly opened Studio 3 at Riverside Studios. Following the extensive re-development of the historic West London site, Riverside’s hosting of the show conveyed a clear message that the production centre is back open and ready for business.
Commenting on working with Version2 at Riverside, Tim says, “I use V2 a lot for my broadcast work as they always go the extra mile and have a want to make a great show every time. This was also only the second show in the all new Riverside Studios which was a blessing - a fantastic new studio with a saturated overhead grid of lighting hoists and the ability to patch data anywhere, it was a really easy studio for this show to move to and it worked for us brilliantly.”
Over the past year V2 has been steadily growing their inventory to increase both the scope and range of products they have available. Ahead of t
USA - Nesta Garrick lights the Welcome to Jamrock Reggae Cruise, an annual December excursion that showcases many of the genre’s leading stars. But every year, the Jamaican-born LD disembarked from the floating festival’s ship with the same unfulfilled wish: he wanted an outdoor rated moving wash.
“I have been working on Jamrock for five years, going on six, and in that whole time I’ve asked myself ‘why can’t someone make a moving wash that’s IP rated?’” he said. “This is a five-day cruise, and every night we’d have to take our washes down, because it rains a lot at sea. Then, the next evening, we’d have to focus them manually, which was difficult given the short amount of time we had to set up.”
The owner of RAS Visuals & Lighting, Garrick was visiting LDI in 2018 when he came across the Chauvet Professional Maverick Storm 1 Wash. “Right then I knew I found my answer,” he said. “I called Abbas Ritscher from The Design Oasis and asked if he had the Storm 1 Wash. He told me he did, so here we are!”
When the stately Independence of the Seas set sail in the Caribbean on Welcome to Jamrock Reggae Cruise 2019, reggae stars like Stephen ‘Ragga’ Marley, Buju Banton, Popcaan and Taurus Riley were on board, so too were 12 Maverick Storm 1 Wash units, which like the rest of the fixtures in Garrick’s rig, were supplied and installed by The Design Oasis.
Although the issue of having to take down non-IP rated moving washes every night was resolved, Garrick had to contend with other challenges on board the vesse
USA - CMI Communications supported the stage production for a multifaceted event at the Minneapolis Convention Centre in August, where they utilised a large complement of Ayrton Ghibli LED spot luminaires to illuminate the Knights of Columbus 137th Supreme Convention. Sessions were broadcast internationally, and to over 1800 attendees of the event. The fixtures matched exactly in output and colour temperature even though they were supplied by three different vendors.
AV service provider CMI Communications of Rochester, New York asked Light and Shadow, LLC of Winter Garden, Florida to provide turnkey lighting design for the convention as the company has in the past. During the three-day event the daily morning Mass and business sessions were broadcast on EWTN, CatholicTV and other outlets. The convention hall featured a 120ft-wide stage with a 115ft projection screen as a backdrop.
“We needed a high-quality broadcast light that we could also use for the opening dinner,” says lighting designer, Shawn Seithel. “We were looking for a replacement for our previous go-to fixture, and a Ghibli demo by ACT Lighting sparked our interest.”
During the demo, “Ghibli did everything our usual go-to fixtures did and did it better. Ghibli was brighter, had a nice flat field and its framing shutters were a huge plus. It looked like a well-rounded light for every kind of event we do,” Seithel says.
For the convention Seithel rented 78 Ghibli fixtures from three vendors placing them on mid-stage and downstage truss and on two trusses running the lengt
Europe - Award-winning independent French theme park, Puy du Fou, unveiled its first venture in Toledo, Spain with an epic night-time immersive spectacular El Sueño de Toledo (The Dream of Toledo), creatively directed by Nicolas de Villiers and the team from Puy du Fou with lighting designed by Koert Vermeulen from Belgian creative visual practice, ACTLD.
At the heart of Koert’s lighting spec are 74 x Robe BMFL WashBeam and 20 x MegaPointe moving lights.
El Sueño de Toledo takes spectators on a hi-octane condensed one-hour journey through history – from the Reign of Ricaredo in the 6th century to the arrival of the railways – touching on the battle of Navas de Tolosa and the discovery of America along the way! The 1500 years of history is represented by 185 actors and a plethora of special effects.
Koert and Nicolas have worked together on several previous Puy du Fou live shows and projects in France. The show is staged outdoors on a performance space approximately 125m wide by 100m deep, rising up towards the back. The set includes several permanent buildings and structures and a large lake, with the action taking place both on, in front of, and behind the water.
