Germany - SKALAR is a compelling piece of immersive kinetic light art created by artist / designer Christopher Bauder and musician / composer Kangding Ray.
Ninety Robe Pointes, 65 x double sided mirrors suspended on 195 special motors each with a perimeter ring of 180 addressable pixels feature in one massive cathedral like industrial landmark building.
Kraftwerk in Berlin is the still magnificent shell of a derelict power station that once electrified central East Berlin when the city was divided by cold war politics.
SKALAR “juxtaposes technology and imagination in a cerebral dichotomy to engage the mind and soul in generating the very human reactions of profound emotions”.
While Christopher’s conceptual starting point was renowned American psychologist Robert Plutchik’s ‘wheel of emotions’, his physical one was Kraftwerk itself.
Working there a couple of years ago sparked the ambition to do something huge and exciting with light in the space. He felt the environment naturally lent itself to being honoured with a work of epic proportions!
SKALAR takes over the giant former turbine hall on the third floor which offers a 100m long by 40m wide performance space, with 25m of headroom.
Almost out of the blue, the opportunity presented itself when Kraftwerk’s event team were in touch to say that the venue was available for the month of February. The short lead time at that point - November - galvanised Christopher into a plan of action and SKALAR was born.
The idea was also to pre
USA - Having previously been involved with putting together the lighting design for James Arthur’s club/theatre tour in early 2017, LD Michael Straun has moved up to lighting the larger arenas for the artist — again using GLP fixtures extensively in his toolkit. He was invited by Meggan McKenzie, creative director of production company, The Live Dept, after previously working with the company on shows with Tinie Tempah and Katy B.
He and McKenzie worked closely to evolve the concept. “She would send me ideas which I would adapt and add lighting elements. We wanted to move away from custom builds so we used different fixtures in different ways to create the stage set,” said Straun. “James was also involved throughout the entire creative process. The key was to make the show look big and impressive - and the wall of JDC1’s did this.”
This is GLP’s new low-profile hybrid strobe. A traditional single tube element, created with LED’s to produce a bright, white output, is combined with a surrounding full face of RGB power, utilising a large array of complementary LED sources. These two elements have independent control and can be used as separate or combined effects. It therefore not only functions as a powerful strobe light, but both the tube and full face sections can be run continuously for high output blinder and wash light effects.
Some 80 heads were supplied by Christie Lites along with GLP’s award-winning X4 Bar 20s, both of which exist in large quantities in the hire company’s inventory.
Michael Straun admits there had
Canada - After over 30 years of service, two ageing consoles at Ontario Institute of Audio Recording Technology (OIART) were put out to pasture and replaced with two Audient ASP8024 Heritage Edition desks. As part of the facilities’ upgrade, they were chosen not only because they supported the curriculum, but also because they came in at the desired price point.
Head of audio production curriculum, Dean Nelson was pleasantly surprised when he first heard the brand new British consoles. “The first thing that jumped out - and this was the cherry on top - was the tone. I’d read the specs, was aware of the Stereo Bus 990C Mix Amps with the switchable Retro Iron transformers and Dave Dearden’s design history, but hearing is believing.
“The Heritages have a nice clarity and punch, but when you want you can drive the pre’s and it saturates quite nicely; the stereo bus has great headroom as well, it does not cave in. I love tone, but as an educator and learning institution, unfortunately, tone didn’t lead the list for requirements, it was form and function.”
It’s been a term since the consoles’ arrival, and Dean is particularly pleased with the results of MidTerm exams, describing them as “very solid, above average from past years. The Heritages reflect what’s needed for recording and mixing for today’s standards; they’re simple, intuitive and quite flexible.
“The first test run I did after the desk was installed and Studio 2 revamped, was with some great artists: Jenny Berkel & Ryan Boldt of The Deep Dark Woods, ho
Europe - The combination of sound and sight is very evident in Marilyn Manson’s current Heaven Upside Down tour of Europe and North America, both in its music, which opens with a cover of The Doors’ Vietnam-era song The End, and in its richly evocative lightshow that designer Nico Riot controls with his new ChamSys MagicQ MQ500 Stadium console.
