USA - Creating a more camera-friendly stage became a pressing need for many churches during the pandemic, as they turned to livestream services to reach worshippers during lockdowns. Marysville Christian Fellowship was no exception to this rule.
This dynamic, small church, which serves a rural community in northeast Kansas, also shared something else in common with many other houses of worship: it had only a limited budget to devote to making its space more well-suited for broadcasting services.
Marysville Christian was able to navigate its way through this issue with help from Stark Raving Solutions, which recently completed a lighting and video upgrade at the church. Taking a holistic approach to this project, the Lenexa, Kansas based company provide a comprehensive solution that involved far more than the installation of new gear.
“We did a lot of upgrading, including adding an entire video system with new cameras and switching, but we didn’t stop there,” said Marcus Hammond of Stark Raving Solutions. “Clark Johnson our design lead and Shelli Kutz, our project manager did a great job finding ways the church could better employ some of its existing equipment.”
Indicative of this approach is the way the church’s front lighting was revamped for filming services. Prior to the rehab, the worship area had six Chauvet Professional Ovation E-160WW ellipsoidals. Stark Raving Solutions increased this number to 14 units. But adding these new fixtures was only the beginning. The company also changed the angle of the church’s front lighti
Finland - Ilmatar Windpower is dedicated to the supply of clean and affordable wind power as part of the drive to transition to renewable energy sources. The company has recently made their own transition to new headquarters in Helsinki, designed according to sustainable practices with the aim of achieving optimum efficiency and wellbeing. AV solutions experts 4Business Oy were called in to design and implement all the AV technologies for the new premises, which included a Smart IP audio solution from Genelec.
One of the biggest issues to be addressed from an audio point of view was auditory comfort in Ilmatar’s open workspaces - an integral part of any modern, activity-based office today. However, one of the inherent problems of any open plan workspace is a lack of privacy and disruptive noise coming from elsewhere in the environment. Ilmatar was determined to create the most comfortable and efficient working environment possible in their open plan areas, and so paid great attention to sound behaviour in these spaces.
“The lobby and open work areas, as well as the meeting rooms and offices, are all exceptionally well designed from an acoustic point of view, with excellent reverberation times,” notes Janne Lankinen of 4Business. “There are also absorbing screens between the desks, and the background noise caused by ventilation has been minimized. Nevertheless, while these measures help considerably, they cannot resolve the issue completely. To achieve optimum results, we designed and implemented a custom sound masking system - starting with a hig
UK - Creative Technology supported the live broadcast of a ‘secret’ event from one of the UK’s leading motor racing circuits.
The event would be streamed to a small number of top clients for the manufacturer, with security of the broadcast being of utmost importance. CT proposed the use of its Eden platform which enabled two-factor authentication for the invited attendees to maintain a high level of security, ensuring confidentiality of the product. CT were on hand to collaborate with the end client’s IT department and Sprout, throughout the production process, to ensure that all protocols were observed and minimise any issues on the day for the invited audience.
CT’s involvement with the project further extended into the ‘live’ environment following Sprout’s decision to broadcast the event on-demand over the weekend of 13-14 March.
The on-site element therefore developed into event capture and subsequent editing to create a programme for the broadcast. On site, CT played the supporting role to the event by providing both video and audio equipment and services.
Audio services consisted of a DiGiCo SD12 console, a range of wired and wireless microphones and IEM systems to manage capture and monitoring for the 18-piece orchestra which was recorded within the environment on day one of the production. On day two, audio support was provided for the capture of on-stage presenter and host interviews.
Video consisted of a 10.5m x 3m ROE Black Pearl 2.8mm LED screen set within a 3° curve. Delivery of content to the screen was fr
USA - When the Seattle Symphony orchestra wanted to explore the realms of music through audio and visual representation, they envisioned creation of a space that would immerse the audience into ‘a music experience unlike any other’.