Nicolas briefed Koert on the historical narrative and Koert produced a lighting concept for the show which is played out by the large cast to a special soundtrack composed by Nathan Stornetta.
“The show’s essence was similar to some of those we have created in the French park, so some of the base principles and style needed to reflect a continu
UK - Arena Birmingham is set to be renamed Utilita Arena Birmingham as a part a new partnership with Smart Pay As You Go (PAYG) Energy provider, Utilita. .
Utilita has a growing presence in the UK live events industry, having partnered with a number of major music festivals in recent years including Parklife, TRNSThe city centre venue will take up its new name on 15 April 2020MT, Creamfields, V Festival, Bestival and Camp Bestival – as well as Newcastle Arena (now Utilita Arena Newcastle).
Utilita’s customers are set to receive exclusive access to pre-sale tickets at the 15,800-capacity venue, which has recently hosted the likes of Ariana Grande, Jack Whitehall and Take That, as well as VIP experiences and exclusive ticket offers.
The energy supplier will also use the Arena’s pre-show entertainment areas to get audiences thinking about their energy usage as part of its new #EnergyHigh5 campaign, designed to get 5m UK households to reduce their energy consumption.
As part of the new deal, Utilita will also become a partner of the NEC Group’s other flagship arena, Resorts World Arena on the NEC campus just outside Birmingham City Centre.
Utilita founder and CEO, Bill Bullen, said: “We are thrilled and honoured to have our name above the door of such an exciting and well-known venue. As well as providing our customers with fantastic opportunities to see some world class shows in the heart of the country, this will also help us to deliver our #EnergyHigh5 message to nearly a million visitors a year – and millions more across the
UK - Leeds City College is the city’s largest educational establishment, offering a wide variety of courses to more than 25,000 students. The college recently expanded its facilities with the new £60m Quarry Hill Campus, home to the School of Creative Arts, featuring an Allen & Heath dLive digital mixing system.
Following a recommendation and demonstration by the audio sales division of A.C. Entertainment Technologies (AC-ET), the college opted for a dLive C3500 control surface and CDM48 MixRack, fitted with a Dante 64x64 networking card, for the campus’ soon to open theatre.
For use by both Theatre Design & Production and Music Production students, the dLive system will also be employed for public performances by theatre companies and community groups during holiday periods and outside of college hours. As such, the new system needed to meet a variety of criteria as the College’s chief theatre technician and teacher, Paul Graham-Bell explains.
“We looked at several models from different manufacturers when trying to find a mixing solution to meet the demands of the theatre,” he says. “The Theatre Design and Production students are taught sound design for dance and musical theatre, while Music Production courses cover both live sound and recording, so flexibility was very important. The control surface also needed to be simple enough to learn the basics of mixing, but also sufficiently powerful for students to explore advanced features and techniques. We also wanted to invest in something that was popular within the industry, to
Finland - In the wake of the success of G Livelab Helsinki, the Finnish Musicians’ Union has opened a new - and bigger - venue in the city of Tampere, some 200km north of the Finnish capital.
The same team was deployed to realise the Tampere project, which is built according to the same ‘music first’ philosophy as Helsinki. The result is an extraordinary live music experience based on quality programming, modern design, and Genelec audio systems including the new 4430 Smart IP loudspeaker.
Housed in a striking red brick building which was formerly the boiler house of the Frenckell paper mill in the heart of the city, the venue hosts up to 250 people and offers a varied programme including jazz, folk, world music, pop/rock, chamber music, electronic music and more.
Akukon Oy designed the acoustics, electroacoustics, lighting, sound, video, communication systems and basic IT structure as well as the rigging systems, as they did for Helsinki, and leading Nordic AV integrator, Bright - another key member of the Helsinki team - brought Akukon’s vision to life.
“Genelec was already a tried and tested solution with the first G Livelab project in Helsinki which has had great reviews,” explains Bright’s head of installation, Santtu Sipilä. “People really liked what we achieved in Helsinki, so it was an obvious decision to equip the Tampere club with Genelecs as well.”
“We definitely wanted the new 4430s for easier cabling and added control; it’s opened up a world of possibilities for us,” admits Sipilä. “We have a f
The Netherlands - Visual design studio Tenfeet’s longstanding relationship with Dutch rockers BLØF resulted in some dazzling effects as the much-loved band played two sell-out gigs at Rotterdam’s 16,000-capacity AHOY Arena.
