Germany - Markus Heinzel of Liquidstudio is the proud owner of the first Audient ASP8024 Heritage desk to be installed in Germany. Based in Freiburg, he has recently upgraded his professional recording and music production studio, wanting to “rely on my technology, so I can get on with making music”.
It was last year that his finances finally allowed for the improvements to his space, for which the biggest investment was the Audient. It took him the best part of a year to find the right desk which also suited his budget. “The combination of a well processed and proven, big analogue desk with DAW integration is perfect for me,” says Markus. “I use the DLC module mostly to make automations, it's great to play with that.
“After working with a digital console for 10 years, I wanted to come back to analogue. I wanted to record using the excellent analogue EQs and shape the incoming signals directly,” he continues. “When I mix, I create stems and sum through the desk which gives me the option to fine tune things with the Audient channel EQs. I then love to use the Retro Iron and the Low Bump/High Lift EQs on the mix bus when printing a mix as they lift everything up a bit, and add power and clarity to the mix. Another great feature is the mix bus compressor which adds a nice glue to the final mix.”
In the evenings, Liquidstudio doubles up as a non-commercial live club: The Slow Club. Markus has designed the whole space cleverly to flip between its two distinct roles, whilst managing to utilise every inch of space. When he’s not running
UK- Underneath the Victorian railway arches in London’s Shoreditch district lies Cargo, one of the capital’s edgiest late-night bar and club venues. While the venue’s genuine Banksy graffiti art-filled courtyard is a magnet for art aficionados and tourists alike, the club itself has been busy building up a formidable reputation of its own thanks to an eclectic music programme.
To install an appropriately multifaceted lighting rig, Cargo recently approached London-based installation specialists, Halo lighting, which specified a number of Chauvet Professional and Chauvet DJ fixtures.
“Cargo approached us wanting a lighting rig capable of supporting a wide variety of dub, house, techno and electro events,” commented Yann Guenancia, director of Halo Lighting. “The combination of Chauvet Professional Rogue R1 Wash and Legend 230SR beams, in addition to Chauvet DJ COLORband Pix and Par Quad 12s provided excellent versatility at an excellent price point.”
Six Rogue R1 Wash and four Legend 230SR Beams were flown from overhead truss to provide the central core of the install. While the R1 Wash’s saturated colours, powerful light output and gobos were specified for their atmosphere inducing qualities; the Legend 230SR fixtures provided the ultimate counterpoint with punchy beams to cut through the dance floor.
“The combination of the Rogue R1 Wash fixtures and Legend Beams are essential for creating the look and feel of an exciting and progressive venue,” commented Guenancia. “Both fixtures provide the energy and drive necessary fo
Finland - Finish singing sensation Saara Aalto – aka the Snow Fairy – played a sold-out homecoming gig at Helsinki’s Hartwall arena and Green Hippo technology ensured a great view for all. Saara, who shot to fame in the UK through her runner’s up spot in 2016’s X Factor, is a firm favourite in Finland, having appeared in Finland’s Got Talent 2007 and The Voice of Finland in 2012.
Bright Finland, the Finland and Scandinavia-based experience provider, was at the helm for Saara’s 360° screen show employing a Green Hippo Hippotizer Boreal to control six iMAG screens. The Hippotizer Boreal was running Notch – the all-in-one, real-time graphics workhorse – enabling the Bright Finland team to create, simulate, composite, edit, and play, there and then, in the moment. The set-up also used Green Hippo’s compact and powerful 1U Media Server, the Amba.
Hippotizer’s seamless operation with Notch was key here. Four cameras with operators, plus two robocams grabbed the raw material, and the Bright Finland team edited on-going blocks via the network in the studio, resulting in a smooth workflow. Not to mention stunning visuals, for all to see.
The Helsinki crowd was clearly impressed, as was the Bright Finland team. Mikko Linnavouri of Bright Finland said: “Notch is a great extension for Hippotizer: we can create custom effects, which give us new possibilities for making graphics for our shows. The implementation is great.”