The Octave 9: Raisbeck Music Centre is named after Seattle philanthropists James and Sherry Raisbeck, who donated $2m on top of the various public and private donations to transform the former Soundbridge Seattle Symphony Music Discovery Centre into a musical experience to remember. Fusing music and technology, Octave 9 was designed to stretch the boundaries of creative possibility and immerse the viewer in new worlds created with the orchestra’s music.
With this in mind, the technology implemented in this immersive space needed to be fully adaptable to match the variety of genres and eras recreated by the orchestra, and able to change at the touch of a button. US based acoustic and AV design firm Jaffe Holden contacted German projection specialist Vioso in order to provide installation support and calibration for the visual aspects.
“When we were contacted for the visual content of this project, it was immediately a very exciting prospect,” said Kevin Zevchik, director of Vioso America. “The complexity and purpose of the project, along with the need for it to be entirely flexible to any future needs, made it a very interesting project to be part of.”
The visual complexity with the project laid within the cylindrical moving screens, which surround Octave 9’s intimate demonstration space and move o
UAE - Bla Bla Dubai - which boasts 20 Bars, three Restaurants, and a Beach Club all in one venue - was created to offer a full day-to-night experience for visitors, all with views of Bluewaters Island and Ain Dubai, the world’s largest observation wheel.
Located at The Beach opposite JBR, Bla Bla Dubai is set to be at the forefront of the city’s bustling social scene, and as a result every area of the venue required an audio system to match - or even exceed - the region’s high standards.
Pulse Middle East was trusted with the job of integrating this system after Bla Bla Dubai’s management was impressed by Pulse’s extensive portfolio of work with other venues across the city including Nikki Beach Club, White Beach at Atlantis, LSB, Brass Monkey, and Wavehouse.
Pulse opted for a complex three-zone audio configuration driven by Powersoft amplifier platforms purchased from local distributor, ProLab.
“I strongly recommended Powersoft to the client as it excelled compared to other brands during the tender process,” comments the project’s audio design consultant Bengan Hovgard, who was key in the recommendation of Powersoft for this particular job. “Their products have myriad strengths, namely their system integration flexibility, intuitive power sharing and software features, and the availability of presets for many brands. They are also incredibly reliable, and the support is second to none.”
“In terms of the amplifiers, there aren’t many products on the market other than Powersoft that can handle this quantity of c
USA - Now in its ninth season, the Hallmark Channel’s Home & Family showcases crafting, cooking, home improvement, car repair, and all things DIY. Multiple cast members interact with celebrity guests throughout the many rooms of a full-sized house set.
This makes the need for many wireless channels and glitch-free reception a top priority, which is why the show recently upgraded to Lectrosonics all-digital D Squared wireless mic system. It comprises four DSQD four-channel receivers, 16 DBu belt-pack transmitters, a DHu handheld mic, and six ALP690 high-performance antennas.
“We had been using three Lectrosonics Venue racks and SM-series transmitters since the show started in 2012,” says audio supervisor Mike Dooley, whose CV includes The Biggest Loser and The Price Is Right. “I loved how well supported they were. But when we changed rental houses, to SAV Entertainment out of Glendale, we took the opportunity to go all digital. I have to say that while the range and sound quality of the Digital Hybrid stuff was fantastic, the fully digital gear is even more amazing.”
With the RF spectrum available for TV production ever tightening, one feature that attracted Dooley’s immediate attention was the D Squared system’s built-in encryption. “NBC Universal has a frequency coordinator who assigns all our frequencies and has mostly kept us safe,” explains Dooley. “But talent and guests wear their mics all day on this show, and of course talk privately off-set. Sometimes it’s possible that a mic is picked up somew
USA - Gerry Dintelman recently lit I Watched Music On The Internet, a four-part six-hour livestream marathon featuring 11 different bands shot in St Louis.