Tenfeet video programmer Pim Elberse specified and supplied two Hippotizer Boreal+ Media Servers - one main and the second as a full live backup machine - to handle pre-made content mixed with multiple effects and live feed blend. The content ranged from sweeping landscapes to computer-graphics, lyrics and pictures.
“We needed a system that could cope with various live feeds and feed a variety of content that was mixed with live, as well as control an SDI-matrix with 10 cameras on stage surrounding the band,” explains Elberse. “The Boreal+ provided total flexibility in combination with our Hog4 lighting console.”
Despite the large venue, BLØF’s stage was only 10m wide, designed for an intimate feel. The stage floor was transparent, with lighting fixtures beaming up from underneath. Behind the band was a large LED screen, rising from the stage to a height of 16m - almost to the ceiling. At each side of the stage, multiple trusses held the lighting and worked in collaboration with an LED strip around the LED wall to enhance the sense of height.
“The staging and rigging structure gave us the freedom to create unique looks for every song and unite set, light and video,” Elberse continues. “During shows, besides running the programmed cues, I’m always controlling content and effects to integrate the vide
Belgium - Het Kunstuur (the Art Hour) is a new ‘interactive’ gallery concept developed by art collectors and entrepreneurs Hans & Joost Bourlon, presented in the former Holy Ghost Chapel in the historical heart of Mechelen, Belgium.
Thirty-two Belgian paintings from the 19th century are displayed in three gallery spaces where their stories are told by a series of well-known Belgian personalities.
Creative lighting design and media specialist Painting with Light (PWL) was asked to manage and co-ordinate and design the technical systems and control for lighting, video, audio and humidity control for this intricate and unique project.
Visitors wear headsets and listen to an audio track as they move around the spaces, prompted to stop / move on cue to designated areas by the audio track, where they watch and listen as the AV effects play out. The walkthrough lasts an hour, which inspired the name.
PWL was asked onboard by concept designer Wouter Verhulst of King Concept who created the original idea and storyline with the Bourlon Brothers and designed the gallery layout.
The first phase of the design process saw the whole museum virtually created in WYSIWYG and presented as a VR experience to the project’s initiators.
The PWL team, under the creative direction of Luc Peumans, was led on site by Céline Cuypers who project managed delivery of the full technical design including the projection system, creative lighting, audio track and control, plus specification, procurement and commissioning of all equipment and its impleme
UK - When they set out to replace their flagship PA system, West Country-based Nub Sound underwent an exhaustive process of research into all the premier league contenders, with a view to making a decision in time for the 2020 Festival season.
“We have been evaluating systems for six or seven months,” explained Nub Sound system tech Josh Small. “We needed to step up to a bigger, eco-system that is also rider friendly and offers ease of rigging. It has to be sufficiently flexible to work in a number of ways, be tourable, perfect for festival use and above all, it has to be a complete system.”
When Martin Audio’s Wavefront Precision Compact (WPC) was fired up recently for a Sam Fender gig at Plymouth Pavilion, a venue he describes as “a nightmare” and “notoriously challenging”, the system ticked every box.
The company, run by directors Adrian Sunderland and Rob Simpson, was already familiar with Martin Audio’s signature sound, having run LE1500 wedges in their hire fleet and also installed CDDs over the years. For the company, with facilities in Plymouth and Cornwall, is a versatile operation specialising in rental, sales and installation. While the former division is headed by Simpson, his partner oversees the installation business.
For the Fender gig, Martin Audio provided valuable onsite technical support in the shape of Simon Purse, as Josh Small explains. “Simon spent a morning showing us DISPLAY and VU-NET and then Ben Tucker did the application support, assisting with the set-up.
“As a result,” he says, “
Europe - Progressive rock act Haken, a multinational six-piece, recently returned from a European tour mixed on a Yamaha Rivage PM7 digital mixing system.
Haken’s most recent album, Vector, took the band into harder-edged ‘progressive metal’ territory. Getting the heaviness of the music across, while ensuring audiences also hear the intricate musical phrasing, needs an audio system that puts equal emphasis on audio quality and high-end features.
FOH engineer Adam Bonner has used Yamaha digital mixing consoles for 15 years, mixing the band’s last three tours in Europe and the US on a CL5.
