UK - Midas is the power behind Ian Xiang’s Lightopia in London, a festival featuring 47 groups of Chinese lantern installations - 1m LEDs - projection mapping, acrobats, musicians and much more.
The first time a Western design company has worked with Chinese manufacturers to build a set like this, tailored to UK audiences, Lightopia was spawned at the Edinburgh Diwali in October last year moving to Manchester just in front of the festive window.
With different USPs in each location, the festival made its London debut at Chiswick House & Gardens in 2020 where it runs through to March.
Exploring the theme Harmony, Lightopia fuses art installations with human experience/interaction across zones including 12 Star Signs, the Rose Garden, Tree of Life, the Light Tunnel and 3D Mapping on the 18th century villa itself.
Making use of the venue’s extensive house power network around the site, adding three ULSD 100kVA, two 45 kVA sets and eight tower lights, Midas delivers with typical efficiency.
Dave Noble, managing director at Midas, comments: “We know Chiswick House & Gardens well and it’s a real pleasure to be there again, driving such an original event, with creative director Ian Xiang and his team.”
Ben Whur, founding partner at production company Proud Events, says: “This tour is the first time I’ve worked with Midas, a company recommended to me by a number of other suppliers. It’s not just about best price, it’s quality of service too and Midas’ experience, expertise and inpu
UK - Martin’s new VDO Atomic Dot hybrid lighting and video fixture made an immediate impact at Edinburgh’s Hogmanay Show as the Scottish capital welcomed in the new year. Joining the Edinburgh Street Party, and working at the Waverley Stage - which saw appearances by Keir Gibson, The Ninth Wave, Marc Almond and Porkpie - lighting designer Sam Jones specified 30 of the versatile fixtures as part of a Martin package.
With its vantage point at the end of the Waverley Bridge overlooking Edinburgh Castle, the designer’s biggest challenge was the bitter cold Scottish weather -mitigated by two heaters which accompanied him at FOH. “As is common in the industry, the timescales were very tight, along with all the commotion that comes with a street party,” he said.
Since the Waverley stage was fairly small, with little space to rig fixtures, he approached the design with minimal rigging and focused on placing more on the floor. He used a Doughty H Frame system on the deck. “Also, from a logistical perspective, keeping in mind that it would be long hours in the cold, I wanted to design something that could be packed down quickly at the end; effective but simple at the same time.”
The Martin inventory not only fitted the bill but also met the rider requirements of the principal artists such as Marc Almond in an LX plan consisting of spot, wash, beam and blinders, rock n’ roll style.
Sam had specifically been looking for a mole/blinder effect to add to the mix when he discovered the Atomic Dot. “The nature of the bill and the artists tha
Poland - On 24 November 2019, crowds gathered at the Gliwice Arena in southern Poland for the 17th Junior Eurovision Song Contest.
Polish TV network TVP S.A. was the show's main organiser, with support from Gigant Sound/Letus (sound), TSE (lighting) and WIZJA (LED screens).
Together, they took on the task of designing the show from scratch, based solely on the guidelines provided by EBU. The entire project, its design and deployment, was a major success for the country's pros, who delivered a top-flight show both to the 8,000-strong audience at the venue and millions of viewers in Europe, Asia and Australia.
Pre-production began in early 2019. Initial scenography and lighting design drafts were produced in April, while the following months were spent on comparing and refining numerous approaches to the end result, as well as finding the best technical solutions - a plethora of concepts was presented during many brainstorming sessions.
Every detail of light positioning, video projection and sound reinforcement had to be approved by EBU representatives, who closely monitored each step of the production. When an agreement regarding the technical aspects was reached, it was time to deploy the scenography, broadcast systems, lighting, PA and multimedia projection systems in the venue. This process took over two weeks and was followed by intensive rehearsals.
The successful hanging of many tons of varied high-end equipment was achieved thanks to good teamwork and cooperation, overseen by Adam Tyszka, TVP's main lighting designer.
