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
Europe - Genesis’ much-rescheduled The Last Domino? tour had in its lighting inventory 64 Ayrton Karif LT ultra-compact 300W LED beam-spot fixtures.
The lighting and production design was co-created by Patrick Woodroffe – also show director - and Roland Greil of Woodroffe Bassett Design, and Jeremy Lloyd from Wonderworks who is responsible for the technical integration. Lighting programmer was Marc Brunkhardt.
Woodroffe and Greil had a number factors to consider for what potentially could be Genesis’s last tour. “The band has a rich history of pushing the limits when it comes to lighting and show design, so we needed to come up with something that maintains their reputation for being at the forefront of show design.”
The team decided to take a theatrical approach, giving every song its own visual identity with a unique look and feel, and simultaneously paying tribute to the band’s unique looks and innovations over the years. “We wanted a stage that was very versatile where we could change the whole look, feel and the visual identity for each song, be very intimate or very big, or modern or old school, and then with those adaptable tools we could tell the visual story of the show and create the perfect picture frame for each song and their performance on stage,” says Greil.
Karif LT’s role in this was to help build a versatile, dynamic backdrop in conjunction with an array of 12 rotating LED panels of varying heights. “The panels had high resolution LED screens on the front which could be quite overwhelming,” explains Grei
Australia - Working with Western Australia’s Botanic Gardens and Parks Authority (BGPA), Plan E Landscape Architects recently enlisted Engineering Technology Consultants (ETC), Light Application and Show Technology to design an architectural lighting display for Kings Park using Martin Professional Exterior LED fixtures.
Kings Park is a 990-acre park in the centre of Perth that features sprawling areas of manicured green space, natural bushland, a botanic garden and multiple memorials. One of the park’s most notable features is Fraser Avenue, a picturesque path lined with lemon-scented gum trees planted in 1938 and equipped with in-ground lighting to highlight the trees.
When the existing fixtures came to the end of their serviceable life, the BGPA hired Plan E Landscape Architects to coordinate a replacement capable of producing a wide range of colours and effects while utilising the existing in-ground cabling infrastructure. To meet these requirements, Plan E collaborated with ETC to design an updated lighting installation featuring Martin Exterior Inground 410 LED fixtures.
“When Matt Bancroft from Light Application approached me for a solution, knowing the precinct very well and the high level of prestige at stake, I knew our offering needed to be of superior quality, so I recommended the Martin Exterior Inground 410,” said Mike Bird, technical sales, Show Technology. “Light Application are no newcomers to using Martin architectural products, having installed numerous successful projects throughout Perth with Exterior 500 and 1000 imag
Finland - Nordic Entertainment Group’s Viaplay streaming TV service has a new studio in Helsinki, complete with wraparound LED screen backdrops driven by Hippotizer Boreal+ MK2 Media Servers.
The broadcaster’s built-for-purpose studio, designed and ordered by Viaplay and built in collaboration with NEP Finland, features a curved 2.6mm LED screen behind the presenter’s table comprising 4416 x 960 pixels and standing large at 11.5 x 2.5m. It displays live feed, pre-made and branded content as the channels air sport, film and original drama.
Rigged to the right of that is a straight 2.6mm screen that is 1920 x 768 pixels or 5 x 2m and there are two further screens – a circle screen above the table is made from 2.9mm flexible LED panel that is 3612 x 172 pixels or 10.5 x 0.5m and another 98" Panasonic display. All of this is VideoMapped using the Hippotizer Boreal+ MK2.
Green Hippo’s Finland distributor Amepa Oy was approached by Viaplay’s broadcast studio partners NEP Finland and Sibelius Design to deliver the visual elements of the studio, which is located in the Helskinki district of Vallila.
Amepa’s Johan West, who has championed the Hippotizer brand in Finland since 2003, suggested the Boreal+ MK2 as offering the right processing power, robustness and media management system for the job. “The most important thing for this installation was that the media server would have enough rendering power, as the client needed many mixes, sub-mixes and layers that would eat up a lot of computing power,” says West. “That’s the reason
USA - Advanced Audio and Lighting recently completed a technical redesign of the Third Reformed Church in the city of Pella, Iowa, opting for a Martin Audio line array solution.