Dintelman created a design that gave each band a different look. He accomplished this with help from a large collection of Chauvet Professional fixtures that included Nexus 4 x 4 and NXT-1 panels along with Rogue R2 Beam and R2 Wash moving fixtures, all supplied by Arch City Audio Visual Services.
“This series was created by Arch City and the Sinkhole a local live music venue, as a means of showcasing different bands during the pandemic,” says Dintelman. “My co-designer Kevin Kwater and I knew that we would have to create a variety of looks to reflect each band’s personality. Since the videos were shot at the live stream space Arch City created in its warehouse early in the pandemic, we had a lot of fixtures at our disposal. So, we broke the rig apart in various ways to give each band its own look, while still building on our show throughout the series.”
Creating the wide range of dynamic looks Dintelman was after required not just a large number of fixtures, but also different types of fixtures that performed varying roles. “The Rogue R2 Beams and the Nexus panels are such opposite fixtures, they gave a nice contrast,” explains Dintelman. “Throughout the series we balanced the flood wash of the Nexus with the hard edge beams of the R2s.”
Dintelman choreographed the beams and washes with precision, creating chase sequences of darting beams across the stage in differ
Germany - L'Osteria is a branded gastronomy company founded in 1999 with over 130 locations in eight European countries. The operation is based on a three-pillar principle: company-owned restaurants managed by FR L'Osteria SE; joint ventures; and franchise restaurants.
According to their own statement, it is “a bit loud [and] lively” in the restaurants, which places high demands on the individual sound systems.
Audio installation company i:TECS from Dessau-Rosslau specialises in the gastronomy sector and undertakes all planning and design, based around high quality sound.
At L’Osteria they looked to the Martin Audio portfolio, distributed in Germany by Audio-Technica. “We were given the impression right from the start that special focus needed to be placed on premium quality sound,” says Thomas Neumann of i:TECS. "Great value is placed on the standard of restaurant design, and exceptional reproduction of the background music must also fit into that concept.”
Each restaurant has access to a database with several hundred albums, which are are sorted according to time of day or season. “It was to meet this requirement that we decided on Martin Audio,” explains Neumann.
The decision was made in favour of the A40 and A55 wall speakers, as well as the ACS 40TS and 55TS in-ceiling speakers from Martin Audio's Adorn series, which performed more favourably when compared with other speakers. In addition to the wall and ceiling speakers, the ACP-55T pendant speakers, which were released at the end of 2020, are also used in specific
Vietnam - Vietnam's first ‘sleepless city' has officially opened on Phu Quoc Island, aiming to become an international destination. Phu Quoc United Centre, developed by Vingroup, took a total investment of $2.8bn and aims to attract visitors from all over the world.
Visitors will be able to enjoy multimedia shows, including the Vietnamese flowers, 32,000 bamboo tops, travelling the canals of Venice surrounded by coloured buildings that play homage to the Italian capital, among other attractions.
Prolights plays a part in the lighting design, with fixtures installed in the centre lake where the Venice canals are. Every night, the performance of Sac mau Venice (The colour of Venice) dazzles visitors with a light show. Vietnamese lighting designer Mr. Trong created all the looks, while Pro AVL, Prolights' distributor for the region, supported with the equipment and technical expertise.
A total of 24 Prolights PanoramaIP Spot were used, along with 12 PanoramaIP WBX moving washes for the Sac mau Venice show. The fixtures were also used for Tinh Hoa Vietnam, featuring a total of 40 Prolights PanoramaIP AirBeam, 36 PanoramaIP Spot and 28 PanoramaIP WBX fixtures.
“The designer chose Prolights IP fixtures as they were installed outdoors on a semi-permanent basis, since the show takes place every day,” says Puong of Pro AVL. “The Panorama series are incredibly bright and very reliable, and the products exceeded all expectations.”
Australia - Written by Australian playwright, screenwriter, and composer Yve Blake, Fangirls is a co-production with Belvoir, Queensland Theatre and Brisbane Festival, in association with Australian Theatre for Young People (ATYP). It is the chronicle of 14-year-old Edna, a diehard fan of the world’s biggest boy band, True Direction.