“I really wanted to see what we could achieve with the FOH mix when using Yamaha’s flagship system, effectively removing any processing limitations. I knew that Rivage PM7 was the perfect fit for this tour,” he says.
Bonner contacted Steve Davies at London-based Subfrantic Production Services, who supplied the system including an RPio622 I/O unit, and provided the company’s new rehearsal facilities for Bonner’s tour pre-production.
“Having everything under one roof was a huge help, saving time and money on the logistics of transporting the control package from supplier to rehearsal space and so on. It also allowed me to relax and ensure that I didn’t forget anything,” says Bonner.
“Walking up to the PM7 for the first time didn’t feel daunting at all. I started with some multitracks from a previous tour, converted my CL5 file to give me a starting point for input EQ and channel naming. Everything felt familiar an
USA - Audinate has announced that California Baptist University has deployed a Dante audio network which runs through the entire campus to support the ever-increasing demands of several diverse departments.
From high-end music productions and performances to academic lectures and sporting events, California Baptist University (CBU) relies on a Dante audio network, Dante Domain Manager, and Dante AVIO adaptors for deploying an efficient, cost-effective, reliable and secure, campus-wide, IP audio network.
California Baptist University is one of the top private Christian colleges and universities in Southern California, hosting nearly 11,000 students with a 160-acre main campus comprised of more than 30 buildings, including the 95,000sq.ft Eugene and Billie Yeager Centre, the 270-seat Wallace Theatre, and the JoAnn Hawkins Music building - one of the nation's most advanced music production and recording facilities.
Because of these critical uses, the school is continuously looking for ways to easily and securely share and manage audio content throughout the campus, and in turn, improve the student experience.
Randal Murphey, assistant director of Multimedia Services at CBU, said the university now has around 500 total AV spaces across the campus. He also said a critical component to success in setting up these spaces is Dante by Audinate.
"Dante is becoming the standard on campus,” Murphey said. “We are moving forward exclusively with Dante as we are a school that focuses heavily on its performances. Both Dante and Dante Domain Manag
South Korea - Christie Digital reports that Gyeongnam Masan Robot Land, the world’s first theme park dedicated to intelligent robotics, has installed an extensive range of its laser projectors and real-time video processing and show control systems, which deliver spectacular visuals and enhance the visitor experience.
Located in the city of Changwon on the southeast coast of South Korea, Gyeongnam Masan Robot Land occupies 1.25m square meters and comprises a research and development centre, convention centre and theme park. Its main attractions, which combine robotics technology and entertainment, are powered by Christie GS Series and HS Series 1DLP laser projectors, as well as Christie Pandoras Box’s Single and Quad players, Dual and Quad OCTO Servers, Pandoras Box Manager and Widget Designer. These systems were installed by Christie’s Korean partners Star Networks and Digital Line Technology Group (D.L.T Group).
“As the first robot-themed attraction in the world, no effort was spared to deliver the best visual and audio experience to local and international visitors of Gyeongnam Masan Robot Land,” comments Seung Won Ham, head manager at Star Networks. “Christie’s laser projectors and image processing solutions have been the clear choice from the onset. Besides using high-performance projectors and media servers, we want to accomplish a fully integrated technology solution that the end user can confidently rely on. This decision resulted in the best outcome in terms of usability, performance, reliability and ease of maintenance.”
UK - Women in Data, the UK’s largest female data professional event, pulls in over 1,000 attendees from around the world. Held within the surroundings of the InterContinental, London O2 on the banks of the River Thames, WiD features keynote presentations from a host of guest speakers.
Having worked with Light Fantastic Production Services on a succession of previous events, WiD once again called upon the team to provide a complete technical, equipment and logistics production solution, custom designed to cover all aspects of the prestigious conference.
Branding for 2019 Women in Data was characterised by red to signify confidence, ambition and drive. Following this theme, LFPS applied bold, crimson hues throughout the stage set and lighting design, emphasising the colour as a symbol of strength and vitality. Continuing the look, the team extended the lighting design into the auditorium to create a more intimate feel within the space.
With a limited time frame in which to build the event, LFPS worked throughout the night to transform the hotel’s Arora Ballroom, taking care of all lighting, audio, video, rigging and scenic elements ready for the 9am start.
At its focal point, the main stage featured a sharp, smart design conceived around a central ‘W’ concept and flanked with distinct WiD branding and sponsor graphics. Designed in-house and constructed by the LFPS fabrication department, the scenic elements added depth and form to the substantial stage area.
