Germany - The 2019 edition of Parookaville featured an impressive number of CLF fixtures. The festival attracted 210,000 attendees and took place at Airport Weeze, with CLF fixtures used in the Time Lab, Wacky Shack, Brainwash and in all the sales outlets throughout the festival area. Rent-All GmbH supplied over 700 fixtures.
LD Janik Hensen (Dekor Event) took care of the lighting design, including the Time Lab, based on a stage design by Stefan Dicks and a lighting concept by Robert Sommer. In addition, his company took care of the site layout, production and material planning. In the Time Lab, Aorun were used as the main fixtures, accompanied by the LEDbar PRO as a continuation of the LED surfaces.
CLF Conan fixtures were used as washlight, because of their zoom function. All fixtures had to be lightweight, since the load capacity of the roof was limited. On top of the round bunker structure, Orion hybrids functioned as sky beams.
Janik Hensen explains: “Thomas Koppers and I have set two stages exclusively on CLF fixtures. The many effect variations, the fast movements and the creative product approaches convinced us. But the reliability and outstanding rental availability were also important. All in all, the complete package was there. Especially worth mentioning is the LEDbar PRO is, it’s a multifunctional talent among the outdoor LED bars.”
The Wacky Shack area was also fully equipped with CLF fixtures. Additionally, a large number of Yara, Hera and Ares fixtures were used as ambient lighting. “All fixtures endured three weeks
USA - SRB Consulting & Design recently installed a Martin Audio system consisting of WPC line arrays, SXH218 and SX118 subs and CDD12s as part of an upgrade at the Speaking Rock Entertainment Centre in El Paso, Texas.
Describing the venue, SRB owner Scott Brown explains: “Speaking Rock is located on a native American reservation and they have live entertainment seven nights a week with outdoor concerts once a month in their parking lots and a large park nearby. It’s the ‘go to’ area for entertainment because people know there’s always something going on there.”
Concerts at Speaking Rock include a wide variety of artists such as Chubby Checker, P.O.D., RATT, Molotov, Buckcherry, Sammy Hagar and more. In terms of the performance venue, Scott explains, “The main room has a kind of large club atmosphere with two storeys and wraparound balconies, a main stage and the floor.”
The sound system comprises five Martin Audio WPC a side - flown alongside the stage with out-fills of four WPC on stage left - since the room is L-shaped. Eight SXH218 subs are ground-stacked on the floor directly under the edge of the stage.
The system is powered with 11 Martin Audio iK42 amps using one box resolution for optimum coverage. “It’s the audio quality that we needed because it’s a very difficult room with concrete floor, adobe walls and lots of reverberation, which the WPC’s cleaned up immediately,” continues Scott. The CDD12s mounted in the balcony are used for extra speech reinforcement in lower volume situations.
Germany - Lighting designer Thomas Gerdon has been working on Nature One for over 15 years and has designed the lighting for the festival’s main Open Air Floor every year since its introduction in 2011. The designer stays on the cusp of innovation and after incorporating IP65-rated Elation Proteus Hybrid luminaires in his notable 2018 pyramid truss and stage design, turned to more Proteus line fixtures for the 2019 festival.
“Last year, I discovered how easy and cool it was to have an IP65 fixture with the Proteus Hybrid,” the designer states. “This year, I was sure I wanted to use as many IP65 fixtures as possible. Ninety percent of this year’s fixtures were IP65 rated and all the moving lights were Elation Proteus series.” Populating Gerdon’s newly designed overhead audience and stage rig were Proteus Hybrid moving heads, new Proteus Rayzor 760 LED moving heads, and new 50,000-lumen Proteus Maximus LED moving heads.
Nature One celebrated its 25th anniversary in early August when tens of thousands of EDM fans converged on the former missile base of Pydna in central Germany. The Open Air Floor, which the festival promotes as the largest open-air club in the world, attracted over 30,000 guests at peak periods. Seeking to mirror that club setting where lights hang over the dancefloor, Gerdon created a large, ground-supported architectural truss structure that spanned the crowd. “If you go to a big club in a place like Ibiza,” he said, “you always have the lighting rig above the people. This year, we went back to basics a bit with a hug
Europe - Allen & Heath’s compact SQ digital mixer recently wrapped up a 22-date European tour with Brass Against, including working FOH and monitors for the band’s support slot with Lenny Kravitz at London’s O2 Arena.
