USA - For nearly 50 years, the GMA Dove Awards have honoured those who have achieved excellence in Christian music. Held at the Allen Arena at Lipscomb University on 16 October, the night featured a lighting package provided by Bandit Lites and performances from Lauren Daigle, Tauren Wells, Rebecca St. James, Rascal Flatts and Tori Kelly.
Due to the venue, the event is scheduled around the existing Lipscomb University athletic schedule, which requires the production team to rely heavily on pre-planning logistics from how trusses are suspended to how the crew will physically handle set changes between the artists’ performances.
“Bandit Lites’ exceptional prep process was brought to bear to allow us to bring in a small but rather complicated lighting rig and support structure in a quick and efficient fashion,” says Scott Moore of Go Live Productions. “To facilitate this process, there was a day allotted for pre-rigging the system and then a day and a half of volleyball tournaments. Then we had a day and a half to get the entire system up and 100 percent operational. Crew chief John Lucksinger, and technicians Jimmy Murray and Sam Morgan did a fantastic job of installing the system and having it ready for the design team.”
The theme of this year’s show was Reverent Wonder and lighting designer Mark Carver worked to communicate this dramatic motif through timing and intensity, saying “Lighting programmer Andre Petrus and media programmer Chris Lighthall were crucial in this execution.”
Bandit Lites supplied more than 1
Russia - GLP’s impression X4 atom has only been available on the Russian rental market for less than a year, but the fixture has become an original element in some signature project designs.
It was Leonid Poznyansky - a lighting designer who frequently uses compact GLP solutions in his lighting plots - who was responsible for their arrival in Moscow. He first saw the X4 atom at Prolight+Sound in Frankfurt in 2017, and immediately urged rental company Laser-Kinetics to invest in it. The LD also promptly placed an order for various mounting accessories, since he knew it was the entire package that would allow him to realise his vision.
"When I first saw the X4 atoms, their power impressed me immediately,” he said. “These devices are unusually bright, given their small size. But what is even more interesting is that I can control the zoom remotely and change the beam angle, from the narrowest to the widest, very quickly. This means that I have so many options when creating different effects with a beam."
One of the largest X4 atom manifestations in Russia took place on 29 March 2018. Leonid Poznyansky developed an original lighting design using 144 fixtures for Vladimir Presnyakov, who celebrated his 50th anniversary on the stage of Crocus City Hall. Based on his idea, 12 X4 atoms were used to assemble 12 non-standard panels. In order to realise this idea, the rental company Laser-Kinetics produced welded frames that allowed the atoms to be assembled in a 4 x 3 group. Each of these panels was installed on a simple 1.6m tripod.
"In this ins
UK - Colour Sound Experiment supplied lighting and LED screens for the Wave Goodbye concert by UK synth pop duo Soft Cell, who reunited after 17 years for one final show at London’s O2 Arena.
Award-winning lighting designer Rob Sinclair helped build the ambience and vibes for this sold-out pop music moment for the band who’ve occupied some hypnotically catchy and viscerally emotional space in the slightly darker echelons of 1980s synth pop.
Once he was confirmed on the creative team along with set designer Ric Lipson from Stufish, Rob started imagining the lighting.
It was also being streamed live to cinemas around the UK and Ireland and recorded for a live CD and DVD/Blu-ray release in 2019.
Both Rob and production manager Kamal Ackerie agreed early on that they wanted Colour Sound to be involved in the event, “We needed a London company that could supply both lighting and the main video elements and that had a good sense of humour,” he explains.
He’s also worked with H (Hadyn Cruickshank) and the team on previous tours and shows, so knew they would deliver
Once the stage set and screen layout was evolved, the lighting positions became obvious.
A 9 x 9m box truss - clad in a pink metallic-finished fabric surround to emulate the ‘soft cell’ - was installed above the stage on six Kinesys Elevation 1+ motors.
Rob wanted to have lots of fixtures on the rig and the choice of specifics was based around what Colour Sound had in stock, with Robe BMFLs being the main profile. Thirty-six of these, nine a s
UK - HSL supplied the recent UK and European leg of Halsey’s ongoing Hopeless Fountain Kingdom tour with lighting equipment.