The integrators were re-engaged, having successfully carried out an earlier sound and lighting installation for the client. Explaining the necessity for the upgrade at the Pella facility, the company’s president (and senior design engineer) Graeme Brown, said, “As so often happens, the existing system was a case of fine products having been installed, but completely misapplied within the environment, so that coverage was extremely inconsistent.”
He noted that the building’s unusual geometric had provided challenges in this regard. “The space is quite unusual - a modified fan-shaped building with lots of ceiling angles and a massive custom centre truss that required out-fills and delayed loudspeakers to evenly cover all seating.”
The new PA would not only need to address these issues but also have the capability of reinforcing a variety of events and source inputs. “While the Church’s main focus is contemporary music, it does have a choir and mixed quartets on a regular basis for the early service.
“The client was requesting very hi-fidelity, with extended sub-bass, rather than necessarily high SPL.” His solution was to designate a main PA comprising the scalable resolution of the Wavefront Precision WPS compact line array, which features 2 x 8” LF drivers, 4 x 4” midrange drivers and 4 x 1” exit HF compression horns.
To this he added
USA - Country music singer and songwriter Luke Bryan wanted to make a spectacular impact for his first Las Vegas residency shows at the Resorts World Theatre, so he hired show designer / director Brian Burke and lighting / set designer Tom Sutherland from DX7 Design to work their visual magic on his much-anticipated performances throughout 2022.
As the show design started to evolve, Tom and his team discovered that the house lighting rig at the new 5,500 capacity Resorts World Theatre venue features large quantities of Robe moving lights, all of which were supplied by Solotech, who completed the install and also co-ordinate the venue’s on-going technical services.
Tom lost no time in getting 108 x Robe MegaPointes on the lighting plot for his main effects lights, together with 54 x Tarrantulas – Robe’s largest LED wash beam – and 17 x BMFL WashBeams which are all running on the theatre’s four RoboSpot systems.
All these fixtures were just what Tom needed to develop the “full throttle” rock ‘n’ roll show he envisioned to stun audiences and present Luke Bryan to his fans.
Tom and Brian Burke have collaborated on several other projects including for Westlife’s most recent live shows and enjoy a great creative synergy.
Opting for an epic widescreen look, the upstage LED screen was 100ft wide as Tom knew he had the fire power to blast right through that with MegaPointes and Tarrantulas.
Downstage of that were a three-tier moving set based on a series of diamond shapes which is a cornerstone of the show environment
France - When the 2022 World Figure Skating Championships were held recently at Montpellier’s South of France Arena, technical solution provider (and Optocore partner) GB4D, was called on to provide an elaborate communications network for all the technical elements. This included Optocore and BroaMan routing, designed in a star topology.
The event itself was organised by the French Federation of Ice Sports, and the integrators were contracted by Charles Gueydan, their technical production manager.
Under the direction of proprietor Gilles Bouvard, GB4D has a rich pedigree in that sector, having previously worked on the European Championships in Lyon in 2006, and later the 2012 World Championships in Nice. On top of that, for nearly two decades they have been involved with the televised Les Étoiles de la Glace, the French Federation’s skating gala.
This year, GB4D was entrusted with providing the entire audio-visual network, as well as intercom, sound system, sports and production lighting (including bridges), stage structure and Video for the four-sided LED screens. They worked alongside Patrice Burle from Concept-Group for the structure and lighting accessories, while lighting creation was the responsibility of DoP, Tony Weber and sound design by Titou Victor and François Iund.
GB4D turned to a combination of Optocore / BroaMan interfaces, along with DiGiCo digital mixers and L-Acoustics Kara /K2 PA as they have for many large-scale events previously.