The band called upon Production & Touring Ltd. (P&T) to support their shows on both sides of the Atlantic. “At P&T, we work with artists all over world, from first timers to larger seasoned acts, and our goal is to make it financially viable to tour without compromising on expertise or gear,” explains P&T’s director, Mike Taylor.
“Brass Against needed an affordable package that had to facilitate everything from a 500-capacity venue right up to the O2 Arena and festival stages. The final kicker was that the whole lot, including the backline, had to fit into a bus bay.”
In designing a compact, cost-effective system for Brass Against, P&T opted for two SQ-6 consoles, three DX168 remote I/O boxes, a DX Hub, an SLink card and a Waves card.
“All of the stage boxes are mounted in to a single 15U case with the IEMs and radio mics mounted in the rear. It is super compact and easy to set up. We have split the console over two layers, so when we are only using one console we can process the channels for Monitors differently to FOH, so if we change the EQ for instance it doesn’t change everywhere. When we require two consoles, we just load the show file and FOH takes control of their channels and the monitor console takes control of theirs - it’s wonderfully easy.”
Overall, Mike has be
USA - For glam rock band Warrant, the 30th anniversary of the release of their first album Dirty Rotten Filthy Stinking Rich meant pulling out all the stops and throwing a full-on party for themselves and their fans. Known for their hard-rocking performances, Warrant always puts on an intense live show, and a recent stop at the Psycho Silo Saloon for their Dirty Thirty Tour delivered the goods.
Located in the middle of rural Illinois and sporting a stage made out of old semi-trailers, this outdoor venue stands out from most performance sites. Wanting to create a lighting design as fierce as the band’s hard-driving, Jeff Hinton of 815 Productions DJ Service added intensity to the house lights with a punchy package comprised of 18 Chauvet DJ fixtures.
Hinton placed six Intimidator Hybrid 140SR fixtures on the back of the rig to light the band with a variety of dynamic split beam effects. The Hybrids were also used to cover the stage with smooth, rich washes as well as bold colour backlighting. To add an extra dimension to the show, he created a flexible array of textures and movement with the fixture’s dual gobo wheels
“The Hybrid 140SR does a lot of different things well, so we created a wide variety of looks even though we only had six of them,” says Hinton. “They offer a level of complexity, which is fitting for a band that occupies such an important place in rock history.”
Hinton also added eight Intimidator Beam LED 350 fixtures to his rig, mostly on the downstage truss.
Hinton also used the beams as blinders and
Finland - Established in 1872 in Helsinki, the Finnish National Theatre is the oldest Finnish-speaking professional theatre in the country. Its current venue was built in 1902 and the combination of Alcons Audio Q series and L series pro-ribbon loudspeakers means the 900-capacity main stage enjoys quality sound and coverage, without impacting on its historic decor.
The horseshoe-shaped auditorium has three balconies, providing a challenge to projecting seamless, high quality sound to every seat. This was solved when sound and lighting specialists Electro Waves installed an Alcons QR series pro-ribbon system several years ago. This comprised L-C-R arrays of QR36 modular line-source array columns with QM36 modular line-source LMF array extensions. QB363 modular low-frequency array columns were added to the centre cluster, all powered and controlled by Alcons Sentinel3 and Sentinel10 amplified loudspeaker controllers.
The system proved successful, but recently the theatre wanted to further extend the vocal coverage of its productions. To achieve this, two new centre clusters of seven LR7/120 wide dispersion, micro line array modules each were installed to complement the QB363s. The existing centre array QR36 loudspeakers were re-deployed to enhance the coverage of the front left and right of the second balconies. Both of the two LR7 arrays were powered by additional Sentinel3’s.
The main arrays are 6m tall, comprising 36 6,5" mid-bass and 12 pcs of 18" pro-ribbon drivers each.
"The system was performing very well, but more extended coverage wa
Lighting designer Yaron Abulafia was asked by director and choreographer Richard Wherlock to light his new ballet work, The Comedy of Error(z), staged at Basel Opera House (Theater Basel) in Switzerland, which “explores the themes of confusion and misunderstanding directly connected to the realities of digital lives that are also present in Shakespearean comedy”.
The story also contrasted and contextualised the lives of rich and poor in countries that are financially stronger or weaker, throwing out some complex and intense messages for debate and expressing ironies of geo-fiscal imbalance via the captivating mediums of movement, music and light.