The referral originally came through John Schirmer at DCR Nashville, lighting vendor for the US sections of the tour which started in 2017. Another connection was production designers Sooner Routhier and Robert Long from SRae Productions, with whom HSL worked for over a year as worldwide lighting supplier for Depeche Mode’s 2017-18 Global Spirit world tour.
The Halsey project was managed for HSL by Jordan Hanson who commented, ““Working with John Schirmer, production manager Jimi Storey and lighting director/operator on the road Jose Antunes has been a pleasure - great show and great people.” He worked closely with Jose to match their original lighting spec.
A key aesthetic feature of this visually edgy and interesting show, is the central LED staircase set piece that continues from two video screens sitting at the top of it. The staircase forms the main performance area – an idea germinated from Sooner’s observation that the artist negotiated stairs in a unique and very fluid way during her performances - and most of the lighting positions relate to it.
When touring different versions of the design it is still imperative to keep the lighting rig the same to preserve the integrity of the design. HSL was able to match the US floor package exactly.
This comprised Robe Spiiders positioned on the sides of the steps for low level cross light and behind the band members upstage, plus eight C
USA - Full Sail University has expanded its performance venue, Full Sail Live, with Calrec Audio’s Artemis and Brio36 consoles. Already utilising a Summa console for its show production degree programme and Brio console for its film degree programme, Full Sail knows Calrec’s advanced audio solutions.
“The existing broadcast audio console in our performance venue was being maxed out, so an upgrade was in order,” says Scott Dansby, director, industry relations, Full Sail University. “We had an existing relationship with Calrec and knew its consoles had the right tools, functionality and features. Also, continuity was important to us as some of the students were already working with Calrec boards as part of their degree programmes.
“By choosing Calrec’s Artemis and Brio36 consoles for the venue, we now have the ability to grow the system and scale it towards the events in that space. Calrec is providing us with a lot more room to grow in terms of the number of busses, channels and networks.”
Having two consoles in the same room is not a typical set-up. The 56 fader Artemis and the Brio36 combo give Full Sail Live different options of how to use the system. It also supports many different protocols including analog, AES, MADI, Waves Soundgrid and Dante, which is important for Full Sail Live as the venue works in a mixed protocol environment. In addition, both consoles are connected to Calrec’s Hydra2 network so either console can use any I/O resource on the network.
“It’s a total game changer for us as far as being able to d
USA - Ancient Athens may be separated from California’s Venice Beach by 6,900 miles and 2,400 years, but that didn’t stop these two very divergent places from melding together on stage in the Jeff Lynne, John Farrar Tony-nominated musical comedy Xanadu.
Inspired by the 1980 film of the same name, the show brings together a forlorn SoCal street artist with a group of perky Greek muses. The result is a rollicking adventure, culminating in the nonstop swirl of a disco roller rink that has left audiences laughing around the world since its Broadway debut 11 years ago.
Supporting all the freewheeling fun at a recent production of the show at the Hangar Theatre in upstate New York is a colourful, punchy and fast-paced Cory Pattak-designed lightshow, featuring Maverick, Ovation and COLORado fixtures from Chauvet Professional.
“Nobody is accusing Xanadu of being high art. It’s fun and silly and self-aware - the goal here was just to make sure the audience was having a great time,” says Pattak. “I worked closely with the director Dev Jenki, who I have a great creative rapport with, to give nearly every song the feeling of a music video. The rules of time and space don’t really apply in this play, so we just lit each number to give it a unique look, help track the characters’ emotional journey and support the disco vibe.”
Key to helping Pattak add this upbeat fun-loving element to his design were the three Maverick MK1 Hybrid fixtures in his rig. Using these moving fixtures from a backlighting position, he relied on them
World - Lighting designer Mathieu Poirier created the atmosphere of the grand hotels of the past for Hotel, the latest touring show for Montreal-based company Cirque Eloize. Poirier selected Claypaky’s new Axcor Spot 300 moving LED fixtures to help set the scene for the troupe’s very special 25th anniversary production.
In Hotel, acrobatics, theatre, dance and live music guide the audience through an intimate refuge with an avant-garde look inspired by the elegance of the greatest hotels. The lives of transient travellers intersect briefly but long enough for tales and memories to be forged.
“Early in the creative process the Belgium-based director, Emmanuel Guillaume, discussed with the creative team his strong visual interest in Wes Anderson’s film, Grand Budapest Hotel and Damien Chazelle’s La La Land,” recalls Poirier. “The visual environment of Hotel would have those brownish and pinkish shades as well as surreal and very contrasting colours.