WiD co-founder Roisin McCarthy says: “Once again Light Fantastic deliver
France - For a major project in France, several hundred meters of Milos M290 Quatro truss took on a strong supporting role. It took on a total of seven supporting roles, for seven TV studios, in four buildings, on the Altice Media Group campus in the French district of Porte de Versailles, Paris. The Altice Media Group campus hosts a total of up to 6,000 students per day and supports the activities of the news organizations Libération, L'Express, and 01 Net.
In 2016, the Altice Media Group needed to expand the number of studios on its campus and held a national tender for the construction of seven new studios in four buildings. The company who won the tender for this massive TV project was Red Bee Media, a sister company of Ericsson. Red Bee is the system integrator of NextRadio TV, a sister company of Altice Media Group, and manages the activities of seven TV channels in France: BFMTV, BFM Business, BFM Paris, I24 News, RMC, RMC Découverte and RMC Sport.
Working together with Red Bee Media for this project was Eric Brancherie (TV lighting designer for NextRadio TV), who was responsible for selecting and sourcing all materials in the construction of the seven studios.
A total of € 2.5m was budgeted just for the lighting (light, trussing, wiring, installation). The cost for the studio, control board, video equipment, control room and audio components were in addition to this amount.
For a project of this size and importance, Eric needed to source his studio materials from a supplier he could trust and that had a proven track record. The c
UK - The Taunton Amateur Operatic Society’s costumes for Cats provided the inspiration for Chris Sealy’s lighting design for their production of the musical at the Brewhouse Theatre.
“The costumes were amazing,” explains Sealy. “I was lucky because the cast wore them to the rehearsals. So when I went to watch, I was able to see them in the flesh, which aided me greatly in selecting colours for my lighting. Every cat in the play tells a different story, each with a different feel, and that of course is tied tightly into the different costumes.”
Helping Sealy accent the costumes and enhance the unfolding narrative on stage with light was a collection of six Chauvet Professional Maverick MK2 Profile fixtures supplied by Bright Production Services. Hung on overhead electrics, the 440W LED fixtures were used as as a primary light source.
Adroitly mixing colours, Sealy relied on the fixtures not only to light the play’s memorable characters, but also to bring out the unique personalities that lay within their costumes, using cool whites to accent the tuxedoed Mr. Mistoffolees, casting evocative hues on striped felines, and endowing Rum Rum Tugger with a radiant golden glow.
“The colour rendering capabilities of all my fixtures were especially important,” says Sealy. “Coping with the mood changes in Cats is a challenge. Oftentimes, I would get around this with a colour change, or a shift from front light to side light.
“Basically, all of the Maverick’s many features came into play. I created moods using
UK - Liverpool-based production specialist Adlib continued its working relationship with vocal harmony group The Overtones, supplying lighting equipment and crew to their latest UK tour, supporting LD and set designer Neil Holloway.
Adlib has been an equipment supplier for the band since their career took off in 2010, and it’s been a great journey for all involved to see the band’s success. Neil, now a busy freelance designer working internationally for a diverse range of clients, was working full time for Adlib back in 2010, and that’s also where his association with The Overtones started.
Understated elegance and a gentle symmetry defined the set which comprised of a central staircase flanked by two risers each side for the band, plus four signature big band art deco set pieces.
There was no video on the tour, but an Overtones LED sign at the back - custom built by Light Initiative - set the scene, positioned just in front of a silver lamé Austrian curtain from Adlib’s drapes inventory.
Every lighting fixture on the rig had to be multi-purpose and work hard in several different contexts to earn its place on the tour.
The core moving light fixtures - Robe Spikies for the beams and Martin MAC Auras for the LED washes - were selected for their small size, power, and functionality.
Twenty-four Spikies were distributed on the back and mid trusses, 12 on each, while six of the 10 Auras were on the floor, three per side, for low level cross stage washes, with the other four on Manfrotto stands for cross lighting the band standi
USA - The historic Warner Grand Theatre in San Pedro, California, is an opulent art deco venue that is moving into a new era of performance excellence with the help of Kinetic Lighting and Elation Professional’s theatrical-grade Artiste DaVinci LED moving head.
Originally opened in 1931 and listed on the National Historic Register, the 1500-seat theatre features a vaudeville-size proscenium stage with T-guided fly system that makes it an ideal venue for concerts, dance performances, multimedia presentations, film screenings or any cultural event.