Yaron had the venue’s house lighting rig at his disposal which included 40 x Astera AX1 Pixel Tubes.
Ahead of the production, he started researching the available kit and thinking about how to incorporate the AX1s into his design, which led to him also specify 24 x Astera AX3 ‘Lightdrops’ which were purchased by the Opera House specifically for production.
Yaron immediately liked the versatility of the fixtures and the fact they could be run completely wirelessly and fully reliably - via battery power and radio DMX control.
Additionally, the Astera magnetic undersides meant they could be simply and easily clamped directly to a huge metal cage, forming part of an industrial looking scenic piece that was incorporated into designer Bruce French’s set.
“Lighting the set in a specific and flexible way was paramount to the whole production as we needed to create so many different
Australia - The popular Spin Off festival returned in 2019 with an of over 20,000 at the massive 84m x 64m mainstage tent, presenting organisers, Five-Four Entertainment, with major technical requirements where the need for screens was paramount.
To meet this demand, technical provider, Adelaide’s Novatech Creative Event Technology, employed two onstage ROE Visual Carbon 5 IMAG screens, an upstage screen, a delay screen behind FOH and two delay screens outside of the tent, controlled from two Brompton Technology SX40 processors with three Brompton Tessara XD distribution units vastly simplifying cabling requirements.
“With such a big footprint, we needed to ensure that not only everyone inside the tent could see a screen but also outside,” explains Phil Pieridis, senior video project manager from Novatech. “Using many screens generates a lot of signal distribution but the latest Brompton SX40 processor, with its huge capacity, enabled us to run multiple screens off the same processor, whilst the brilliant Tessera XD units easily resolved any cabling issues.”
Staged on Adelaide showground, the sell-out one-day festival featured the headlining acts appearing at sister festival, Splendour in the Grass, including Catfish and the Bottlemen, Childish Gambino, and Ocean Alley.
“With so many top-flight artists, technical rider demands were high and changeover times pivotal but Brompton equipment drastically reduces set-up times and configuration is really quick,” continues Pieridis. “The ability to create custom scaling in the proces
Hungary - Ujbuda Gyermeknap (Children’s Day) is an annual event held at Bikás park, a tranquil sea of green in the bustling Ujbuda district of Budapest. In addition to other attractions, there is also an array of musical acts performing on stage, which this year included Hungarian folk-rock singer Miklós Fenyő.
Lighting the main stage, András Praksch of Mobil Audio and Lighting Kft had to create looks for a long list of unfamiliar bands. Even the popular Fenyő came without his LD, which required busking on the part of Praksch. On top of that, since the festival took place during daylight hours, options to create captivating looks were limited.
Praksch met this challenge and helping him accomplish this was a collection of Chauvet Professional Maverick, STRIKE and COLORdash fixtures.
“I have been doing this festival for many years with the event producer JAM Btl,” said Praksch, who handles all lighting and electrical issues for the entire Ujbuda Gyermeknap grounds. “This is great fun, but there are challenges lighting bands when you don’t know them very well, especially during daylight hours. For example, I love gobos but can’t use them when it is so light outside. Luckily the output of my fixtures helped me stand out in the daylight. They also gave me enough options to create different looks for all the acts on stage.”
Key to helping Praksch created the looks he wanted on the festival stage were the 12 Maverick MK2 Spot fixtures in his rig. He hung the 440W moving heads on three moveable truss structures, one of which held s
Israel - Shlomo Artzi is one of Israel’s most successful singers, and his most recent shows hit the road with an ongoing lighting design by Gadi Spivak who has worked for the artist for over 20 years.
Gadi and his lighting associate Shlomit Lola Nehama chose to use 24 x Robe Spiider LED wash beams for a key element of his lighting rig.
This stage design was originated for the show around 2 years ago and has been modified and evolved as Shlomo has continued playing constantly – he is always in demand and will sell out any venue.
The most important aspect of the Spiiders for Gadi is the colour mixing. “I wanted a really bright light source with smooth movement and refined CMY colour mixing and all these features I find in the Spiider,” he stated.
The 24 fixtures were all hung on a semi-circular truss just downstage of a large 6mm pitch video screen, which is usually around 16 metres wide and 5 metres tall and is also in a gentle arc shape.
The overall look of the show is slick and ‘televisual’, with the screen, video content and IMAG mix prominent and present throughout the set.
The Spiiders are used for washing the mid-stage area in front, where the band are positioned and for back lighting them and Shlomo.