USA - Bon Jovi rocked the house with the band’s This House Is Not For Sale Tour. The tour’s complex staging featured a grandMA2 full-size console provided by PRG and was in support of Bon Jovi’s eponymous thirteenth studio album released last fall.
It was the first to feature Hugh McDonald and Phil X as full-time band members. The tour picked up the album’s theme with a set featuring a stylized house under construction.
“The tour represented the next chapter of Bon Jovi,” says Spike Brant, the show’s creative producer and designer and CEO of Nimblist. “It was a dynamic show – a nod to old fashioned rock ’n roll with a fine art, metaphorical abstractness. Nothing about the design was fake, and with no fascia, the machines became the tools to tell the story.”
“Not many shows use this much motion to create a sense of structure,” notes Joe Bay, lighting director and programmer. “The show kicks off by building a house from truss and towers – very powerful and expressive – and throughout the show, we construct various abstract versions of the house. With this amount of automation driven from a console, we needed to use grandMA2. And with the incredible power of Stage Markers, it expanded our creative possibilities.”
“Bon Jovi has been using MA for almost 10 years now,” says Brant. “The last tour really tested grandMA2’s ability to talk to the TAIT Navigator system for motion control. On this tour grandMA2 acted as the show controller, working with Navigator and video playback, not just as the lighting desk.
USA - For more than 25 years, the Red Hot Chili Peppers have been closely linked with Dave Rat who has manned the live concert mix for the Grammy Award-winning quartet since 1991. During that period, Rat has successfully grown his own tour sound company (Rat Sound) and been awarded two patents for innovative live sound products. As of February, however, the celebrated engineer has now passed the reins of mixing the band to Sean “Sully” Sullivan, another industry veteran having most recently manned front of house for Rihanna, Atoms For Peace and Beck.
Camarillo-based Rat Sound is continuing to provide the FOH control and monitor package for the band’s current Gateway World Tour, as well as the PA system for all of the band’s US dates.
For the current trek, Sullivan is mixing an all-L-Acoustics system that he designed along with systems engineers Jim Locker and PA tech Radek Lesa. The system consists of two main hangs of 16 K1 over four K2 per side each flanked by eight K1-SB. An additional 16 K2 per side are flown as side-hangs, with 15 Kara per side delivering coverage to the 270-degree wraparound seating areas.
The flown K1-SBs are complemented by 18 new KS28 subs arrayed in six ground-based blocks of three, each deployed in cardioid mode, while six Kara situated across the tops of the subs serve as front-fills. Each flown “Rat cage” per side contains nine LA-RAK incorporating 24 LA8 amplified controllers, while on the ground one LA-RAK and one LA-RAK II per side house three LA8 and three of the new LA12X amplified controllers, respecti
Europe - Popular Belgian / Dutch girlband K3 are on the road again for an extensive live schedule through 2017 reaching out to their young and enthusiastic fanbase with a completely new lighting and video design originated by Luc Peumans of Genk-based creative practice, Painting with Light.
This is the first full tour with the ‘new’ K3, since a TV competition staged last year found three new faces to take over from the previous band members, two of whom had been part of the foundation of the K3 phenomenon in 1998. This was followed by a transition tour featuring all six K3 girls performing both together and in their two separate line-ups.
Painting with Light has worked with K3 – known for their colourful, high-octane power-pop stage shows – for the last 15 years. The band is managed by Studio 100 and the staging concept for this tour was developed by Stefaan Haudenhuyse, with Painting with Light being asked to create the touring production design.
This involved translating Stefaan’s initial mood boards into an energised and tourable technical production scenario, achieved in conjunction with equipment vendors PRG Belgium who also co-ordinated the show’s automation elements.
Setting the show in ‘other worlds’ gave the whole creative team plenty of latitude to make it fun and cool for K3’s young audience.
For the show flow, it was essential that lighting and video were integrated, and being involved in both mediums from the start enabled Painting with Light to control the process with great effect.