The biggest challenges they faced were the restricted assembly time (seven semi-t
Spain - Located in Murcia, Odiseo is a venue dedicated to the pursuit of pleasure. Boasting three restaurants, a sports bar, a nightclub, a show room and multiple terraces, as well as Europe’s largest cantilevered pool suspended 27m above the ground, Odiseo’s space of 15,500m2 is distributed across three levels. The venue’s audio infrastructure includes DiGiCo 4REA4 processors and a Quantum225console supplied by RMS Proaudio, DiGiCo’s distributor in Spain.
Odiseo is owned by Orenes Group, one of Spain’s fastest growing businesses in the leisure sector, Orenes Group hired sound design consultant Lolo Moldes, who worked in close collaboration with the team at RMS Proaudio to deliver the audio installation.
“When Orenes Group contacted me about the Odiseo project at the beginning of 2019, I was immediately hooked,” says Moldes. “Architecturally stunning and unique in every way, I was motivated by the team’s ambition to have the premium, comprehensive AV infrastructure installed at this new venue, which would have the same look and flair as some of the top Las Vegas entertainment spots.”
After careful consideration, DiGiCo systems were chosen because of their straightforward architecture, solid sound quality and powerful processing.
“From the very beginning, we knew the systems we install will be used by Odiseo’s in-house engineers for our own shows, as well as visiting sound engineers for the international artists performing at the venue,” adds Odiseo’s technical director Isidro Carrasco. “Therefore, ease of use was
UK - The new production of Life of Pi in London’s West End was the recent winner of five Olivier Awards, including best lighting design. To bring his design to life, lighting designer Tim Lutkin chose to use three core Martin fixtures; the MAC Encore, MAC Aura XB, and JEM Glaciator Dynamic.
All fixtures were supplied by Sparks Theatrical, with Tim Lutkin’s team including associate LD and programmer Elliot Smith, and production technician Theo Chadha.
“The MAC Encore CLD is the only moving head profile used in the production,” Tim explains. “We’re using two as manual follow-spots, and a further 18 in the rig acting as the workhorses of all the lighting.
“We’re using absolutely all their versatility; as follow spots with a soft edge, for traditional theatre shuttered framing, for beautiful water effects, and big deep colour washes. We even point them into the house with their sharp star gobo for concert-style aerial effects.”
The MAC Encores are paired with 18 Martin MAC Aura XBs, themselves the only wash fixture used in the production. Tim notes, “They sit so well together in terms of brightness and colour balance.”
Projection is used extensively in the production with Tim explaining how the combination of projection and lighting work together for maximum effect. “We’re using projection for high-contrast, detailed images, whilst the Aura XBs provide a saturated subtle background, and the Encores at their different angles add depth and a beautiful vibe. It’s the combination of projection and lighting toge
USA - LD Steve Lieberman was putting the finishing touches on his design for The Looking Glass stage at Insomniac Productions’ Beyond Wonderland, when things suddenly changed just a few weeks before the festival opened. Instead of being outdoors, as originally planned, the stage was moved inside to the San Bernadino Nos Event Centre’s Orange Pavilion.
“Essentially, it was a full redesign at the 11th hour,” said Lieberman. “Our office really stepped it up in terms of completing the revisions and getting them over to Insomniac and 4Wall to execute. All parties involved performed at the highest levels. The rig looked fantastic when I walked in.”
The thousands of fans who came to The Looking Glass stage to see progressive techno and house artists like Joris Voorn, Len Faki and Nox Vahn would readily agree with that assessment. Lieberman and his team turned the large clear span pavilion into a raw, brooding and palpably intense underground club evocative of a hot converted warehouse in Brooklyn or Detroit.
“Music at The Looking Glass is a bit darker and edgier, and this was reflected in our design,” said Lieberman. “It’s not about specific ‘looks’ here as much as it’s about a ‘style’ of operation. When you’re here you’re immersed in that style. We had no video, and no guest technical staff, in keeping with the underground feel. Culturally, this genre of music lends itself to an edgy style, with sharp edges, precise angles, and monolithic features.”