“The decision was taken to have a burgundy set with gold accents and monochromatic costumes in all shades of blue. I decided to adapt a principle that Chazelle used in his movie, and I created a lighting plot that would allow me to be realistic in the hotel’s lobby and kind of surreal, or at least to leave the realism of the hotel lobby, for the acrobatic acts themselves.”
He chose 10 Axcor Spot 300s to hang above the stage as front special, tip and back lights.
“We had a limited budget for buying equipment as well as a really small tra
Croatia - HUST d.o.o. has completed the design and installation of the audio and video systems for the new Šibenik Convention Centre at the Solaris Beach Resort. Located in Šibenik, on the Adriatic coast, the new venue is the first convention centre to be built since the independence of the Croatian state in 1991 and is now the largest in Croatia.
The centre is designed for flexibility, by dividing or combining rooms to adapt the space for all types of events, conventions and exhibitions. With a total of 4,000sq.m of congress space, the centre encompasses 11 individual halls and rooms with an overall capacity for 2,500 people.
In the design of the audio system, HUST added flexibility to the venue with zoning that could easily be switched and combined to match the space configuration used by any event. They chose a combination of distributed Apart loudspeakers for background music and Community loudspeakers for AV and conferencing.
The central space is the main hall. With its movable stage, the main hall holds 1,500 people in theatre mode, 1,000 with banquet facilities and 1,365 in ‘cocktail’ format.
The hall can be configured as a single room or as three independently operating rooms, each with its own motorised screen and Epson projector.
Each of the three independent rooms has a distributed audio system comprising eight Community two-way D8 ceiling loudspeakers, with D10SUB ceiling-mount subwoofers adding extended response and low frequency impact. An additional pair of V2-8 8” compact full-range two-way loudspeakers is used to f
Australia - Chameleon Touring Systems recently deployed a Martin by Harman lighting solution for a new production of Mamma Mia! currently touring across Australia.
Mamma Mia! The Musical is playing at the Princess Theatre in Melbourne, with future dates scheduled across the country. In order to create a lighting display that captures the detailed expressions of actors on stage and simultaneously conveys the energy and emotion of a rock show, lighting designer Gavan Swift needed a powerful, versatile lighting system.
Swift worked with Chameleon Touring Systems and Show Technology to develop an LED moving light system comprised of Martin by Harman MAC Quantum Wash, MAC 101 CT and all-new MAC Encore Performance CLD fixtures.
“I have firmly embraced LED technology in moving lights,” says Swift. “The brightness, colour fidelity and consistency of LEDs are quickly making the old arc-based moving lights obsolete. I didn’t purposely choose all Martin fixtures - I just picked the best LED lights for the job and they all happened to be Martin products.”
Swift specified the MAC Quantum Wash fixtures for their high output, powerful white LED and their built-in spill ring for minimising lens flare. He chose the MAC 101 CT moving head wash lights for their narrow, soft beam of light and variable colour temperature, which makes them ideal for highlighting skin tones, textiles or set pieces.
“The MAC 101 CTs are one of my favourite fixtures - they produce a narrow, soft beam of light with variable colour temperature,” says S
USA - Robe presented part two of its Lost Worlds exhibition live show trilogy concept at LDI in Las Vegas, with another impressive booth design and an eight-minute live dance extravaganza designed to illustrate its latest technologies in the context for which they have been developed. This included the just launched T1 Profile LED moving light.
Over 200 new and current moving lights and LED fixtures - including the SuperSpikie and the MegaPointe, Spiider and Tarrantula LED wash beams, BMFLs and the RoboSpot remote follow spotting system running with MDC (multi device control) - were central to the show. Robe’s new iParFect - the first in a series of upcoming IP rated luminaires - was utilised in two rain curtains that were integral to the fully immersive and highly detailed show environment.
The show narrative followed the intrepid Explorer character, having journeyed from London fighting her way through the jungle, encountering hostile Ninjas and other obstacles, arriving at a clearing in the dense forest and discovering a lost temple. The storyboard was originated by Robe’s own creative team led by Nathan Wan and Andy Webb.
“The bottom line is always that we are showing off the lights and effects in the best possible way, as well as building our overall brand identity and commitment to the world of live entertainment” stated Nathan.