Great strides have been made in recent years to restore the theatre, with a lighting upgrade the latest in a series of on-going improvements. Kinetic Lighting worked with the Warner Grand and the Los Angeles Department of Cultural Affairs to convert the theatre from conventional lighting to an entirely LED-based system, assisted by Victor Prudeaux, master Electrician at the theatre.
Seeking to achieve the technical sophistication of a contemporary performing arts venue while maintaining its historic integrity, a highlight of the new lighting package are Artiste DaVinci LED moving heads, full-featured spot luminaires and the first moving lights the theatre has ever owned.
Spread across box booms, the deck and overhead electrics, the award-winning DaVinci is an energy efficient CMY and graphics luminaire with a 300W LED engine and 7° to 48° motorized zoom that powers out over 12,000 lumens. “They will be able to make more artistic choices now that they have not only the functionality of moving
Mexico - Drone light shows specialist Verge Aero has delivered Mexico’s first drone light show. Working with local partner Sky Precision, Verge Aero provided a system of 150 drone lights to create moving, colour-changing pictures in the sky to open the performance by Dutch DJ Martin Garrix, marking Mexico’s Día de Muertos (Day of the Dead) at the FIG19 hot-air balloon festival.
Founded in 2002, the FIG (Festival Internacional del Globo) hot-air balloon festival, which takes place each year in the city of León in central Mexico, has become one of the leading balloon events in the world. This year, organisers were keen to provide a cutting-edge visual treat for visitors and called on Sky Precision to deliver it. Taking up the challenge, specialists from Verge Aero and Sky Precision created custom choreography to accompany a set of four songs, including an opening number by Mexican guitar maestros, Rodrigo y Gabriella.
Escandra Salim Alle, CEO of FIG, says: “We are excited to have hosted the first drone show ever here in Mexico. The show content was amazing, Verge Aero did an excellent job. The enormous crowd loved the drone show and our social media had a blast.”
As with every public drone light show, safety was the primary concern for all involved. Emerging from their protected safe landing zone, the drones took to the air to create colourful, dynamic, pre-choreographed movements and shapes including guitars, balloons, flowers - and the grinning Día de Muertos skull - in the sky above the performance stage.
Israel Canino, CEO of Sk
UK - White Light recently supplied the Royal Albert Hall with a range of Martin MAC Encore fixtures, continuing the phased upgrade of the in-house lighting rig.
As it hosts concerts on an almost nightly basis, the venue houses its own in-house kit which is used by incoming shows. The rig has to be flexible in order to adapt to such a varied programme, as well as needing to be energy efficient and sympathetic to the needs and requirements of a wide range of different lighting designers and productions. The existing ETC Source Four Revolutions, whilst having served their time very well, were due for replacement in line with the Hall’s ongoing replacement programme. As a result, the venue approached WL in order to invest in some LED alternatives for these new fixtures.
WL’s business development manager Jonathan Haynes explains: “I met up with lighting design manager Richard Thomas who told me about their existing set up and what he was looking for to replace the ageing Source Four Revolutions. The main priority was that the new fixtures were LED and provided a tungsten colour match that was at least as bright as the fixtures they were replacing. They also needed to be quiet, as well as have the ability to provide a high output in cool white to cut through the rest of the rig for aerial work.”
WL put forward a range of options and held an on-site demonstration at the Royal Albert Hall for the lighting team to see each one in situ. Haynes explains: “It is so important to shoot out fixtures in the venue for which they are intended, to see how t
Poland - When production, lighting and multimedia designer, Pawel ‘Spider’ Pajak, and PERCEPTO [LAB] - the team responsible for creative visual production - were approached by production company, East Eventz, to design and deliver creative solutions for a one-off concert, they chose Ayrton MagicPanel-FX and Khamsin-S fixtures to provide contemporary, densely-coloured and dramatic effects for this very special evening.
The two-artist concert featured singer Dawid Podsiadlo and rapper Taco Hemingway, and was the first sold-out gig for Polish artists in the history of Warsaw’s PGE Narodowy Stadium, attracting an attendance of 60,000 people.