Helping Lieberman create this distinct mood was a collecti
Europe - Follow-Me 3D systems recently toured internationally with Woodroffe Bassett Design and Roland Greil for The Last Domino Genesis tour.
Roland co-designed the lighting together with Patrick Woodrofe (show director The Last Domino tour) who has also been the LD for Genesis and Phil Collins’ solo tours in the past. For Roland this was an important and challenging honour, describing himself as “the new kid on the block” with his first collaboration as co-LD for Genesis with their Last Domino tour.
The WBD team felt it important to use a remote follow-spot system as this would be far more versatile than classic follow-spots. Due to WBD’s previous positive experience with Follow-Me 3D Systems on tours such as Rammstein, it was an easy choice to make: “The system gives the possibility to integrate an unlimited number of manufacturer independent light fixtures and has been proven to be very reliable,” says Roland.
“A Genesis show is challenging by its own in a very positive way. This specific band has pushed the boundaries within our industry since the 70’s and therefore you have to keep up with this momentum and create a show which is up to those expectations and standards. Just think about their involvement in Vari*lite for example. Even though challenging for Patrick and myself it has been very rewarding to collaborate on this show and create something, that the whole team is proud of.”
The tour’s Follow-Me tech, Bianca Mastroianni adds, “A Follow-Me system is a very powerful addition to a lighting rig.”
UK - As part of a progressive upgrade, the Royal Albert Hall has added 26 x Martin MAC Ultra Performance framing spots to the 18 x MAC Encore Performance CLD they acquired in September 2019 - respectively replacing older generic and discharge moving lights. Both orders were fulfilled by theatre lighting specialists, White Light, with all Martin lighting products sourced from their UK distributors Sound Technology.
According to RAH lighting designer Richard Thomas, this is the third straight swap out to Martin lighting over the past four years, as prior to that a complement of MAC Vipers had also been chosen as replacement wash lights.
“However, we are not driven by brands,” he stated. “We pick the lighting based on what’s best for us. In the case of the MAC Ultras we looked at a number of top brands but this fixture ticked all the boxes.”
Both the MAC Encore and MAC Ultra sales were led by White Light business development manager, Jonathan Haynes.
“I think [the RAH] was aware of just how many MAC Encores there were in the field, including installations in other key London theatres. This has given them a top-notch rig as they continue to do bigger and better things by renting their lighting to incoming shows. They have definitely made a significant investment.”
His company also has a service agreement with the venue and maintains all its equipment. “I have had a long relationship Rich Thomas and [head of production and technical] Ollie Jeffery and they have remained very loyal to White Light.”
When the concert hal
Germany - Following the launch of JH Audio’s new flagship in-ear monitor, the Sharona, KLANG:technologies now reveals that it will be giving away five custom KLANG-branded pairs of the latest JH Audio IEM model for free following a month-long contest.
To enter the giveaway, contenders will need to take or find their favourite photo of themselves with any KLANG product, then simply go online to https://www.klang.com/win and upload the image. The competition closes at 11:59 p.m. (GMT) on Friday, 3 June, at which point five lucky winners will then be chosen from the images received, with the announcement of the Sharona recipients being revealed on Friday, 1July.
“Having the best in-ear monitor sound is key to having the best live performance, which is why KLANG’s immersive processing power and JH Audio’s experience in delivering pristine audio quality are a perfect match,” says KLANG CEO Roman Scharrer. “With over 25 years of experience in manufacturing the finest high-end in-ear monitors, Jerry Harvey Audio is one of the best known companies and innovators in the field of IEMs, and we’re excited to give five of our customers the thrilling opportunity to shout, ‘M-m-m-my Sharona!’”
Boasting JH Audio’s first 16-driver configuration with a true four-way integrated crossover, Sharona features the all-new Knowles RAU Quad Supertweeter, which produces an extended treble response starting where most balanced armature drivers roll off (12kHz) and pushes out to 25kHz.