UK - Having just equipped the luxurious five-star Blue Waters Resort & Spa in Antigua with Harman’s JBL Professional loudspeakers and Crown amps, Colin Pattenden (of CP Sound) kept up the Afro-Caribbean vibe back in London at the pioneering Pier One Club, situated in the more down-home location of Canning Town’s backstreets.
Once again, he found the solution in JBL, but this time the requirement was the polar opposite to that in Antigua in terms of sonic power. Pattenden had worked with venue owner William Lule for nearly two decades, and when the latter wanted to relocate his pioneering venue from Dalston - to an out of the way location which would not be as problematic in terms of noise as the heavy populated Kingsland Road - he found the site in a remote area of East London.
With a trained ear and a discerning clientele for the heady Afro Beats mix CP Sound’s owner was already proposing a JBL subwoofer “which would move the cone 3.5”.
“But,” he continues, “in delivering such heavy bass we also needed to ensure there was sufficient top.”
With its 450 capacity, the club is deceptively large. The main ‘Arena 1’ looks small in comparison with the annexe (dubbed ‘Arena 2’) but the piéce de rèsistance is the heavily used ‘Garden’ area at the rear, awash with decking and faux grass, designed and fitted by carpenter, Titah Kasujja (who is also responsible for the upholstery and much more besides). Even the enclosures for the subwoofers have been elegantly designed in decking, lined with rigid Baltic Birch plywoo
Greece - The week-long Summer Nostros Festival (SNFest) is an international multifaceted arts, sports and education festival held in Athens every June, that is free for all to attend and welcomes people of all ages.
Like every year, SNFest 2019 was hosted by the Stavros Niarchos Cultural Foundation. This is the organisation responsible for the entire construction in 2017 of the Stavros Niarchos Cultural Centre in Athens where the festival is held, for the third year, right on the Athenian sea front. The venue, which also hosts the Greek National Opera and holds cultural exhibitions all-year long, and houses the national library, has already racked up numerous awards both for its innovative, environmentally-friendly construction and its hosted exhibitions.
For this year’s SNFest, Mega-Sound (part of the Oikonomopoulos Group) - Clair Brothers’ distributor in Greece, and United Technical Group (UTG), were called on to provide the loudspeaker systems on the vast Great Lawn stage, as well as for the smaller ‘floating’ stage set up alongside a neighbouring canal.
Ioannis Oikonomopoulos, founder and CEO of the Oikonomopoulos Group, comments: “This huge national festival, the biggest cultural event of the year in Greece, represented a perfect opportunity for the first official presentation of the Clair Brothers C-series line arrays - the C12 and C8 systems. It was an unveiling to the public and the press, who got their chance to hear Clair Brothers products in action.”
UTG set up the C-series arrays for both stages. Oikonomopoulos continu
Canada - Jon Stanners, one of two owners of Winnipeg-based production and design company Red Rover Entertainment, turned to an Elation lighting package on Canadian singer Jessie Reyez’s Being Human On Tour outing. Soundbox Productions of Ontario served as lighting vendor for the tour, which played dates in Canada and the US.
Not only did Stanners design a lighting system that fit the budget, he made sure the rig was an appropriate fit for the 500 to 2000-capacity venues the tour played, not to mention the transportation used to haul the gear. “The design was created to have the most impact for these small venues but also had to fit in a single trailer with everything else,” explains Stanners, who has worked with Reyez for the past two years and handled design, programming and operation for the tour along with lighting production management. “Part of fitting into small venues has to do with the power situation and choosing LED was part of that decision.”
Stanners says one of the components he wanted in the design, something he hadn’t had in the past, was more pixels. “I wanted something that could create a lot of gradients and a lot of different effects,” he explains. “Having a lot of pixels is one way of creating that.” Most of those pixels came from Elation ACL 360 Bar and SixBar 1000 LED battens, which the LD had mounted on pipe to form an impressive backline working with overhead house lights.