Painting with L
Ukraine - Internationally renowned lighting designer and director of photography Jerry Appelt specified the new Claypaky Scenius Unico as the main stage workhorse fixture for his richly composed lighting design for this year’s Eurovision Song Contest, hosted at the International Exhibition Centre, Kyiv, Ukraine.
This year, 42 countries participated in the global TV phenomenon, each supported by a striking stage and light show embracing video, special effects and a procession of scenic props and costumes, all of which combined to make the lighting of this world famous event an ever more challenging proposition.
Taking up that challenge for the third time, Appelt’s lighting solution was born from a creative collaboration with scenic designer Florian Wieder. This was centred around a fresh take on the Proscenium arch, which curved majestically from upstage, and was further complemented by a video floor and an arena-wide LED video backdrop.
Appelt harmonised this with an entirely kinetic rig, based around a huge, three-dimensional structure affectionately known as the ‘Beehive’. Saturated with lighting and media technology, the Beehive hung above centre stage, behind Wieder’s arching scenic projection surface and in front of the video backdrop to offer a versatile central focus to the stage lighting. This in turn was encircled by layers of curved, automated truss elements, all carrying Scenius Unico, equipped with Osram Lok-it! HTI 1400/PS lamps
“My primary goal was to design a lighting architecture that could be as multifunctional as
UK - A top of the range light and sound system is now delivering all the right notes at The Borderline in Soho, a 300 capacity intimate basement live music venue transformed by new owners DHP Family.
The venue has been remodelled to create a flowing space that provides the best possible experience for both performer and audience. As well as creating improved sight lines, more than £100,000 has been invested in a high spec audio and light system.
With excellent audio established as a hallmark for all DHP Family venues, top of the list was the installation of an L-Acoustics PA system to deliver a signature hi-fi quality sound throughout the venue.
DHP Family technical manager Dave McVea said: “The audio system we inherited was an eclectic mix of gear that had clearly been amassed over a period of time. While it did the job, there was no real design to the system. We’re proud that our venues have a reputation for excellent audio so clearly we needed to change that.”
SSE Audio - a long-standing partner - was tasked with supplying and installing the sound system having a proven track record for delivering top quality audio systems in DHP Family’s Rock City and Rescue Rooms in Nottingham, Oslo in Hackney, Thekla in Bristol and most recently The Garage in Islington.
Dave added: “I wanted an L’Acoustics system with plenty of headroom, so the system should not be stressed and easily deliver a quality sound for our acts and events, in keeping with our previous audio upgrades. It also brings the venue’s technical specification ri
UK - Lighting designer Paul Pyant returned to London’s Royal Academy of Dramatic Art (RADA) to light a production of the Steven Sondheim classic, A Little Night Music directed by Edward Kemp and staged at RADA’s Jerwood Vanbrugh Theatre in central London.
Robe enjoys a close ongoing working relationship with RADA, making their latest technologies available for students to use across the three main venues. Paul’s design for this production utilised Robe’s DL7S LED profiles and the new Spiider LED wash beam moving lights, together with other moving and conventional fixtures.
Paul’s acclaimed career started at RADA – he is a 1973 alumnus of the Academy’s technical training course – and features extensive work across the genres of theatre, opera, ballet and dance. It’s earned him recognition for lighting a diversity of shows from large-scale West End and Broadway extravaganzas to incisive performances at venues like the National Theatre, Donmar Warehouse and the ENO, to the bleeding
Paul collaborated with a student team on this show, all of whom benefitted from his fund of experience and knowledge. The Academy’s head of production lighting Matt Leventhall oversaw the process which was one of the most technically ambitious musicals RADA has produced to date.
Designer Jane Heather and Edward Kemp wanted the narrative to feature both projection and lighting in its visual treatment, and the need for the two media to coexist and work fluidly together was a key starting point for Paul’s design.