Currently touring Australia, the multi award-winning musical recently played to full capacity audiences at Adelaide Events and Exhibition Centre’s Ridley Pavilion, as part of the Adelaide Festival. To deliver all the punch and clarity, music producer and sound designer David Muratore and sound designer Michael Waters had envisioned, Novatech supplied an L-Acoustics system for the festival dates.
While Fangirls creators Blake and Muratore, had spent five years developing the production with musical director and vocal arranger Alice Chance and dramaturg Jonathan Ware, the team had never staged a show before. Needing someone who had a theatre design background to guide them through the process, they turned to Waters for his expertise in theatre sound design.
The show’s cast is small, with between seven and nine actors, depending on the version being staged, and almost all the music is pre-recorded except for a MIDI keyboard played in the middle of the show as the only live component. Waters was charged with bringing the pre-recorded music to life. He suggested to Muratore that a substantial proportion of the show should be in surround sound to break up the musical components and give it some 3D texture
UK - After events for the London Climate Change Festival were postponed in 2020, the festival returned for 2021 with a televised broadcast. The specially created concert, titled Song For Nature, debuted on Sky Arts on Earth Day, 22 April. Paul Smith of Apex Acoustics provided audio equipment for the performance and mixed sound using a DiGiCo SD10 console.
“The concert grew organically into a much larger event with performances by Brian May, Rob Brydon, Nathan Evans, Kerry Ellis, Janie Dee and Wayne Sleep, and many more along with the ENO Orchestra and choir,” says Smith. “Brian May and Kerry Ellis were only confirmed a few days before the show.”
The concert was filmed over three days at an audience-absent London Coliseum, both on stage and in other areas of this storied London venue. The atmospheric theatre hosts the English National Opera as well as being the London home of the English National Ballet. The film was directed by Emmy-winner Ross MacGibbon. The show itself was conceived by Dominic Dromgoole, former artistic director of Shakespeare's Globe, and directed by Bill Buckhurst (Sweeney Todd, Ghost Quartet).
Smith's first audio challenge was to find a somewhat isolated area to use as a temporary control room: “As we were primarily recording the concert, I set up the DiGiCo SD10 in a room just off the royal box, and sharing an SD-Rack on an optical loop, we placed a DiGiCo SD12 as a monitor console, positioned stage left.”
While personal or IEM monitoring is not conventionally a part of orchestral concert
Sri Lanka - Dynamic AV Technologies recently outfitted Ceylon Theatres Regal Cinema Dematagoda with a complete Harman Professional cinema audio solution to provide immersive sound quality for moviegoers.
Ceylon Theatres is a Sri Lankan theatre chain with an 85-year history that currently operates six locations throughout the country. The latest location is a three-screen facility in Dematagoda which also houses a KFC restaurant and Food City supermarket. In order to ensure an immersive cinematic experience with clear and balanced audio quality for moviegoers, Ceylon Theatres Regal Cinema Dematagoda required modern sound systems for all three screens. Ceylon Theatres hired Dynamic AV Technologies to equip each theatre with a complete Harman Professional cinema audio solution including JBL loudspeakers and Crown amplifiers
“Working on a cinema project with Harman is easy, as they are extremely supportive in all aspects of design and commissioning," said Mohan Abeyasinghe, managing director, Dynamic AV Technologies. “The support we got from Harman was completely virtual due to the lockdown; however, it was as good as them being with us. The client is happy with the installation, as is our team.”
In two of the theatres, Dynamic AV Technologies installed JBL C221 ScreenArray cinema loudspeakers, augmented JBL 8320 compact cinema surround speakers. In the third room, the team installed JBL C222 ScreenArray cinema loudspeakers, supported by JBL 9300 cinema surround speakers. To enhance the cinematic experience with impactful low frequency extension,
Germany - Over the past six months, two German production companies have been working together to simultaneously keep their creative juices flowing during the pandemic-inflicted hiatus on in-person events and lift the production value of livestreams.