Stanners placed six ACL Bars sideways on top of six SixBar 1000s for linear effects left to right, which, combined, gave him m
USA - The Institute for Creation Research (ICR)’s new Discovery Centre for Science & Earth History in Dallas is benefiting from an advanced, integrated lighting control system from Strand. Specified by The Lighting Practice, the system seamlessly combines the needs of multiple exhibit zones, user requirements and technologies.
The control system exploits Strand’s ability to integrate entertainment and architectural lighting in one, seamless system. It combines Strand’s powerful NEO Rack playback controller (with a second as backup), which is responsible for playback of the exhibits’ show lighting, with Strand’s flexible, scalable Vision.Net platform, which looks after the various area lighting zones.
The system includes a mix of individually addressed track lighting units, in-grade uplighters in the exhibit floors and various accent luminaires highlighting the individual areas. This variety of fixtures and control protocols across multiple zones, combined with the need for staff to access lighting pre-sets, made the control specification a particularly demanding challenge.
The Strand system controls a variety of luminaire types, while also allowing visitors to operate the lighting of certain exhibits, highlighting specific areas and sequences. In addition, it meets the need for staff to access lighting pre-sets in each area.
“These luminaires use DMX512 to allow for individual control so that we can balance illumination levels in each of the spaces,” says Jon Hoyle of the Lighting Practice, “while some of the architectural
Europe - Singer-songwriter Rea Garvey is no stranger to international audiences. This is ensured not only by numerous TV show appearances, but also by his extensive musical output. For the past 20 years the Irishman has been delighting his audience with multi-faceted pop rock and his distinctive voice.
His most recent solo album, Neon was released in March 2018, and in the autumn of the same year and through summer 2019, Garvey presented the new songs on a large Neon tour. At his side for many years has been lighting and stage designer Christian ‘Rocketchris’ Glatthor.
Glatthor - known for creating multi-layered, haptic spaces on stage - designed a variable set with many surprises. With the help of 60 FS20 Fusion Sticks FS20 from Fusion by GLP, he picked up on the Neon theme from the album and the tour. The majority of the Fusion Sticks were suspended from each other by a background truss, set in vertical rows of six each. The designer distributed Sticks asymmetrically on floor stands on the stage.
All sticks have been equipped with custom diffuser filters for the Rea Garvey production, which Glatthor had developed together with GLP prior to production. “We originally had the idea of taking large, coloured neon tubes with us on the Neon tour in autumn 2018. With this idea in mind, I visited Prolight+ Sound in Frankfurt, where I was introduced to the prototype of the FS20 Fusion Stick on the GLP stand,” recalls Glatthor. “It was immediately clear to me that this was exactly what I needed. However, I still lacked a diffuser, and we de
UK - Elliot Griggs chose Robe’s T1 Profiles to provide key lighting for Amélie the Musical, a new production first staged at the Watermill Theatre in Newbury, which then undertook a nationwide UK and Irish tour and then played at The Other Palace in London.
Griggs was asked to light the show, directed by Michael Fentiman and based on the five-times Oscar-nominated 2001 French art-house romantic comedy film, Amélie. The lead character has an eccentric upbringing and a vivid imagination which she uses to explores the complexities of love, loneliness, existence and survival in the big city.
The T1 Profiles - used in addition to the touring lighting rigs at each venue on the tour - are being supplied by leading theatrical rental company White Light, investing in their first T1s for this production as they were essential for Griggs’ lighting plot.
They are used as front light and usually positioned on the front-of-circle bar. In most venues, this meant they would be right above and in close proximity to the audience, so silent running was essential.
“I needed a fully-featured moving light, quiet enough to be amongst the audience and imperceptible,” explains Griggs.
Many scenes take place on the Paris Metro, so this required Griggs to create video style projection effects to simulate passing trains, and again the T1 provided a solution with its very fast shuttering.