Projection content was
UK - April saw the premiere of the next instalment of The Guardians of the Galaxy, held at the Eventim Apollo at Hammersmith. The global success of the first film from the Marvel franchise guaranteed the sequel and film premieres of this magnitude require more than just a red carpet to announce their arrival.
Impact Production Services (IPS) are well known exponents at delivering the goods at this sort of event. In addition to lighting the press areas and a media wall, IPS supplied the lighting inside the theatre where the main event took place. This was a mainly Clay Paky affair, designed by James Barnfather from the end client, Limited Edition Event Design and featuring Sharpys, Sharpy Washes and the newly upgraded Mythos2 fixtures.
Programmer and operator for the show was Luke Edwards who explains the choices, “Sharpy Washes have always been a favourite of mine so I was keen to try out the upgraded Mythos 2 fixtures. The new light source is great and the dimming at the low end is much improved. It’s a good reflection of the ethos of a company when it’s happy to acknowledge issues with a light and produce a workable solution for their customers. For close camera work I would still use Sharpys for their – well, sharpness - but as a hybrid, it is difficult to beat.
‘As for the new lamp and the reliability factor,” continues Edwards, “That’s been a massive improvement. Crew chief Anna Mac and dimmer tech, Dan Everett were more than happy we didn’t have to swap a single fixture which pretty much says it all. The lighting com
USA - There are no straight lines in Time, the new Orange County club designed by Davis Ink, Ltd. That’s one reason why the dance floor is visible from anywhere in the venue. The lighting design by Steve Lieberman’s SJ Lighting features a “digital chandelier” made of Chauvet DJ MotionOrb fixtures along with some power packed spot and wash lighting from Chauvet Professional Rogues.
“The space inside this venue is almost amoeba-like,” said Lieberman. “It’s a single flowing and very immersive unit. Davis Ink completely ripped the former retail store apart down to the bone to create the new structure. We identified focal points throughout the space and used those locations to create our dimensioning and distribution of fixtures. Since the space is so different we spent a lot of time evaluating how each space would transition into the next.”
Among the focal points Lieberman worked with is the towering 35’ ceiling over the dance floor. It rises more than 15’ over the rest of the room. “Having a high ceiling gave us the opportunity to do something very special,” he said. “We utilized all the planes of space that this height created. Since the walls are so tall, we took advantage of that and had LED strips and other fixtures follow the walls from the lower ceiling to the higher ceiling.”
Hanging from the middle of the ceiling is (quite literally) the centrepiece of Lieberman’s lighting design, a massive digital chandelier made of over 100 Chauvet DJ MotionOrbs. “The chandelier has a classic look, with a digital backbone; so
UK - Brighton Dome, built in 1803 for the Prince Regent, features an 1800 capacity concert hall that stages a varied programme of top class international entertainment, including contemporary and classical music, theatre, dance, visual arts and comedy.
In recent years, the Dome's technical team had earmarked a new house lighting scheme as a priority. Its existing dimmers were obsolete and channels were failing, energy consumption was high and maintenance very difficult. Integrator Stage Electrics was awarded the works to supply, install and commission an entire new house lighting and following a site visit, made an immediate suggestion that a GDS solution would be best.
Integrator Stage Electrics were to design an energy efficient house light system, with an increase in lux level, that retained the aesthetic of the auditorium without compromise. Maintaining a warm tungsten colour temperature was vital as was the capacity to take control of different areas of the auditorium via the lighting desk and Paradigm system. A low maintenance solution was essential due to challenges with high level access around weight restrictions on the auditorium floor.
The timeframe for the installation was tight, strictly limited to four weeks and co-ordinated around other routine maintenance works. Ensuring the least possible disruption to the venue's busy programme of events would require meticulous planning and co-ordination ahead of the shutdown.
Having successfully installed GDS ArcSystem schemes at a number of large and prestigious venues such as Glyndebour
World - Seven hundred and ninety-five (795) Robe Spikies are on the road with Bruno Mars 24K Magic world tour – setting a record for the largest number to date of a single type of Robe fixture on one touring show!