The Wharf is the latest in a series of three increasingly ambitious dedicated livestream studios that they have created using primarily ADJ lighting and video equipment. This latest project combines a series of 3D cubes, lined with ADJ Pixie Strip pixel-mapped LED fixtures, and a water tank, illuminated by ADJ Hydro Series IP65-rated moving heads, to create a stunning visual backdrop for both DJ sets and full-on live performances to be captured on video.
LaserFrame, based in Cologne, and its owner Guido Schütz, specialises in lighting for clubs, lounges, and electronic music events. Meanwhile, Creative Sounds, from nearby Düsseldorf, and its principal Patrick Hirt, focus more on tradeshows, festivals, concerts, and other largescale events. The two companies have a long history of collaboration and often worked together on larger projects prior to the COVID-19 pandemic. Over the past winter – following a year when most of the events they would have worked on had been cancelled – Guido and Patrick wanted to find an outlet for their creativity and recognized that DJ livestreams, which had become popular during lockdown, presented the perfect opportunity for production innovation.
“We were very aware that the production value of most DJ livestreams is very low,” elaborates Guido. “They usually i
UK - Thirty-eight Robe MegaPointe moving lights were an integral part of the lighting rig used by LD Chris Kempton for the UK’s 2021 Comic Relief biennial Red Nose Day telethon event which harnessed the power and inspiration of humour to raise funds for good causes.
The event was staged in March at D Studio in the BBC Elstree complex in Hertfordshire, UK, and broadcast live on the BBC.
The telethon was hosted by Sir Lenny Henry alongside Davina McCall, Paddy McGuinness, David Tennant and Alesha Dixon. It was the first Red Nose Day event to have a virtual audience - onscreen behind the presenters - due to COVID restrictions.
Lighting equipment was supplied by JLLighting Ltd., together with power distribution infrastructure and media servers to run all the playback visuals.
Chris has lit the show several times in the last few years, and this year he took Patrick Doherty’s dynamic set design - a spectacular spherical central stage flanked by two spherical podiums, surrounded by multiple LED screens on three sides plus circular trussing and ceiling elements above - as a starting point.
Along with this slick contemporary look, Chris considered the super-quick live changeovers facilitated during this fast-paced style of broadcast, and the need to be able to flip seamlessly between a variety of performance styles.
“It’s vital that the visual departments are fully aligned and enjoy a good synergy, so everything works beautifully together,” he states.
MegaPointes were the main effects fixtures of the show. They were chose
The Netherlands - Ayrton reports that its MiniPanel-FX, Huracán-X and Karif LED lighting fixtures will form a major part of the lighting design for this year’s Eurovision Song Contest which takes place at the Ahoy Arena, Rotterdam in the Netherlands.
Lighting designer Henk-Jan van Beek of Light-H-Art design has chosen significant numbers of each fixture for the main ambient and effects lighting for this annual music extravaganza. The full requirement of Ayrton fixtures - 386 in total - will be supplied by Eurovision 2021’s lighting, audio and rigging supplier, Ampco Flashlight.
The stage design for Eurovision 2021 by Florian Wieder is being kept under wraps for now, but those in the know at Ampco Flashlight have hinted at a wall of MiniPanel-FX which they describe on their Eurovision blog as ‘a cute little fixture that is fierce and powerful’ - and that’s just for starters.
“The reputation of Eurovision is unquestionable as one of the best global productions there is,” says Ayrton’s Michael Althaus. “To have Ayrton fixtures showcased on it is testament to the regard in which lighting designers hold our products. We are very excited to be involved once again and I can’t wait to see Henk-Jan’s design and the fantastic plans he has for our Huracán-X, Karif and MiniPanel-FX. This is a ‘first’ at Eurovision for Huracán-X and Karif, and as for MiniPanel-FX, I say ‘watch your backs!’”