“The look is achieved using the shuttering in conjunction with the animation wheel The Metro scenes are all about chance encounters and bustling cro
Europe - Ed Sheeran wrapped his 260-show Divide Tour last year, which featured a large complement of Claypaky Mythos 2 and Scenius Unico lighting fixtures. Mark Cunniffe was the lighting designer for Divide.
Cunniffe created a set piece for the tour comprised of LED tiles and lighting with a massive curved crown above the stage and tall columnar centre piece. The elements at times resembled a goblet and a tree. Four automated triangular pods resided in the underside of the LED structure; each pod was on three variable speed motors controlled by Kinesys.
Cunniffe used 118 Mythos 2 spot and beam fixtures in the crown, base and across the front of Sheeran’s riser; 10 Mythos 2 were mounted inside each triangular pod.
“One of the driving factors behind choosing Mythos 2 was the size,” says Cunniffe. “I knew I could hang it on its side, it’s relatively light and it could fit through an aperture. I could hide 30 to 40 percent of the unit behind the structure, and you just saw the aperture and the lens: It looked as though it was built into the production, as opposed to being hung on it.”
Cunniffe also mounted 24 Scenius Unicos, versatile spot, wash and beam lights, on four linear trusses upstage of the lighting pods. “They shone through the holes, but you couldn’t see the source, only the beams of light,” he recalls. “Unicos are much bigger and brighter units, but because they were hidden by the production, the eye was not drawn to them but to what they were doing.”
He likens Mythos to a “rock’n’roll unit' while Unic
UK - There are few cities blessed with a more spectacular landscape than Edinburgh, over which Edinburgh Castle presides and forms a natural centre piece for events and celebrations in the city throughout the year.
Through November and December 2019, the city was treated to the inaugural Castle of Light, a celebratory visualisation of Edinburgh’s history portrayed by a combination of mapping, projection, lighting and audio, which treated visitors to a journey through thousands of years of the city’s back story of which its citizens are so rightly proud.
As part of the lighting design, nine of Ayrton’s Perseo-S fixtures made an impressive impact on the show, in particular during the finale of this promenade performance. At the top of the Perseo-S tick list is an IP65 rating making it a suitable choice for intensive outdoor use.
NL Productions (NLP) were part of a consortium that created the Castle of Light and Phil O’Halloran, MD of NLP and technical production manager for the event, explains why the Perseo-S was the fixture of choice: “The Castle of Light show was a huge event for the city; the historical narrative was told through extensive mapping and video effects, culminating in the finale piece in the Castle’s Crown Square where we mapped the entire front façade of the Royal Palace. We needed a fixture with an almost impossible list of features.
“It needed to be extraordinarily bright and punchy to provide aerial effects and crowd lighting that cut through all the ambient projection levels. In a normal
Australia - Artists including Queen + Adam Lambert, Olivia Newton-John, John Farnham, Alice Cooper, Delta Goodrem, 5 Seconds of Summer, Tina Arena, Ronan Keating, Hill Top Hoods, Amy Shark, k. d. lang and many more entertained 75,000 music fans – and a worldwide TV audience – all helping Fire Fight Australia raise over A$10m for bushfire relief during a high energy day of performance at Sydney’s ANZ Stadium.
Throughout the day, the heroic efforts of people uniting and the dedicated commitment of the firefighting community were highlighted in the context of the massive fight to save lives, homes and land.
Dave Jackson, Jeff Pavey and a crew from Queensland and New South Wales-based rental specialists Creative Productions provided the lighting which included nearly 130 Robe moving lights including BMFL Spots, Blades and WashBeams and Spiider LED wash beams.
Their many challenges included an exceptionally short planning period and get in time on site.
Queen + Adam Lambert played the stadium the night before, utilising the same roof but with their own production lighting rig, so that was completely stripped out before Dave, Jeff and their crew of eight could start their build at 4am - to hand over for a show-start eight hours later.