“There is a strong theatrical element to a Marilyn Manson show,” said Riot, the co-owner of Nantes, France-based Chirac Design. “We create a moody, immersive look on stage with saturated colours, lots of strobes and blinders, a large abstract cross of lights, and V-shaped configurations on either side of that cross to draw attention to Manson.”
Riot’s 15-universe show also features a variety of up-lighted backdrops. Not surprisingly, given the artist’s iconoclastic nature, Marilyn Manson’s shows are often unscripted. Manson, who comes on stage in a goth-decorated wheel chair (a result of his recent accident), later moves around on crutches, which he occasionally uses to rearrange.
“Busking is perfect for a show like Marilyn Manson,” said the LD. “Manson can change the songs right in the middle of his performance. He can also flip the set-list. This means that I have to be flexible and ready to override my cue list with direct changes from the Programmers Palettes. All the shortcuts available with the MQ500 are quite handy for smooth busking changes during a song.”
For Riot, the Heaven Upside Down tour represents a continuation of his involvement with Cham
UK - As the want of returning sound designers has become more adventurous by the visit, and sound designs and PA systems have grown in complexity, so Manchester’s Royal Exchange theatre has stepped up to match the requirement by expanding its existing TiMax SoundHub to provide an impressive 48 x 48 analogue and MADI inputs/outputs. The upgrade also included a new Digico SD10T main console and QLab over MADI.
TiMax has been integral to the theatre’s sound control for just over two decades and the main productions appearing at the Royal Exchange have long benefitted from the advanced spatial programming that can be achieved effortlessly in TiMax. Head of sound, Sorcha Williams, who oversaw the last upgrade in 2014 to TiMax2 SoundHub, when the theatre’s original system came to its end of life after 16 years, notes that sound designers accompanying productions from elsewhere are amazed by the difference the Exchange is able to engineer. “Though all the settings remain the same, there’s disparity in the detail we’re able to pick out here and play with.”
The extra capabilities of the embellished TiMax system means the theatre can offer its sound designers greater possibilities with the in-house equipment and keep show budget for very specific requirements or building onstage practicals. With the added advantage of MADI, Williams explains, “We have essentially doubled our output capabilities as not only do we have the 48 channels dedicated to TiMax we also have another 56 analogue outputs from the SD rack and a further 8 on the console itself.
UK - With a prime site off London’s Leicester Square, Studio 88 has opened as a new concept in entertainment, billed as “a non-stop, audience requested, live music experience”.
The brainchild of Alan Lorrimer, founder of The House of Song, the venue features a stage that has been equipped with a premium Martin Audio sound system by W1 Productions, using a variety of the company’s components and control.
Every night, two piano vocalists and accompanying musicians form a six-piece band who play a non-stop repertoire of music through the Martin Audio system - decided only by the customers themselves who populate the 350-seat restaurant.
Both W1 Productions MD, Stuart Turvill, and operations manager, Alan Beck, have wide experience in using Martin Audio systems in their various guises, the latter having first encountered the legendary Philishaves and split bins while running FX Music with brother Dave back in the ‘80s.
“I have always been a Martin Audio person, and so it was a no brainer to specify the brand,” said Beck.
Here, the company has designed an ingenious stage system based on the venue’s extremely low ceiling height. Two XD12, mounted horizontally stage left and right, are complemented by four CDD8 in a pelmet line, which project the sound forward towards the main dancefloor. Low frequency extension is provided by three strategically placed Martin Audio S18 bins, and a further CSX112 sub.
W1 Productions had been recommended to the client by a mutual friend, and Stuart Turvill put together the design after vis
UK - A dazzling array of lighting exhibits and artworks brought London to life in January when Lumiere London took to the capital to bring the biggest ever festival of light to the city's streets. Running from the 18-21 January, it showcased London's spectacular and iconic architecture and streets with more than 50 works created by international and local artists. Once again, event organiser Artichoke has worked alongside Unusual – both the services and rigging division – to make the event possible.
Unusual’s Jim Dugan explained: "Lumiere is always an amazing project for us – Unusual has worked with Artichoke on this for some years now –Unusual Services handles the technical production element of Lumiere (this encompasses all technical aspects of an event from power to building permissions and road closures). Unusual Rigging provide the rigging expertise. When we set out this year, one of our main aims was to try and reduce the impact on London's transport system.