The show and lighting designs are very flexible to suite a diversity of venues both indoor and outdoor, allowing them to scale between 1,000 and 10,000 capacities. The stage set up can go higher and wider to suit.
There were also two Robe MegaPointes on the front truss for key lighting Shlomo, who freque
UK - A.C. Entertainment Technologies (AC-ET) has provided Scottish Opera with a new surtitling system, utilising APIX2 by Prolights LED video panels.
Founded in 1962, Scottish Opera is Scotland’s national opera company and largest performing arts organisation. With a diverse annual season of productions embracing opera’s unique blend of music, singing and theatre, it is committed to making the art form available to the widest possible audience.
As well as performing its productions in mainstage and other venues across the country, Scottish Opera’s home is the Theatre Royal Glasgow, which last year celebrated its 150th year. Recently the Theatre Royal’s surtitling system was in need of an upgrade after 11 years of service.
Alex Reedijk, general director of Scottish Opera approached AC-ET to discuss alternatives. Chris Beardwell, technical sales executive in the company’s video division recommended the Prolights AlphaPIX2 screen, which is available as a custom surtitling package featuring various size displays and an independent software control system.
Reedijk comments: “After approaching AC-ET, we were very encouraged that they had already supplied the AlphaPIX2 surtitling system to two major UK opera companies. In addition, like us these other companies favoured the fact that the hardware was not linked to a dedicated software package, allowing for future hardware or software upgrades without the need to replace the whole system.”
Scottish Opera’s primary surtitling screen features seven side-by-side AlphaPIX2 LED panels
Malaysia - Singesen Technical Production and Chan Lee Sound & Light selected a combination of Powersoft’s X8 and X4L amplifier platforms for American singer-songwriter Jason Mraz, who stopped off in Kuala Lumpur for the third Asian date of his Good Vibes world tour.
The main hangs at the arena were made up of 12 JBL VT-4889-1 per side, with eight JBL VT4888 flown per side as side-fill and six JBL VT4888 in the centre. The 20 JBL VT 4880 subwoofers were ground stacked at the side of the stage, while a series of Nexo PS15 wedge monitors were placed along the downstage edge. A total of six JBL VTX A8 were used as front-fill.
The main system was driven by 11 of Powersoft’s X8 amplifier platforms, while a pair of the company’s latest touring product, the X4L (look out for a product review in the September issue of LSi, out next week) - were also used to power eight of the VT4880’s, with each channel driving just two of the subs. Jackie Ng, owner of Singesen, explains: “The gig was used as something of a field test for the X4L amps, before loading it with VT4880A long excursion subwoofers in the future.”
The Powersoft gear used to drive the Good Vibes in Kuala Lumpur were made available thanks to Singesen Technical Production’s recent investment in the Italian manufacturer’s technology.
Ng says: “We have used Outline systems for some time, so we were familiar with the reliability and high-performance levels of Powersoft amplifiers. When the opportunity to invest in Powersoft amplifiers presented itself, it really
Europe - German heavy rock superstars Rammstein have embarked on their European stadium tour, with lighting designers Roland Greil and Patrick Woodroffe of Woodroffe Bassett Design utilising over 100 VL6000 Beam fixtures from Vari-Lite.
Woodroffe and Greil joined a creative team that also included renowned production designer Florian Wieder. In creating the show, they drew on the visual impact and large-scale performance features of the Vari-Lite VL6000 Beam to achieve extra layers of visual impact.
“After a brief from the band,” says Greil, “we jumped right in and explored the Rammstein world before starting to brainstorm and create the first designs.”
Discussing the main requirements for the Rammstein lighting rig, Greil explains: “We were looking for bright but versatile fixtures, that would fit into the overall design as well as into the specific Rammstein ‘world’.”
Woodroffe and Greil specified 122 VL6000 Beams in total, supplied by Neg Earth Lights. “We have 104 positioned as part of a wall of lights upstage, four are integrated into the big pods on stage, while the remaining 14 live underneath the stage, shooting up through the fully grilled deck,” says Greil.
He adds: “We use them solely as beam effects, sometimes with a bit of frost. It has a strong look; when we reveal the upstage wall of VL6000s for the first time, after a few songs, it completely changes the scenery and delivers that energy that is needed for Rammstein.”