Creative Productions donated the entire lighting rig plus all the preparation expenses and crew wages for this landmark occasion after they were contacted by Colin Skals of promoters Teg Dainty who organised the event for Fire Fight Australia.
It coincided with three major international tours that t
Indonesia - FOH audio engineer Sony Soebowo chooses tools from Waves Audio, including the eMotion LV1 Live Mixer and Waves plugins, mixing for two of Indonesia’s most popular performers: the band Naif, known for their retro sound and style, and Raisa, Indonesia’s popular pop/R&B star and winner of numerous awards.
Soebowo’s setup includes a Waves eMotion LV1 live mixer running on a Waves Axis One computer with a SoundGrid Extreme Server-C, a SoundStudio STG-1608 for FOH I/O and a SoundStudio STG-2412 for stage box I/O. He usually makes do with a single screen, as he uses DCAs (Digitally Controlled Amplifier) as his groups function since the mix is already set - resulting in little need for major tweaking during the show.
For recording and playback/virtual sound check, he uses Waves Tracks Live. The bands use IEMs, and as backup, or if there are wireless frequency issues, they are provided with wedges and he is set up in parallel to switch if problems happen, even if in the middle of the show.
Soebowo comments: “I have been using Waves MultiRack for a long time now, and the ability to use Waves plugins within the console is a major advantage. My must-haves are the Abbey Road TG Mastering Chain plugin, which I use on the Master Bus, as it ensures a really clean and powerful sound. The Vitamin Sonic Enhancer gives that extra ‘shine’ to the overall mix, and the Q10 equalizer enables me to make fine EQ changes, which are needed for different venues.”
He remarks about the Waves X-FDBK plugin: “The X-FDBK was a life-saver when I
UK - Last month, JL Lighting was the technical supplier for a large-scale event at Magazine London on behalf of Volkswagen and The Fresh Group.
The event, which welcomed both Volkswagen employees and pre-bookers to the venue and The Intercontinental O2 at different stages over two days, celebrated the Volkswagen brand and showcased a new generation of electric vehicles in the form of the ID.3.
Volkswagen commented: “The event went really well and the feedback so far has been very positive. With JL Lighting’s tireless efforts and commitment the end result worked as we envisioned.”
Jack Linaker, MD of JL Lighting, adds: “We were thrilled to be working alongside Volkswagen and The Fresh Group to bring this event to life. The JL Lighting team were hard at work as the technical supplier, providing lighting, sound, power, rigging and video across five venue set ups, and the end result looked fantastic.”
The project involved a 130-strong technical team, nine trucks, 368 lamps, 448 video wall tiles and 4km+ of cable.
USA - When Jason Martin, coms A1, and Dave Cheramie, coms A2, were tasked with integrating a new, modern intercom system for the Houston Livestock Show and Rodeo at NRG Stadium, the duo found a solution to meet all of their production needs with Pliant Technologies’ CrewCom wireless intercom system.
For the 125,000sq.ft stadium, it was crucial for Martin and Cheramie to deploy a coms system that could provide dependable wireless communication and extensive range throughout the three-week long event, which is streamed live to FOX.
“When searching for a coms system for the Houston Livestock Show and Rodeo, no other solution compared to CrewCom,” adds Martin. “It was a no-brainer to deploy the Pliant system as other systems we tested failed to perform in the large stadium with its high, domed ceiling. The competing systems also presented multipath interference issues, so they couldn’t provide the range we require for this large-scale event - only CrewCom could handle the job.”
For the Houston Livestock Show and Rodeo, Martin and Cheramie deploy a combination of 27 two-channel and four-channel Radio Packs (RPs), 14 transceivers, two copper hubs and three fibre paths to provide a reliable and extensive coverage zone. Additionally, they utilised two four-channel bases in a primary-secondary configuration with a total of 10 party lines (eight four-wire and two two-wire).