The new T1 Profile was the main feature light, so this was used for all the key lighting illustrating how its MSL (Multi-Spectral Light) LED lightsource combines brightness with smooth CMY colour c
USA - Over the past decade, Bon Iver frontman Justin Vernon has emerged from the woods of Wisconsin as one of modern music’s most inventive songsmiths. Although his group’s musical path may have started out sounding something more akin to folk music, Vernon’s trajectory over the course of his last couple of records has explored everything from rustic chamber pop to haunting, textural collages of vocoders and electronica.
With such a broad range of sonic elements in the mix, Bon Iver’s show at the Santa Barbara Bowl on an L-ISA Hyperreal Sound system recently served as an opportunity for 4,500 lucky fans to hear the group in an expansively panoramic soundscape for the first time.
“Bon Iver’s records are amazing and Grammy Award-winning, but anyone who has seen them perform will quickly tell you that their live show is infinitely better,” says L-Acoustics’ Scott Sugden. “And none of it is pre-recorded or set to timecode. Everything is done live - organically and dynamically - by the band, which never plays the same set twice.”
Knowing the group’s reputation for staging an engaging show on a traditional left/right PA, Sugden invited Bon Iver FOH engineer Xandy Whitesel to join him and L-ISA Labs’ Carlos Mosquera at L-Acoustics’ North American headquarters in Westlake Village to explore L-ISA’s even greater potential.
“I brought in a multi-track of a live show that I had mixed in a Cubase session, and I was immediately impressed with how easily my stereo mix transferred to L-ISA,” Whitesel recalls. “After some tho
UK - Reece Productions invested in an Allen & Heath dLive Control Surface that has recently provided high quality sound for The Pineapple Thief's 2018 tour, closing with a triumphant performance at the O2 Shepherd’s Bush Empire.
Founder, James Reece-Ford commented: “We've been big fans of the (dLive) ecosystem. The whole console feels like it was designed with me in mind . . . The sound quality is way beyond my expectations.”
FOH sound engineer, Simon Baxter specifically requested the console for the tour. He commented: “I chose the dLive as I needed a small footprint desk, but with the power and flexibility that it provides. I loved using it. The on-board FX are fantastic, the multi band EQ was really useful and I was impressed with the ease of the workflow throughout. Most of all, the sound quality was fantastic; such a transparent sound and sensitive EQ allowed me to create the mix I wanted to achieve.”
UK - When SSE Group were looking to replace their old intercom systems with a scalable, all-weather alternative, with both the festival season and the corporate and broadcast markets in mind, they set demanding criteria. The new system needed to be reliable, function both internally and externally, and be operable over IP.
Their search took them to Pliant Technologies’ new wireless CrewCom system, distributed in the UK by Sound Technology.
CrewCom is based on a new technology platform that offers “the industry’s highest user density, unparalleled range and scalability”. “This system looked very promising when it came to replacing our existing systems.” said SSE senior project manager, Miles Hillyard.
He was soon talking to Sound Technology’s application engineer, Danny Kyte, before investing in four of the CrewCom radio packs and two transceivers, with additional I/O.
Running on 2.4GHz RF frequency, CrewCom operates on its own proprietary network. The system allows up to six beltpacks to be run on one remote transceiver. The system can run multiple transceivers, allowing comms between many people in many locations without the expense of a matrix system.
Highlighting elements of the CrewCom design rationale, Kyte says: “The new beltpacks are much lighter than our previous system and the transmission distances much increased. The packs allow selection of up to four of 1024 conferences, assigned simply by sending a unique profile to a user’s pack. The system is extremely flexible, scalable and easy to integrate with a wire
USA - Following a successful limited run world premiere at the Oriental Theatre in Chicago in March and April of 2018, Pretty Woman – The Musical made its expected move to Broadway in the summer of 2018 enhanced by a comprehensive point source audio system from KV2 Audio.
Based on the 1990 film Pretty Woman, the book for the musical was written by the film’s director, the late Garry Marshall, and screenwriter J.F. Lawton. The musical opened on Broadway in August 2018, directed and choreographed by Jerry Mitchell and featuring an original score with music and lyrics by Bryan Adams and his songwriting partner Jim Vallance. Orchestration was by Will Van Dyke with sound design by renowned Broadway sound designer, John Shivers, and long-time collaborator, sound designer and audio engineer, David Patridge.