The Spikies are the main lighting feature of an action-packed show and are used constantly for hi-impact looks, an array of fluid effects, mesmeric chases, animated chunks of colour and magically twinkling and sparkling ‘soft’ surfaces which can totally transform the appearance of the performance space in this exciting hi-energy show.
The dynamic, colourful and highly visual production design was originated by Leroy Bennett of Seven Design Works, who collaborated closely with a top creative team including lighting designer Cory FitzGerald and lighting director on-the-road Whitney Hoversten.
24K Magic is also currently one of the most talked about live shows of the year by the multiple Grammy award winning artist, following the release of his successful third studio album of the same name at the end of 2016.
The worldwide lighting contractor is VER who made the massive investment in Spikies which were delivered by Robe North America.
It is a big and beautifully balanced visual collage of lighting and video – with live (IMAG) video director Steve Fatone cutting the camera mix, combined with eye-catching playback content produced by Empirical Studios.
Bruno Mars himself was integrally involved with the evolution of the stage presentation, and he and his incredibly talented band also provide the final ingredient in
UK - Since its inception, Pinewood MBS Lighting has remained committed to investment in LED and low energy lighting. By sourcing products from leading manufacturers and creating innovative illumination solutions via MBSi’s in-house product development team, PMBS has steadily grown to become one of the world’s largest energy efficient entertainment lighting resources.
Supported and governed by the BAFTA albert Consortium, albert is the UK’s leading environmental sustainability initiative for the visual-arts. The project aims to educate and provide industry colleagues with the necessary expertise and opportunities to reduce the environmental impact of the production process and to create chances for audiences to effectively engage with the climate agenda.
Having recently delivered low energy and LED solutions to crews on major productions, including The Nutcracker and The Four Realms with DoP Linus Sandgren FSF and gaffer David Sinfield, The Mummy with Ben Seresin ASC, BSC and gaffers Pat Sweeney/Jeff Murrell and Mary Poppins Returns with DoP Dion Beebe ASC, ACS and gaffer David Smith, PMBS have proven themselves as a world leading supplier of energy efficient lighting equipment and systems that deliver efficiencies without ever compromising the art of the cinematographer. The ability to support production and offer viable, energy efficient options makes PMBS a perfect fit for the albert initiative.
Talking about the albert certification, PMBS managing director, Darren Smith says: “We’re delighted to be the first
Australia - The Western Australian Academy of Performing Arts is on-par with NIDA in the east as the wellspring of the next generation of Australian talent across the entire spectrum of the live arts. With its original technical fit-out dating to the early 1980s, the entire lighting rig was due for an upgrade. Lighting coordinator Jon Davey had presided over a project that has seen the auditorium go 100% LED, with 24 Elation Sixpar 300s making up the majority of the stock.
With a mass of LED pars on the market, what was it about the Elation Sixpar 300s that stood out from the other fixtures Jon auditioned? “We developed a specification based on what was important to us – noiseless, flicker-free operation, and colour rendering giving us a high level of visual acuity. Went through a shoot-out process that covered a range of products, and the Elation units were the right choice. Not only did they meet the spec, they exceeded it.”
The Sixpar 300’s 18 12W 6-in-1 RGBAW+UV LEDs were the feature that really made them perfect for Jon’s goals. “The 6-in-1 gave us another level of performance. The amber is crucial in being able to balance out our whites to get us to a warm white, cool white, and a range of colour temperature options. They are getting us towards a more ‘human-centric’ lighting solution.
“It means we are able to reduce fatigue for those who are performing and reading music six hours a day, and focussing in up-close detail on their fingers. Good lighting conditions support our students in what they’re trying to achieve.”
USA - As a boy in Broadalbin, New York, Keith Truax loved listening to the CD of Jekyll & Hyde the Musical. While being swept up by Frank Wildhorn's bold, unabashedly passionate score, he often found himself dreaming of one day being involved in a production of this theatrical take on Robert Louis Stevenson’s classic tale of good and evil.