For the upcoming 2020 season, which will take place from 3-22 March, Martin and Cheramie will integrate Pliant’s CrewCom 8-Port Fiber Hub - expanding the system’s ca
USA - Kool & The Gang’s production manager and FOH engineer Ed Irons uses DPA’s 4099 Instrument, 2011 Twin Diaphragm Cardioid, 4011 Cardioid and d:facto 4018 Vocal Mic to deliver Kool & The Gang’s signature sound to live audiences around the world.
“Once we heard the DPA mics, we were hooked,” he says. “The horn section for Kool & The Gang is a franchise sound. With the 4099s, it is so easy to dial in on the fullness of the group. Most notable is the ease with which I capture the true character of each instrument; whether it’s a sax, trumpet or trombone - they all sound awesome with DPA.”
Kool & The Gang utilises three 4099 Loud Instrument Mics and one 4099 Extreme on their horns section, along with two 4011s for mic’ing the percussion rig. Most recently, they began using the 4099 Instrument mic on bass. “Although the 4099s sound great on all of the band’s instruments, we were especially blown away when we used them on the bass cabinet - as it’s typically quite difficult to capture clear sound in this application,” adds Irons. “The ability to deliver truth across the full low-end spectrum is amazing.”
For Irons, authenticity is the standout feature of their collection of DPA microphones. “Whether mic’ing a trumpet, alto or tenor sax, trombone or even bass guitar, I am able to deliver exactly what is coming from the stage to audiences large and small - all while EQing less,” he explains.
Additionally, Jack McDonald, monitor engineer for Kool & The Gang, appreciates the DPA sound when fee
USA - The Greater Cleveland Sports Awards in late January honoured local athletes of every level, from the pros to high-school.
Reflecting the connection between local athletes and their community, the event featured a runway-like path that extended down the middle of the Cleveland Renaissance Hotel’s elegant ballroom, giving the sports honourees and performing talent who walked down it a chance to be closer to crowd.
Lining both sides of the runway and endowing it with a colourfully attractive touch was a collection of pixel-mapped Chauvet Professional COLORado Solo Batten fixtures supplied by NPi Audio Visuals Solutions.
“The runway path ran from the built-in stage at the venue to the centre stage since the program was done in the round,” explains NPi’s Alex Kay, who was one of the project managers for the event. “We lined up 18 of the COLORado Battens on each side of the path and had them function as light for the talent, as well as eye-candy. They were bright enough that they actually washed the ceiling as well. Given that we had a large number of these fixtures placed very close to the audience, it was really appreciated that they ran so quietly with no fan noise.”
An additional four COLORado Solo Battens were used to uplight drape behind the stage, enlivening it with vivid colours. Like the pixel mapped lights that lined the runway, those up lighting the drapes created looks that came off well on camera at the televised event.
“Being a company that is heavily into video, getting fixtures that look great on camera is
Australia - NanoLumens has announced the completion of a new LED installation in the heart of Karrinyup Shopping Centre, an upscale retail venue located just outside of Perth. The installation, known as The Timepiece is suspended from a two-story ceiling above a central vertex within the shopping centre and consists of a four-sided clock sphere and a rotating double-sided pendant.
The shopping centre is managed on behalf of UniSuper by AMP Capital
“The Timepiece concept came into being during a pivotal moment for Karrinyup Shopping Centre,” said Courtney Ross, general manager - commercial for AMP, Retail. “The design intent is inspired by the transitional time of the $800m retail development of Karrinyup and aims to draw inspiration from both the classic heritage of the Centre’s core, as well as the modern retail transformation taking place around it.”
The digital installation was developed for AMP by Digital Place Solutions (DPS), an Australia-based digital place consultancy with past ties to NanoLumens. Said Gerry Thorley, the director of DPS, “This project was really about timelessness, the melding of the old and the new so that the centre could create a true sense of presence while also sparking a new contemporary vibe.”