The load-in at the Ahoy started on 10 April under the supervision of Erwin Rintjema, Eurovision Song Contest’s head of production f
Belgium - Game shows are more fun when they’re challenging. Perhaps that’s why Game of Talents has been such a runway success. The show, which originated in Spain and quickly spread to other countries to debut in the US on 10 March, asks two teams of contestants to use their intuition and wits to figure out the hidden talents of performers based on only a few carefully selected clues.
Game of Talents presents an interesting challenge for designers who must often simultaneously key light the contestants sitting in their chairs as well as the performers on stage, all while fitting within the parameters of a broadcast application.
Michiel Milbou and his team at Never Fear Shadows met this challenge in winning fashion when lighting the Belgian version of this show, thanks to some adroit key lighting accomplished with Chauvet Professional Maverick MK2 Profile fixtures supplied by Splendit.
“We were retained by Fremantle Production, who we have enjoyed working with many times in the past to light this program,” says Milbou. “A challenging part of this show was creating two different levels of key lighting. We had to light contestants looking at the stage, as well as the person on the stage, much as we do the jury and performer in the Masked Singer.”
“It’s difficult to light in this situation, because the ideal place to hang the key lights is in the middle of the other set,” he continues. “The camera also has to look through the key light of the other set. I try to design key light to minimize the chance of that hap
Australia - The first Robe T2 Profiles to arrive in Australia went to Perth-based lighting and visual rental and production company What Noiz and made their debut on the lighting rig designed by Matt Marshall for West Australian Ballet’s As One: Ballet at the Quarry.
This was performed as part of the 2021 Perth Festival at the Quarry Amphitheatre, an outdoor rock quarry in Perth’s coastal suburb of City Beaches.
What Noiz’s founder and owner Benjamin Fry explained that they had been looking for a powerful LED profile for some time. They loved what they saw in terms of features and functionality with Robe’s T1, but wanted something with just a bit more brightness and then along came the new T2 Profile.
The purchase was completed in time for the West Australian Ballet’s 2021 summer season with its three dynamic works combining ballet and contemporary dance.
4Seasons was a stirring existing work choreographed by Natalie Wier; Heartache was a collaborative re-working of six different pieces delivered by the company dancers and artistic team, with a concept created by artistic director Aurélien Scannella and principal rehearsal director and artistic associate Sandy Delasalle; and Moment of Joy was a new piece presented by West Australian Ballet principal dancer Dayana Hardy Acuña and soloist Juan Carlos Osma.
This outdoor venue, formerly a working limestone quarry, dates to colonial times, and West Australian Ballet is the resident company there every Perth Festival season.
The company’s lighti
Russia - On 12 April 2021, the Baikonur Cosmodrome hosted a gala concert to celebrate the spaceflight of the first cosmonaut Yuri Gagarin. The festivities were broadcast live by the Russia TV network.
The concert’s ‘X-factor’ was a beam of light shooting out from the pit of the launch complex that sent the Vostok-1 spaceship into orbit 60 years ago. The light beam was created by TDS, a full-service production company.
The design concept called for the light beam to be so powerful that more than 60 high-power light projectors would be needed to create it. Another way to accomplish the task was to use augmented reality technology.
“Our team landed at the Baikonur Cosmodrome on 9 April,” reports TDS. “We had only four days to prepare the equipment for filming, install special marks, calculate precise distances using industrial-grade range meters, calibrate five cameras, integrate the light beam into the launch facility, and fine-tune a realistic output picture.
“The broadcast was performed with the five AR cameras, of which two were tracking cameras - including one on a telescopic camera crane - and three static view cameras.
“Our primary challenge was to make the beam look realistic, and integrate it with a physical object - the launch pad, which was a very complicated structure. We accomplished the task by putting a mask on the beam itself. It produced an excellent result. We were able to achieve precise tracking at a distance of 360m (four football fields) from the cameral to the virtual object.