Dreams do indeed come true when you grow up to become a talented lighting designer. Truax has been earning widespread praise for his current work lighting Jekyll & Hyde The Musical at Long Island’s popular John W Engeman Theatre. Fittingly, his dramatic contrast of colours is endowing the stage with a transformative dream-like quality that underscores the musical’s good-evil dichotomy. Helping him achieve this powerful effect is a collection of Ovation, Maverick and Rogue fixtures from Chauvet Professional.
“I’ve always been a fan of this show, in part because of the interplay of such powerful and conflicting emotional forces at play in it,” said Truax. “These forces are conveyed throughout the show with colour. Colour is an integral part of my design. I am not afraid to put colour onstage. One of the main themes of my design for this show was the blue changing to blue-green as Jekyll’s world starts to decay and transition into Hyde’s world. Of course, Hyde’s colour is pure red, which allows us to have a clear distinction between him and Jekyll.”
The six Ovation E-910FC RGBA-Lime ellipsoidals in the Jekyll & Hyde rig were critical to helping Truax convey these
Trinidad - Inspired by the record-breaking batsman Brian Lara, many young cricketers in Trinidad and Tobago dream of playing their national sport at international level. This dream has been brought a step closer to reality for many by the Urban Development Corporation of Trinidad and Tobago Limited (UDeCOTT) with the completion of the Brian Lara Cricket Academy, a state-of-the-art competition venue and training facility for the development of world-class cricketers.
Just north of the city of San Fernando, the Brian Lara Cricket Academy is the first state-of-the-art cricket training facility to be constructed by the Government of Trinidad and Tobago. The Academy includes a 15,000 seating capacity stadium, club seating, lounges and executive boxes as well as exhibition space. The Academy also incorporates 12 outdoor practice pitches, official and team locker rooms and a gymnasium.
A request for quotation for the audio systems for the new venue was released in May of 2016 and the directors of Streamline Systems, who had worked on four other stadia in the Caribbean, were quick to respond. With a window of just one month to audit the stadium and design a modern system to meet the Academy’s needs, the team went straight to work.
To get the design done on schedule, Streamline Systems’ directors Michael Pereira and Clifford Beckles met with the client to ascertain the requirements and to make their own recommendations based on their industry experience. Streamline Systems was assisted by Community’s Technical Applications Group (TAG), who supported t
UK - Northamptonshire-based PA Rental company Sound4Hire has recently added Linea Research 44M20 networked DSP amplifiers into hire stock.
Formed in 1995 Sound4Hire has become one of the UK’s most trusted professional audio suppliers. Providing solutions for events of all sizes, from a speech to 20 people to the largest music festivals, celebrity polo matches or prestigious firework extravaganzas at historic castles, Sound4Hire specialise in delivering only the best solutions for their partners and audiences alike.
“Following several months of research into advancing the sound quality and phase correction of our loudspeaker systems, as well as the ability to explore Beam Steering, we set our criteria and started to see what was available to us – with no limits,” explains Sound4Hire’s Brett Masters.
“During extensive listening tests of both separate DSP and DSP controlled amplifiers from the industry's best manufacturers we found the Linea Research 44M20 to be sonically better than everything that made the short list. Interestingly, they equalled or outperformed even our reference class A/B amplifiers.”
“This really was the perfect amp for their application,” comments Linea Research director, Davey Smalley. “With 4 channels at 5000W coupled with our advanced 96kHz DSP Brett was able to fully realise his goals and maximise how their system performs.”
Further to their extensive evaluations Sound4Hire have taken delivery of 16 Linea Research 44M20 amplifiers to be integrated into their modular networked infrastructure.
USA - Billed as Hoboken’s premiere ultra venue, the Hudson Ultra Bar is a state-of-the-art music, dance, and entertainment facility. VIP booths surround the dance floor, offering a high-energy experience for table guests who wish to be at the centre of the action. This venue defines what DJ music and entertainment is all about.