Dynapac, another firm with prior experience working alongside NanoLumens, provided the rotator systems, while Vision Sign created the fibreglass enclosures for the clock sphere and the pendant. The on-site installation was undertaken by Perth based integrator Critical Room Solutions. Taking place along
Croatia - The Vridilo Je show was a high-profile tribute concert in Spaladium Arena in Split, starring the Zagreb Philharmonic Orchestra (ZPO) and dedicated to the late singer, entertainer, and Croatian superstar Oliver Dragojević, who passed in 2018 following a career spanning over 50 years.
The event was organised by his family, management and record label, and was an emotional occasion for his many fans.
Lighting designer Sven Kučinić used the opportunity to specify Robe’s new Esprite LED spot moving lights - with the transferrable light engine - for the first time, 24 of which were delivered the day before to Croatian rental company ELDRA which supplied lighting and video equipment for the concert.
Kučinić was asked to design lighting and set by the record company, having worked with Dragojević on numerous occasions both live and on television and internationally in recent years. He worked closely on the overall show design with video designer and creative director Lea Dekleva. The goal of the entire creative team was to present a unique celebration of the artist’s work that would have maximum value as a stand-alone show.
The ZPO was conducted by maestro Alan Bjelinski and joined by the Izvor Choir who also worked regularly with Dragojević on his shows in recent years. There was also a band comprising some of the best musicians in Croatia plus a glittering array of famous guest vocalists who had collaborated with Dragojević across his iconic career, including Gibonni, Petar Grašo, Tedi Spalato, Stjepan Hauser from 2CELLOS and
USA - When French record producer and DJ Gesaffelstein launched his impressive stage set at Coachella last April it created a blueprint for the Against the Night, Across the Time US tour that was to follow towards the end of the year.
Positioned behind the artist was a 32ft high monolith covered entirely in Vantablack, a fragile material reported to deliver the world’s blackest black, erasing any visible features on a 3D surface and making objects very disorienting for the brain. The UK-designed material was being used for the first time in a live performance context.
Show producer, Matthias Leullier, from Live Nation France, worked alongside LD Pierre Claude to turn the concept into reality, the latter in turn dipping into his GLP toolbox. He requisitioned 54 x JDC1, hybrid strobes as the main fixtures (running them mostly in SPix Pro Mode4, using 62 DMX channels). Two lines of 12 JDC1 on the floor surrounded the artist, with a 24 JDC1 tower behind the Vantablack, and a further six hybrid strobes on a truss. Meanwhile on the floor were 12 GLP impression X4 Bar 20s run in full pixel mode.
Leullier explained, “The main idea behind Gesaffelstein’s set was to create a memorable experience with a super-black monolith able to challenge the audience’s depth and spatial perception. The artist appears to ‘float’ against the Vantablack monolith, a mesmerizing two-dimensional black void.
“During the performance, this also separates into two vertical halves exposing a high-resolution LED display combined with a complex light show in
China - Sing! China is a TV singing competition broadcast by Zhejiang Television. The show is contested by aspiring singers drawn from public auditions. The latest season of the show recently came to its climax with a spectacular Finals production staged in the Beijing National Stadium, known globally as the Bird’s Nest. Watched by millions on TV, the show attracted a live audience of more than 60,000 in the stadium itself.
The show’s production values were of the highest order, with its designers sparing no creative efforts in presenting the artists in an incredibly dynamic and high-quality presentation. On stage, a 360° rotating decoration with a four-sided screen was deployed to present every detail of the show and this year, the team fully upgraded its follow-spot technology to further enhance the audience experience.
In a large capacity stadium like the Bird’s Nest, which covers 21 hectares, traditional follow spots can be difficult to use to maximum advantage. The design team at Sing! China elected to use the Spotrack TrACME dynamic tracking system supplied by ACME.
The system enables an operator to remotely control from any location, moving lights as follow spots. Compatibility is key to the system - it works with any moving light and any lighting console, in any performance space and can be used in all entertainment sectors for live production from anywhere in the venue.