New Zealand - When TV comedy show 7 Days Live, produced by MediaWorks NZ, visited the Queenstown Winter Festival, the festival’s production supplier TomTom Productions was on hand with its Hippotizer Karst media servers from Green Hippo. The Hippotizer enabled them to deal with the additional visual requirements of the television recording.
“The brief was fairly simple,” says Hamish Edh, director of TomTom and designer of the festival’s live stage video elements. “Background eye candy that looks great on camera, as well as for the live audience, and having the 7 Days logo on the screens for the wide shots.
“The design concept was based around mis-matching elements with different LED pixel pitches,” explains Edh. “To create contrast between the different pixel pitches, I use Martin Sceptron 20 battens in an array to complement the 6mm LED panels and to add horizontal lines to the overall look.”
Edh used TomTom’s Hippotizer Karst, running two outputs, one to the 6mm LED panels and the other to the Sceptron via the Hippotizer’s Martin P3 System Controller integration. The textures played out on the low-resolution Sceptron were from stock content, while the 6mm panels showed custom content including Queenstown’s iconic mountains, created by Tim Goddard of TomTom, as well as the 7 Days Live logo where required. The operator was TomTom’s Matt Cooper.
Edh’s design included four horizontal LED ‘banners’ rigged at staggered heights, from the lower upstage to the highest above mid-stage, each with the ‘mis-matche
Australia - After its closure in 2017, Darlinghurst’s Midnight Shift club has been resurrected by Universal Hotels using Prolights fixtures.
Universal Hotels, a Sydney-based hospitality group owned and operated by the Kospetas family, picked up the 1000sq.m building last June for a reported $12m and have relaunched it as Universal, a rebranded music venue and LGBTIQA+ safe place.
“Universal is an evolution of the Midnight Shift, rather than a revolution,” explains owner Jim Kospetas, who plans to respect the special role that the venue has played for the LGBTIQA+ community and continue its long-held legacy of inclusivity.
Kospetas contacted Show Technology with a brief requiring “masses of beams and good sight lines throughout the venue”.
Tim Macfie of TDM Productions was chosen to design the lighting system. “They wanted someone who could meet the needs of all markets,” he explains. “As it’s a really tough time in Sydney for nightlife, we needed to look at ways to multifunction the space. Consequently, it was crucial to bring the lighting up to a world class level from a production point of view.”
Macfie was keen to create lines of symmetry in the room whilst keeping the three circular trusses that the Midnight Shift was known for. Hence the initial refurb saw the entire roof stripped out and a new mothergrid installed. The truss circles were relocated within the venue and a new stage truss established.
At either end of the room are four Prolights Starkbar1000 powerful and zoomable LED moving battens which can
USA - Taylor Swift celebrated the release of her new album, Lover by surprising fans with a bubble-filled sky over Central Park. While Swift’s productions usually feature plenty of confetti, Swift opted for the eco-friendly Bubbleworks effect for the performance of Shake It Off live on ABC’s Good Morning America.
“What a privilege to work with Taylor and a dream come true to create this moment in her show,” says Bubbleworks founder Adam Williams. “We wanted to do something big for her fans and create a theatrical bubble experience beyond her wildest dreams.”
The choreographed bubble effect filled the stage and floated over the thousands of fans who lined up 24 hours early for the show.
USA - Tony Award-winning lighting designer Ken Posner selected Ayrton Mistral and Diablo-S fixtures for the Broadway musical, Beetlejuice, and the Off-Broadway one-act play, Long Lost. Beetlejuice opened in April at the Winter Garden Theatre and has achieved hit status; Long Lost, by Pulitzer Prize-winner Donald Marguelies, made its New York premiere at The Manhattan Theatre Club’s Stage I with a six-week run.
Posner has many notable credits on Broadway, Off-Broadway and in American regional theatre. He was the lighting designer for Wicked and Hairspray.
Posner’s use of Ayrton’s Mistral on Beetlejuice marked his first deployment of Ayrton fixtures. His associate lighting designer, Anthony Pearson, and moving light programmer, David Arch, collaborated in the decision to use the 300W spot luminaires after ACT Lighting, Ayrton’s exclusive North American distributor, demo’d the fixtures for them.
“For its compact size Mistral is a very diverse and bright fixture,” says Posner. “I was especially enthusiastic about its size since the fixtures are built into the scenery, in the interior of the house where the majority of Beetlejuice is performed.”