To ensure the best music reproduction capabilities, the Hudson Ultra Bar deployed loudspeaker equipment specifically designed for this type of environment. That’s why they chose Sound Force Series loudspeakers from Valencia, Spain-based D.A.S. Audio.
Global Audio Systems of NY, NY, a full-service provider of audio, visual, DJ, lighting, staging, and related entertainment services, was contracted to handle the design and implementation of the Hudson Ultra Bar’s sound reinforcement system. Company owner Jason Ojeda, who oversees system consultation, design, and installation, discussed the project.
“The Hudson Ultra Bar is an open-format, multi-level dance club with elaborate VIP accommodations and a large, raised catwalk-style DJ Booth. With two levels, there is approximately 6,000 square feet of space. Music is a driving factor of the activity in this club, so having the ability to produce the necessary sound pressure levels while keeping the music’s sound true to form was crucial to this installation.”
To provide coverage throughout the venue, Ojeda and his crew flew two D.A.S. Audio Sound Force SF-20A powered mid-high biamplified enclosures - one each for the left and right sides of the main dance floor and
UK - Triple E beat the odds and the clock to provide Illuminate Design with a custom-built, motorised track for the Centre Stage venue at Butlins, Skegness.
AV specialist Illuminate called in Triple E Ltd when an existing tab system failed just before the start of a new Centre Stage show.
To follow the shape of the stage, Triple E Ltd’s design had to incorporate a double S set of curves. Illuminate sent a sketch across late Thursday evening and MD David Edelstein quoted it immediately. On Friday, Triple E drew the design up, assembled the Erail system and the 25m TDRIVE six-curve track was collected just after lunch.
Robin Shephard-Blandy, Owner/Director at Illuminate Design, comments: “The deadline was particularly tight because there had been difficulties with other ideas for the replacement track. Triple E’s solution enabled us to carry out the installation over the weekend and be ready for doors on Monday.
“We have worked with Triple E a couple of times in the past, on complex projects such as lighting over and within tanks at the London Aquarium, so knew they were used to a challenge, and the response to the Butlins job was fantastic.”
David Edelstein, managing director at Triple E, says: “Illuminate could only work at Centre Stage between 10:00pm and 10:00am. At the client’s request they spent Friday night trying to get the original system operating properly before installing ours, which worked straight out of the box.”
Iceland - Robe moving lights are making a big impact at the Icelandic National Theatre (Þjóðleikhúsið) in Reykjavík since they became an integral element of the available house lighting rig, a process that started in 2014 and has recently been continued with the addition of DL7S Profiles, LEDBeam 1000s and Actor6s.
The Robe fixtures were specified by Head of lighting Halldór Örn Óskarsson (Halli) and his team of colleagues.
Halli is an award winning LD and also a primary production lighting designer for this high profile venue which has five separate performance spaces and a busy and diverse programme of shows and events. This includes new Icelandic and international works, Icelandic and foreign classics, musicals, dance pieces and children’s productions. The theatre creates around 10 new productions each year and also collaborates with independent theatre and dance groups.
Halli chose the new Robe luminaires after having a great experience with their original units, 14 of the first generation DLSs, which were acquired to replace their old FOH lights. The spec was exactly what they wanted – an LED moving head with shutters.
He was extremely impressed with the service from the support team from Robe itself and also from Icelandic distributor Luxor, so when the DL7S was launched there was no hesitation in choosing it as part of the next round of purchasing, which was for new over-head rig lights in the Main Stage venue.
Seventeen DL7Ss, 25 x LEDBeam 1000s and 16 x Actor6s joined the rig, replacing a quantity of older tungste
UK - Petersfield Festival Hall, the versatile multipurpose venue in Hampshire, can now create a truly immersive colour experience as well as white light for its audiences, events, and galas thanks to its new Chroma-Q Inspire lighting system installed by A.C. Special Projects Ltd. (AC-SP).