Having used KV2 Audio gear for more than 10 Broadway musicals - including the audio refit of the Lion King - Shivers and Patridge once again chose KV2 because of the high quality, definition, ease of deployment and economy. They specified a system based around KV2s SL412 point source speaker system for the centre and two actively driven, narrow-footprint full range ESR215s at left and right and supplemented by a variety of application-defined loudspeakers from the KV2 portfolio, including the passive ESD Series and the active EX Series.
According to Patridge, “Working in Broadway theatre is always a challenge physically. Locations for speakers are often dictated by architecture such as box seats and sight lines. Fortunately, t
UK - Technical production specialists Light Fantastic Production Services supported S2 Events with a comprehensive lighting, audio and support package for a spectacular Havana nights themed event.
The networking reception was a key date in the dynamic schedule at Focus/18, the six-day celebration of design excellence that welcomes enthusiasts from around the globe. Held at the Chelsea Design Centre, London, the Focus/18 brief was to assist in the delivery of a magical guest experience, inspired by the season’s new collections; playful, bold and confident.
Delivering a rich mix of crisp lighting effects, deep colour washes and clear audio, the on-site LFPS production crew, headed up by project manager Andrew Maxted, built on the Havana theme, filling the Design Centre’s three grand atriums with a vibrant mix of tropical colour and spicy salsa rhythms.
To match the stylish nature of the venue, LFPS specified fixtures from their extensive inventory of specialist white lighting and audio products to discreetly blend against the aesthetic of the designer backdrop, providing maximum effect with minimal visual impact.
Lighting the event, the team used a selection of Robe 600 LED Wash, Mega Pointe and DL4X LED automated heads, rigged above the first-floor walkways and at roof level. The audio installation featured a distributed d&b Audiotechnik system, the smart, white finish ensuring all equipment remained inconspicuous to the guests on the ground floor.
From highlighting the oversize exotic birds and butterflies suspended in the centr
USA - Central Florida’s Action Church is on the move, with three locations already established and another set to launch later this year, all of which rely on Allen & Heath dLive systems.
First opening its doors not much more than four years ago in Winter Springs, the fast-growing upstart christened its second location two years later in nearby Oviedo, spanned out further in 2017 to another in Sanford, and is set to lay out the welcome mat at a new location in Winter Park later this fall.
John Williams, the church’s music director, also steers the development of the audio systems in use at all locations. Working in conjunction with volunteers and the Bradenton, Florida-based Crown Design Group, Williams installed Allen & Heath’s dLive systems based upon their versatility, sonic quality, budget-friendly price point, and the unified approach they brought to the church’s diverse needs and environments.
“Our production demands are extensive and demanding,” Williams notes. “That’s probably why one of the things we value most is flexibility. With dLive, the options in our toolbox have grown without having to make additional investments.”
The dLive consoles bring a level of portability to the church helping to fuel its rapid growth. Among the four existing systems in use, three can be moved about freely. At the Winter Springs location, operations are spearheaded by an S7000 control surface equipped with a gigaACE card and a DM64 MixRack outfitted with a Dante card.
Currently the site of broadcast operations as well,
South Africa - Cape Town-based Audio Engineering took delivery of their new Absen LED Screens just in time for the Lamborghini Urus launch, followed by the launch of the new Porsche Studio situated at the Cape Town Waterfront.
“We didn’t even have a moment to unbox the panels at our offices,” says Marcel Bezuidenhout, owner of Audio Engineering. The Absen gear, comprising of 84 panels, four senders, two scalers and flying gear, went straight to the Lamborghini dealership in Century City, where DWR Distribution’s Bruce Riley and Bradley Bruchhausen were on site to help set it up for the first time. DWR are the distributors of Absen in South Africa.
“Once the Absen was up, everyone was over the moon,” adds Bezuidenhout. The positive feedback continued at Audio Engineering’s next event, the launch of Porsche’s new home at the V&A Waterfront, and a couple of other corporate productions.
“The training and set-up went very well,” Bruce Riley from DWR confirms. “It was easy thanks to Marcel’s extensive knowledge in all technical aspects.”
Germany - Audio rental specialists It’s A Bird, under the direction of Cornelius ‘Conny’ Vogel, are off to a flying start with their newly-purchased Nexo Geo M10 mid-size line array.