Eight to 10 Mistral fixtures light the entire large scenic unit while additional Mistrals fill in FOH in the light plot. “Mistral solved the power limitations we had,” Posner notes. “Using an arc source was not an option due to electrical requirements. I also liked Mistral’s great colour mixing and customized templates.”
South Korea - To deliver arena-filling sound as efficiently as possible, TechData Co recently installed an end-to-end JBL Professional networked audio system at the Changwon NC Park baseball stadium.
Changwon NC Park is a 22,000-seat baseball stadium which opened in 2019, replacing Masan Stadium as the home of the NC Dinos professional baseball team. The stadium features four tiers of seating that curve around home plate, leaving the outfield side open to the air.
To deliver premium sound across every seat while minimizing sound leakage to neighbouring residential and commercial areas, Changwon NC Park required an ultra-focused, efficient and highly scalable sound system. To achieve the client’s goals, TechData designed and installed an extensive Harman networked audio system featuring JBL loudspeakers, Crown amplifiers, Soundcraft mixing consoles and BSS signal processors.
“Since the stadium hosts highly competitive baseball matches, the client needed a sound system that could not only ensure even distribution of sound throughout the stadium, but also contain the sound within the stadium - a critical requirement due to the proximity of residential areas,” says Seung Duk Seo, technical manager at TechData Co. “The stadium also needed something slim and inconspicuous to install, so JBL Intellivox series speakers fit the bill. As a result, perfectly horizontal coverage control provides sound to where it is needed, but also reduces leakage of noise outside of the stadium.”
To ensure even sound coverage throughout the seating areas with
USA - Nashville-based designer Chris Lisle was already working on the festival’s main and second stages when he was approached by Lollapalooza PM Brandon Sossamon about creating the Perry’s Stage rig.
As is typical of EDM stages, Perry’s was dominated by video. So, Lisle and his assistant LD Erik Parker began their design by layering video panels supplied by Go Vision. Then came the critical task of filling the gaps in the Z truss configuration of those panels with lighting from Bandit Lites. A key element that held everything together in this intricate, tightly woven multi-level rig were 78 Chauvet Professional COLORado Solo Battens.
“Perry’s Stage was an impressive structure, but considering all we had going on with this design, the space was relatively tight,” explains Lisle. “Much of our concept for the rig was based on Z-shaped trussing from Reed Rigging. Given the dimensions of the stage, we relied heavily on layering to create big looks without taking up a lot of space. Everything and everyone worked together to create powerful visuals.”
Lisle and his team stacked the COLORado Solo Battens in the Perry’s rig vertically to fill the space between the video panels. From these positions, the high output RGBAW linear fixtures lent a visual continuity to the panoramic video display that ran the width of the stage. This ensured that fans got to experience the stage’s full production value regardless of where they were in the audience.
“It was all about viewing angles this year,” says Lisle. “We wanted the people off
Argentina - The Alliance Group, which brings together four of the most important nightclubs in San Carlos de Bariloche, has invested in Claypaky Axcor 300 moving heads for its Cerebro nightclub. Macaio Argentina is the country’s distributor of Claypaky lighting products.
The installation, carried out by the staff of Roberto Maqui, features an array of Axcor Spot, Wash and Beam fixtures.
“We chose Claypaky not only for its performance and quality but also because we have known the brand for years,” says Carlos Zeiss, CEO of The Alliance Group. “Despite intensive use they usually require very little maintenance.” These attributes, combined with the fixtures’ low power consumption, contributed to the purchase of the fixtures.
Roberto Maqui also performed the programming and commissioning of the Axcor fixtures.
Czech Republic - Lighting designer Jiri Roucek is enjoying a busy summer as the LD for leading Czech pop-rock band Krystof and has also created the production design for the main stage of the 2019 Ceske Hrady Festival tour, a two-day event with an identical line-up that visits eight castle and cultural locations around the Czech Republic.
Krystof is headlining this year’s Ceske Hrady tour as well as playing their own shows concurrently. The tour presents the best of Czech ‘multi-genre’ rock - from psy-core favourites Dymytry to crazy punk anarchy with Visaci Zamek - to mixed, family-friendly, sold-out crowds at every stop.
The format is two stages set up side-by-side and ‘flip-flopped’ both exclusively using Robe moving lights supplied by ZL Production which also supplies audio, video and staging. ZL has been servicing this event since 2013.
This year, due to Krystof being the headliner, one of the stages was larger to accommodate their impressive and highly visual show.