Using the Pi
Berlarus - Mozyr Ivan Melezh Drama Theatre in Belarus celebrated its reopening last summer after a major renovation. The building was originally built between the late 20s and early 30s of the last century, though it was seriously damaged in a fire in 2013, destroying most of the cultural monument.
Over the past few years, the building has gone through reconstruction, and Cinemanext Bel designed, supplied, installed and commissioned all the stage lighting and sound system of the large and small halls, and provided training to the newly hired staff.
“As part of the technical tender for the new equipment acquisition the theatre requested that the new fixtures had low power consumption, low heat and noiseless operation,” says Ulyana Barkova, Deputy Commercial Director at CinemaNext, adding: “With that in mind, we chose Prolights' Ruby and Jet Spot4Z for their LED source with a punchy output.”
Additionally, the theatre also took delivery of Prolight SunRise 2 blinders, Polar 3000 strobes and EclPar DY with a 5,600K source.
“We are confident that these fixtures by Prolights are a great addition to the theatre, and since they are very reliable and incredibly easy to use, the staff at the Drama Theatre will also be very satisfied,” adds Barkova.
USA - Global nutrition company Herbalife honoured its top performing sales force and distributors in an awards event staged at the Los Angeles Convention Centre in March, a streamed show that was executive & technically produced by Raj Kapoor Productions & Steffan Jones for CG Creative Studios.
Tom Sutherland from DX7 Design designed the lighting and Julio Himede from Yellow Studio was tasked with the scenic design, and Tom’s lighting design featured 1,145 Astera AX5 battery operated wireless LED PARs - one of the largest Astera installations worldwide. The luminaires were amassed by lighting vendor Felix Lighting..
Tom’s starting point for the lighting was Julio Himede’s production design which featured a 160ft-wide black gloss stage and four massive modernist style moving LED video arches.
Tom decided to surround and accentuate this epic look with an enormous four-sided grid of LED PARs covering the roof, back and two sides of the stage.
In addition to the CEO addresses, presentations, speeches and awards action, a series of Herbalife training sessions took place over the seven show days, and there were five “wow moments” comprising all-singing-all-dancing production numbers, three of which were directed by Emmy Award-winning choreographers Tabitha & Napoleon Dumo (AKA Nappytabs) which added flourishes of glamour and entertainment.
“I really needed to emulate the impressive and large-scale aesthetic of the production design,” explained Tom, “and ensure that the whole area could be flooded with quality light
Estonia - Rental company Strikken supplied the lighting design and production design and equipment for the Power Stage Live TV podium, which welcomed the 2020 winners of Rally Estonia event - part of the World Rally Championship - and was set up close to the final stage finish line, near Rally Estonia’s HQ in Tartu.
They relied on the power and versatility of Robe moving lights including LEDWash 300s, LEDWash 800s and MMX Spots to deliver spectacular looking results. The luminaires were picked for their compact size, light weight, and brightness, and all rigged on the stage ground support structure together with some outrigged pipes facilitating the front positions.
The event was broadcast in 155 countries worldwide, and the Power Stage podium featured a 20m-deep by 30m-wide platform with two drive-on / off wings at the front and a substantial LED screen upstage. Lighting for TV generally was the starting point for the design, which was created by Strikken’s Raiko Saadjärv, Mihkel Västrik and Meelis Lever in collaboration with the Rally Estonia team.
The main challenge was ensuring that the lighting fixtures looked neat and maintained the clean lines and modern look of the stage which also had clear roof skins.
The eight LEDWash 300s onstage provided back washes, with the five LEDWash 800s key lighting at the front. It was a daylight event with the additional ambient lumens emanating from the LED screen, so they needed powerful washes enabling good skin tones and the LED washes were an ideal solution.
The two MMX Blades were used
Costa Rica - The elegant Teatro Nacional Costa Rica in San Jose, completed in 1897, is the jewel of the nation’s capital city and one of the most beautiful concert halls in the Americas.