Now entering his 20th year as a Nexo rental user, Conny Vogel added the Geo M10 system to inventory, seeing it as an alternative to the Geo S12 array that he has been using since 2008. “The new M10 weighs half as much as the S12 system, and it has significantly easier rigging,” says Vogel. “We notice a longer throw, especially for vocals, and a significantly better performance in the vocal range. Because it has a much better rear rejection, there are fewer feedback problems on stage.”
A good example of Vogel’s observations was a sell-out concert by the internationally-successful German singer Ute Lemper. Performing at Raesfeld with the Russian Chamber Philharmonic St Petersburg and a jazz band, Lemper performed to a full house of 1000 people.
It’s A Bird supplied a full complement of Nexo cabinets, with six Geo M10 and two LS18 subs per side for the main PA, and six cabinets of the smaller Geo M6 line array for side-fill. All stage monitoring was delivered by 10x Nexo PS10-R2 wedges.
“The range of this small system was considerable,” reports Conny Vogel, “the results were uniform, with a very good musical sound image. Most importantly in the case of Ute Lemper, the vocal clarity was outstanding.”
It’s A Bird provided the same system for a stadium rock cover band, playing in Nienburg to an audience of 800 (nearfield) and 3500 in th
Russia - Moscow’s new Zaryadye Concert Hall opened in style in September with a gala performance by the Russian National Orchestra. The modernist structure houses a 1,560-seat main auditorium lit by a house rig of Claypaky fixtures.
Claypaky’s Russian distribution partner DOKA was commissioned to provide technical expertise for the project and specify a lighting solution. To facilitate the breadth of events held at the auditorium – from theatre and classical concerts to conferences - the company designed machinery that required specific lighting fixtures to match. Lighting equipment is mounted on special mechanisms allowing to lift projectors up above the ceiling and handle technical maintenance without dismantling them.
DOKA supplied 54x Claypaky A.LEDA B-EYE K20 LED, 12x Claypaky Scenius Spot, 12x Claypaky Scenius Profile and 30x Claypaky Show Batten 100 LED.
“The A.LEDA B-EYE K20 is ideal for the orchestra pit and auditoriums - their new six-colour system of colour synthesis allows us to get a white colour which does not differ from a classic halogen lamp, but at the same time enables us to change colour temperature and work with tones,” says DOKA’s lighting director, Vasily Litvin. “As the stage is often in use for acoustic concerts, minimum levels of technological noise was one of the main priorities when choosing the lighting equipment. Nothing should disturb visitors while they enjoy tailor-made acoustic characteristics of the auditorium.”
Damir Ismagilov, the lead lighting designer of Bolshoi Theatre, contributed to the
USA - When describing his lighting design for the second leg of superstar Romeo Santos’ Golden Tour, Bruce Rodgers of Tribe, Inc. says: “It’s all about scale and simplicity.” The scale is immediately apparent to anyone who catches a show on the 18-city tour that began in September.
Dominating the area over centre stage is a colossal overhead truss structure that resembles a UFO about to land. Intense brightness radiates from the hovering form, courtesy of 117 Chauvet Professional Maverick MK3 Wash fixtures, which were supplied by 4Wall Entertainment Lighting.
The ‘simplicity’ Rodgers refers to may not be as instantly obvious, but once the initial awe inspired by this circular overhead panorama passes, it too becomes easy to appreciate. For all its size and power, there is no waste in Rodger’s lighting design. No distractions. No dead-end flourishes. Just a beautifully balanced blend of circles and sticks, working in harmony with a slightly convex video wall.
Rodgers, who achieved international acclaim as a production designer on Super Bowl halftime shows and on tours for stars like Madonna, uses the fixtures and video wall in his rig to create a holistic scenic image that engages the audience while supporting Santos’ performance.
“When we developed this show with Romeo, we worked to have lighting, video imagery and FX play together through the course of the concert,” he says. “We have a very talented team to help us do this on the Golden Tour, starting with the great crew from 4Wall. Then there are people l
UK - Canon recently held the launch of its new camera the EOS R at Shoreditch Electric Light Station, London. The camera giants invited journalists along to take part in an experiential experience in which they were transported to a utopian land 400 years in the future. The experience was produced by award-winning theatre company Les Enfants Terribles, known for their work on Alice’s Adventures Underground. Having provided the lighting on a range of immersive projects, White Light was called upon to supply the equipment for this particular launch.