Jiri is also working regularly for ZL Production as an LD and their de facto head of lighting. The Plzen-based ZL has also supplied Kristof’s production for many years so there are lots of crossovers.
At the core of the main stage lighting were 20 x Robe BMFL Spots, 37 Spiiders (16 on the house rig and 20 for Krystof’s floor package, rigged on vertical trussing towers) and 12 ColorWash 700E ATs on the front truss for key lighting, plus quantities of strobes and blinders.
They ran two RoboSpot systems, both located FOH and running with BMFL Blades.
China - A High End Systems Hoglet 4 is providing big control for a new outdoor multimedia installation in China.
Two times each night, a lake in the park in Liaocheng, Shandong Province comes alive with lighting, lasers, mist, flames and fountains. The free half-hour interaction enthrals up to 10,000 spectators with the colourful, watery spectacle.
LD Theo Cox - a High End Systems Hog 4 lighting console user - chose the smaller, more compact member of the Hog family for this project. “I elected to programme with a Hoglet 4, as this was the right piece of kit to leave in permanent situ after the shows were up and running,” he explains. “As well as the nightly timecode shows, there was a requirement to run a few simple cues manually, and a physical console was desired but it had to be streamlined. So with only two kinds of fixtures to program, and no need for lots of playback control, the Hoglet with a touchscreen was the way forward.”
AAV China administered the install of a 150m (492ft) long fountain system, and brought in Cox to co-create the two shows with Tara Winona designing the lasers and Rupert Morse on fountains.
In a control room overlooking the lake, the Hoglet controls all the moving lights - which are mounted in projection cabins built on stilts in the lake - and 30 searchlights on the far side. The lights receive data distribution via Art-Net run on fiber under the lake.
A Wings Platinum system controls the overall show. It plays the audio and video elements, triggers the fountain control system and sends timecod
USA - Utah Festival Opera & Musical Theatre is a popular five-week summer festival in Logan, Utah, that presents four fully staged works in repertory at the Ellen Eccles Theatre. Lighting designer Chris Wood, who just wrapped up his seventh season working on the festival as part of a top-notch cast and crew, had the opportunity to use Elation Artiste Picasso LED profile moving heads on this year’s productions - Newsies, West Side Story, Mary Poppins, and The Marriage of Figaro.
4 Wall in Las Vegas recommended the Picasso to Wood and although the fixture entered the lighting specification somewhat late, which didn’t give the designer much time to familiarize himself with it, he says he got better acquainted with the light through fixture documentation. “I appreciate that Elation puts out a lot of photometric data,” Wood says, “which gave me really good information about what the fixture could do and what the light would look like without actually seeing it in person. That was very helpful in planning.”
This was the first year they went completely with LED moving lights with the Artiste Picassos replacing some noisier arc source fixtures. “When you’ve got 30 moving lights in a theatre and it’s basically an opera company, trying to keep arc sources cool is a substantial problem,” says the designer. “Once manufacturers started coming out with fixtures with cold white LED engines in moving lights, like the Picasso, we knew we wanted to start shifting in that direction and as a consequence, the noise level
Germany - For Rammstein’s latest stadium tour, lighting designers Patrick Woodroffe and Roland Greil specified four grandMA2 full-size consoles, one grandMA2 light, 15 x MA NPU (Network Processing Unit) and seven MA 8Port Nodes.
Roland Greil explains: “Together with our programmer Marc Brunkhardt, we made the decision to specify a proven workhorse in the form of a grandMA2 system. The reasons are its reliability, performance and all our positive previous experiences with this console.
“Our concept from the beginning was to create a range of unique scenes,” continues Greil. “Our approach was quite theatrical. Obviously, the whole design needed to work hand-in-hand with the overall production design and be different to the more regular concert designs out there. Besides the very industrial look, we also wanted to create a modern aesthetic for part of the show. All that said, whatever we did needed to fit into the very specific world of Rammstein.
“We didn’t want the design to be too generic. It had to be potent and memorable in every way. Therefore, we designed various lighting elements to be integrated into Florian Wieder’s set design, which could be used on their own to create incredible scenes, or combined with other elements for the later parts of the show, making bigger and even higher impact looks. The overall lighting design follows a strict dramaturgy and story line running through the whole show, and gets bigger and more energetic towards the end.”
The show design was realised by Woodroffe Bassett Design. Florian Wied