Leading up to this famed structure, the visitor can gaze on sculptures of poet Calderón de la Barca and composer Ludwig van Beethoven. Further down the entry walkway are statues of Frédéric Chopin. The message delivered by this external artwork is clear: inside is a venue that treasures artistry from around the world!
Recently, the Costa Rican Philharmonic Orchestra reaffirmed this commitment by performing a virtual concert at the site. Supporting their performance and making it more vivid to viewers was the colourful light from the theatre’s newly installed Chauvet Professional COLORado 3 Solo fixtures.
The 60W RGB LED fixtures were installed just prior to the show, when the older units at the venue began to fog up unexpectedly. Stage manager Telemaco Martínez and Illuminotécnicos del Teatro’s technical team of David Rojas Rojas, Hermes Soto Loría and Manuel Zuñiga Elizondo, addressed the issue by installing the new COLORado fixtures.
“For us, as the new generation of technicians of the National Theatre of Costa Rica, it has been exciting to be part of this change from lights with halogen and tungsten to LED fixtures,” says Hermes Soto Loría.
“Taking advantage of the COLORado 3 Solo’s smooth zoom and three 60 W RGBW LED, which project an intense and fully homogenized beam, while remaining ultra-quiet, the entire team at Teatro Naci
UK - Dream is a multi-layered mix of movement, music, visuals, cool technology and narrative magic, an immersive digital performance fusing the drama of Shakespeare with the dynamic worlds of gaming and theatre in a production by the UK’s Royal Shakespeare Company in collaboration with Manchester International Festival, Marshmallow Laser Feast, and the Philharmonia Orchestra (read a full production report in the upcoming issue of Lsi, out early May).
Staged physically in the Studio at Portsmouth Guildhall and inspired by the classic A Midsummer Night’s Dream, the characters were played by six real actors utilising Vicon motion capture cameras, their avatars and effects appearing onscreen - centring around the antics of cocky and capricious mischief-maker Puck. They run amok in the virtual Midsummer forest, hellraising and spoofing four other sprites during a disruptive and chaotic journey.
Matt Peel was responsible for lighting design and show control. He utilised the power - and specifically the OSC (open sound control) and DMX remote triggering capabilities - of his grandMA3 system with the new grandMA3 software.
The show was broadcast live for 10 evenings and enjoyed by thousands worldwide, who logged in, either paying for an interactive ticket - with the chance to shoot fireflies into the story to help illuminate Puck’s pathway through the forest - or simply watch the performance for free.
Dream was originally intended to be an in-person performance during 2020, but due to the pandemic, was adapted and re-work
USA - Audio quality is a difficult challenge to solve in any video conferencing application and meeting that challenge was a top concern for Charlie Fiddler, technical events specialist at Asbury Theological Seminary when he undertook the task of upgrading the seminary’s conferencing system. To meet this challenge, he turned to ClearOne.
Asbury Theological Seminary is an evangelical Christian seminary located in Wilmore, Kentucky. It is the largest seminary in the Wesleyan tradition and advocates for egalitarianism, giving equal status for men and women in ministerial roles and for ordination.
“We wanted to be able to capture the voices of instructors, with or without lapel microphones, based on individual preferences and the questions from students, regardless of whether or not they are located on campus or calling in from other locations,” Fiddler explains. “It was key that everyone be able to hear everyone else at all times.”
Fiddler says he also needed the audio conference solution to easily integrate with the other AV equipment that is already installed in each classroom because he certainly didn’t want to ask instructors or students to learn how to use a new system.
Initially, the seminary considered upgrading the audio conferencing capabilities in just one classroom but changed its mind in April 2020 when it was forced to confront the challenges posed by the COVID-19 pandemic. “We chose instead to invest in 15 hybrid instruction rooms where teachers and students in one classroom could be joined by students working from re