The lighting designer for the event was Charlie Morgan Jones, who comments: “Canon wanted to launch their new camera yet do so in a way that was interactive and provided the journalists in attendance with an unforgettable experience. Les Enfants came up with the concept that a Canon ambassador was lost in the future and it was down to the invited journalists to ‘find her’.
“The set design team created a variety of spaces, including the Lab, Missing Persons Room, Museum of Curiosity, Worker’s Space and the Gym; each of which contained clues and potential pointers as to where the ambassador might be. The finale is that they find her in a space named Utopia and she does a beautiful aerial act which they photograph using the new Canon camera, thus allowing them to try out this latest model and all of its settings.”
Charlie’s own brief was to create a lighting design that not only helped tell the story and add to the immersive experience, but was also allow the camera to take the best ph
Australia - Versatility, value for money and a dash of pizzazz are some of the factors influencing the choices made by Sydney-based LD Peter Rubie when he is creating his work.
Peter Rubie has spent the last 11 years devising a wide variety of lighting design work for different types of performances but specialises in productions that are a hybrid of classical and modern/pop/rock music.
His lighting ‘choreography’ requires an intimate and up-to-date knowledge of what’s available and how it can be used to achieve different effects. He often uses Robe products, distributed by specialist lighting and staging equipment suppliers, Jands.
Robe has released a number of LED products in the last year and having been a fan of Robe’s previous LED range, Peter was keen to get his hands on them. ‘I programmed a big private lightshow launch for Jands when they released the Spiider and Spikie into Australia earlier this year and knew instantly I wanted to use them on a show. Soon after, he received a very special project from Ministry of Sound Australia to create a lighting spectacular for a performance of Orchestrated at the Sydney Opera House.
Orchestrated was designed to re-imagine some of the world’s most loved dance-floor anthems with a live symphony orchestra and a group of Australia’s most talented singers.
“Tim and his team had strong ideas of what they wanted, but having worked with them before designing MOS Club, they also trusted me to create something to emphasise and accent the music,” Peter says.
Mexico - Xcaret México, a resort and amusement park, has upgraded its hotel entertainment venue, the Teatro del Rio, with an Allen & Heath dLive system.
Due to the layout and distance between the stage and FOH, any Cat 5 run was impractical. As such, the installation included two dLive DM48 MixRacks, one positioned under the stage and the second in a control room at FOH.
Supplied by Representaciones de Audio, the MixRacks are further equipped with Dante cards and connected over two underground fibre-optic links. dLive’s powerful scene management system enables rapid, complex changes on stage, while all signals are then processed and mixed locally with matrix outputs sent over Dante to the DM48 at FOH, where they are patched to a speaker processor.
Sound engineer, Diego Andrade comments, “dLive is a complete and powerful mixing tool for both studio and live sound. It’s user-friendly but at the same time can be configured to the smallest detail, to handle the most demanding shows. With the Dante option card, the system can grow and compliment itself. It’s definitely a high-end system that guarantees the complete satisfaction of users and listeners alike.”
Additionally, the control centre consists of three IP8 remote controllers and a touch-enabled computer running dLive Director, all connected through a PoE Ethernet switch. The strip layout on the IP8 controllers follows the scene automation, always presenting relevant faders to the operator.
The head of audio at Xcaret México, Eduardo Urbina, adds, “Excellent sound, prac
UK - CPL supplied full technical production, including video design, equipment and crew, to show producers Pandora Events for a large Glambassador motivational event.
The event featured numerous presentations and awards as well as a gala dinner for Tropic Skincare in Hall 12 at the NEC, Birmingham UK.
CPL’s project manager Mike Radford, working with Lee Gruszeckyj and Karl Johnstone, composed a contemporary stage and screen design, which utilised over 200 panels of the company’s new ROE CB5 indoor / outdoor LED screen product - so new that it had only been delivered to the warehouse the previous day.
Three onstage LED screens were flanked by two IMAG screens out to the sides giving an impressive widescreen look. The central screen was made up of two pieces - an arch with a central cut-out panel - which was manually removed for artist entrances and exits for the evening portion of the event when the 2500 audience were entertained by an array of dancers and performers.