For the Sing! China Finals, the designers deployed eight TrACME systems, each of which is able to control up to four moving lights from an
UK - Eighteen of Zero 88’s new RigSwitch cabinets - for controlled and synchronised power switching - have been installed at P&J Live at The Event Complex Aberdeen, a new multi-million-pound flexible entertainment, exhibition, event and conference facility delivered by Aberdeen City Council in partnership with Henry Boot Developments (read more on the development in LSi February 2020).
The building was designed by architects Keppie and constructed by the Robertson Group. Theatre Projects were commissioned to define and specify the site-wide technical infrastructure for Hall C and Conference Suites 1 and 2, and the tender for electrical contractor for these areas was won by LSI Projects.
When it came to a power switching solution for the LED lighting rigs predominantly requiring ‘hot power’ in these three main spaces, the need was for a safe, cost-effective and reliable system to control the predicted on / off power surges associated with large LED installations.
LSI Projects also won the tender to deliver the cabling infrastructure for the entertainment lighting rigs, audio and AV plus associated power distribution for these performance spaces including all the fibre connections, and they in turn chose RigSwitch to be an integral part of that setup.
Two variants - a 24 and a 36-channel version - of RigSwitch were supplied.
Qatar - Painting with Light (PWL)’s creative director Luc Peumans was asked to design an eye-catching lighting scheme for the opening ceremony (OC) of the first Qatar eSports WEGA Global Games. The OC event was staged in the Khalifa Stadium in Doha and attended by 14,000 eSports fans.
Show artistic director Steven Martin from The Cintamani Stone: ArchitectofEMOTION (TCS-AOE) asked Luc onboard for their pitch, and they were awarded the project by Doha-based event company The Planners LLC.
Working together for several years now, the experienced team at The Planners combined with TCS and Trimex has become a major player in the Qatar market for these types of shows and events.
Luc was excited to be part of an all-Belgium technical design and imagineering team including OC technical director Ludo Vanstreels from Trimex with whom PWL has also worked on several previous projects.
Challenges for Luc’s lighting design included the positioning of the stage in one section down the long end of the stadium, which meant that the whole lighting rig - and all other technical elements - had to be ground supported.
Integral to the winning pitch were elaborate projections mapped onto the stage floor and holographic images beamed on a special 30-metre-wide by 12-metre-high scrim - currently a trending aesthetic in the world of eSport tournament OCs. These had to be carefully ‘lit around’, combined with several flying and ground-based cast members and performers.
Large amounts of video and LED screens to generally contend with were additional c
Australia - Urban Theatre Projects (UTP) is dedicated to telling real-life stories which portray the many facets of modern-day Australia through site-specific cultural experiences. Many of its projects are presented in Blak Box, a portable venue that uses Alcons Audio pro-ribbon systems for a fully immersive audio experience.
UTP’s latest production was Momentum, which was presented in Blak Box at Barangaroo Reserve, Sydney, throughout the first half of November. Alcons Audio systems for all Blak Box productions are supplied by David Betterridge of Sydney-based Loud And Clear Audio Pty. The Momentum system comprised six pro-ribbon VR5 mini monitors and two BF151mkII compact subwoofers, powered and managed by two Sentinel3 amplified loudspeaker controllers. The VR5s were evenly-spaced around the perimeter of the internal wall, with the BF151s placed in opposing corners, between the internal and external walls.
“Each project presented in Blak Box is an individual work created by different teams, with different styles of storytelling, music and soundscapes. It’s quite an intimate space, so the quality of the system is paramount,” says Betterridge. “For Momentum, the brief was to supply a very compact system, because there was very little space for the top boxes, but which would be capable of reproducing a very varied range of speech and musical styles.”
Betterridge and his team proposed the Alcons VR5 because it delivered very high fidelity sound, but was able to fit into the very tight space between the top of the inte