Spider chose Ayrton’s state-of-the-art technology - 64 MagicPanel-FX and 44 Khamsin-S fixtures, supplied by Transcolor - after many successful years using the brand: “I have also adopted Ayrton’s range of more classic, but still distinctive, moving lights, starting first with Ghibli, and this year added one of the latest releases, Khamsin-S, and I want the brand to become even more available in the Polish market,” he explains. “I’ve been able to rely on Ayrton fixtures for several years on so many different productions, from club tours and special events, right up to large scale stadium shows.”
The MagicPanel-FX units were hung in four groups of 16 pieces each on separate truss structures run by Kinesys motors and used for various truss looks, both as lighting effects and in combination with the video content as low-res screens.
The Khamsin-S fixtures were rigged on four straight trusses
UK - Lighting designer Jacob Gowler took the opportunity to use Robe’s new T1 Profiles and LEDBeam 150s for the first time on a Cambridge Theatre Company (CTC) production of the crime-and-passion fuelled musical Chicago (High School Edition), staged over six performances in the 337-seat Great Hall at The Leys School in Cambridge.
CTC was founded in 2015 by Louis Ling to offer a range of opportunities for performers - young and old - to participate in high-quality theatre, and it now performs to over 9000 people annually. Since 2017, CTC has developed its focus on the youth community, and by working with professional directors, LDs, choreographers and musical directors, enables its young performers to experience unique opportunities to develop their skills.
For this production, the professionals were Jacob, director Chris Cuming, set and costume designer Frankie Gerrard and sound designer Nick Hall. It was the first time that CTC had worked with a professional lighting and set designer as part of the creative team.
Jacob was asked onboard for this project by Louis Ling. Jacob specified the Robe elements, which were supplied by rental company CEG and used in conjunction with the Great Hall’s mainly LED-based house lighting rig.
Of the seven T1 Profiles, five were in the overhead rig, three for backlight and two as a top light over the set following its V shape. Two more were positioned out front in the house, all in high positions.
Two LEDBeam 150s were rigged on the circle rail and two in the ‘under slip’ positions beneath
UK - The Tony Award-winning Best Musical Dear Evan Hansen opened in London 19 November at the Noel Coward Theatre with video projection comprising the shows entire stage scenery.
Supplied by Stage Sound Services, three disguise vx 4 and four gx 1 servers powered projections for the show, highlighting the impact of social media on daily life and create an immersive social media environment on stage for the actors.
“The cornerstone of the play is Evan and his interaction with the real world through a social media lens,” says projection designer Peter Nigrini. “To successfully tell our story, social media needed to be a visceral part of the theatrical environment. After the set designer created a physical environment, my job was to bring this virtual world to life on stage and give it the emotional power that so many teenagers clearly feel in their day to day lives.”
Every surface of the playing space can be covered by content. Display surfaces include a front projection system, a series of portals and tracking panels, flat-panel LCD monitors and the stage floor. Eight projectors and 32 monitors are deployed.
Nigrini notes that, “every piece of scenery that moves in the design is automated, and we can track it in real time. In moving the show to London we were also able to pre-visualise the entire production in New York, make decisions about automation and scenery in response to the changed dimensions of the London production. We were able to feed this back to other departments so it could all be pre-programmed. Integration with
USA - The Gaylord National Resort & Convention Centre in National Harbor, Maryland near the nation’s capital likes to celebrate Christmas in a big way. Set in the property’s 19-story glass garden atrium with its views of the river, Christmas on the Potomac is the hotel’s myriad holiday installation crowned by Cirque Dreams Unwrapped, a six-week-long, 25-minute Christmas fable combining artistry and showmanship from around the world with Christmas music, a dancing fountain, laser-light show and indoor snowfall.
Bringing this production sonically alive was the task of an L-Acoustics Kara system, designed and installed by Showtime Sound LLC of Frederick, Maryland. The system was split between the atrium’s lower and upper terraces: the former comprised a left-right design of one SB18 subwoofer ground-stacked with five Kara enclosures per side to cover the ticketed seating areas, and a flown LCR delay system of three hangs of one SB18 over seven Kara for standing and balcony areas.
Six LA12X amplified controllers powered the delay system while three LA12X were used for the ground-stacked enclosures. The system also used the L-Acoustic P1 processor for system management, routing, and time alignment, as well as for its AVB compatibility for long-distance signal transport. Audio came into the P1’s AES inputs and was sent as AVB over fibre to the amplified controllers.
Showtime Sound LLC had two distinct challenges on this project. “The atrium is huge,” explains Showtime Sound LLC director of operations and production Brian Li