Because of the wide range of productions held at the Festival Hall, the venue wanted new colour changing LED house lighting that could provide a full range of colours, from deep saturates to smooth pastels, all with smooth, theatrical grade dimming. Similarly, it was important to provide quality white light for day to day use and corporate functions. Ultra-quiet running, low energy consumption and low heat generation were other important considerations.
Having enquired about Chroma-Q’s Inspire fixtures to meet these criteria, John Tucker, the Festival Hall’s technical manager, was introduced to Andy Holmes, senior project manager at AC-SP, to talk through the practical details of the installation. Andy was not only able to demonstrate different lighting options, but also to advise on control systems that would work equally well with the Hall’s new as well as existing technology.
The final system selected incorporated 16 Chroma-Q Inspire RGBW LED house lights, controlled by DMX through an easy to use Pharos TPC wall mounted touch panel controller. The Pharos allows easy transition between direct finger-tip control, scenes and timelines. Control signals were routed through a Luminex Ethernet-DMX8 node, allowing the fixtures to be controlled in a variety of diff
Australia - The Australian TV industry’s biggest night, the 59th annual Logie Awards, were held at Melbourne’s Crown Palladium on Sunday 23 April 2017, broadcast live on the Nine Network.
Always a great opportunity for the broadcaster to show off its tech capabilities, visuals were spread across three huge screens onstage, a wrap-around screen surrounding the audience, and pixel mapped to onstage fixtures and LED chandeliers. Helming the mission-critical media server and console operation was Lynden Gare, director of Melbourne-based lighting and production company Colourblind, who relied on Green Hippo’s Hippotizer media servers to ensure that the show went exactly to plan.
Green Hippo is no stranger to the world’s biggest televised events, with their media servers used on The Eurovision Song Contest and The Academy Awards. At the heart of Lynden’s set-up for The Logies were two Hippotizer Karst servers, Green Hippo’s 2RU, three-out, tour-ready workhorse. The first server fed an image canvas 4884 pixels wide via SDI to stage to be displayed across three screens, and handled pixel mapping to a range of LED fixtures. The second Karst sent a 1920 pixel wide image to screens wrapping around the auditorium, and a 192x160 output to LED chandeliers.
Another server, provided by Australia and New Zealand Green Hippo distributor Lexair, was on hand as further back-up, an essential requirement for any live broadcast.
Terabytes of graphics packages were provided by the Nine Network, design agency Visual Playground, and the touring teams of mu
South Africa - Peter Rieck of Rieck’s Lighting and joint owner of rental company Event Lighting, was selected by Red Pepper Pictures for the second year running, as lighting designer for Lip Sync Battle Africa. This televised lip sync showdown, filmed at Urban Brew Studios, returned for its second season in April 2017, premiering on MTV Base, a DStv channel.
“It’s a dynamic show and funky looks have to compliment the entertainment, interviews and bantering between contestants,” said Peter, who controls the Robe lighting rig with a MA dot2. While each new episode opens with a generic look Peter holds back, only adding colour and pulse moments to the first song of the night. Then, with guns blazing, he lunges with explosive and vibrant lighting effects as the show heats up to complement the massive prop changes.
The set, an adaptation from the international format design, was done by Dewet Meyer from JDMUnlimited, for local studios and is divided into three sections. A live commentator box, shared by the larger than life presenter personalities Pearl Thusi and Nigerian Denrele Edun, the main floor, reserved for the performances and interviews, and lastly a zone where contestants are seated to observe what they’re up against.
Event Lighting were the main technical suppliers of 12 x Robe Pointes, 24 x Robe Robin Spikies, 100 x Longman LED parcans and the MDG Atmosphere. In addition, the rig incorporated Urban Brew’s 10 x Robe ColorSpot 1200E AT and 10 x Robe ColorWash 1200E AT, all rigged from the roof. A further 24 x 2Ks were used for gen