“Lumiere London 2018 had an expanded footprint, extending north to south, from Kings Cross, through Fitzrovia, Mayfair and London's West End, to Trafalgar Square, Westminster, Victoria, South Bank and Waterloo. With this in mind, we started very early on with requesting road closures and agreeing plans with Transport for London."
The second biggest challenge of the event was the ability to handle and monitor crowd numbers. During 2016, Unusual had identified various pinch points in the event and so this year brought on board a crowd management specialist to work
USA - Ilusio, Magic on Ice, a riveting spectacular created by and starring Steve Wheeler, has played to millions of people in more than 4,000 performances across the US, Europe, the Middle East and Asia.
To help light the show when it appeared last fall at The Berglund Centre in Roanoke, Virginia, lighting designer Emiliano Morgia chose Claypaky Sharpys and Sharpy Washes supplied by Lee Hartman & Sons in Roanoke.
24 Sharpys were mounted on four custom trusses built by Wheeler Productions over the show’s ice rink. Ten Sharpy Washes were placed on the floor as back lights.
“Sharpys are unique beams lights. There is nothing in the market that can compete with them – my choice was obvious,” says Morgia. “Claypaky is without doubt my favourite brand in the industry, not only for the high quality of the hardware and the quality of the light beams. Claypaky also offers incredible support worldwide for both technical and sales.”
Morgia recalls being just nine years old the first time he met Claypaky’s Pio Nahum. “When I finally decided to start working in the industry I took Claypaky as my reference and have never had any sort of problem with any of their products,” he says. “I started back in 1990 with Superscans, and I find it remarkable how the company has evolved. Every time I start a new show I think of [Claypaky founder] Pasquale Quadri, who is always present in my heart, since he was a real pioneer in the industry.”
Morgia’s biggest challenge during the show’s design process was “to consider the hug
Nigeria - With an audience estimated at close to three quarters of a million people, The Experience is an inter-denominational gospel concert held annually in Lagos. Convened and hosted by Pastor Paul Adefarasin, the colossal event debuted in December 2006 and is now the largest musical concert in Africa, featuring guest artistes from numerous countries leading the crowd in worship and praise.
Lagos-based CyTech World Communication provided the serious audio infrastructure necessary to deliver speech and music to the vast crowds. Such is the success CyTech have achieved at this unique event that 2017 is actually the fifth consecutive year in which they and their Outline loudspeaker systems have been entrusted with the technical responsibility for reaching every corner of the enormous audience area within the huge 280m × 200m Tafawa-Balewa Square.
A long-standing fan and client of Outline, CyTech’s owner Cyril Utomoibor has in the past deployed numerous Outline products from his inventory for these events including Butterfly, GTO C-12, LAB 21, DBS 18-2, DVS, Doppia, Subtech 218 and others, but for the 2017 event he extended his investment in Outline with the purchase of their flagship GTO system.
Outline’s own Vinnie Perreux was on hand in Lagos in his system technician role and describes how the huge rig was configured.
“I started with the Outline OpenArray1 file containing the system design used in previous years, which I sent to Steve before we flew out and he was happy with it. The 2017 project was designed on OpenArray2 an
South Africa - Two concerts organised by AMP Events at the newly-opened, 10,000-capacity Sun Arena in South African capital Pretoria were chosen to record a live DVD for American rock band LIVE.
LIVE was one of the first bands to tour free South Africa in the mid-1990s after the end of apartheid, and have a loyal and enthusiastic fan base in the country.
The DVD shoot was designed and lit by LIVE’s LD, Synapse Design partner Graham Hicks using nearly 100 Robe fixtures which are part of the house rig. These are looked after by a team from SA production company, MGG, who provide the venue’s in-house technical services.
The two sold-out arena shows were part of the band’s Reunion World Tour, which saw the original line-up back together in 2017 after a lengthy hiatus, and has included a mix of headline dates and high profile festivals like Lollapalooza, Austin City Limits, PinkPop and Ottawa Bluesfest, and sharing the stage with acts including Guns ‘n’ Roses, the Foo Fighters, and the Red Hot Chili Peppers.
These South African shows used a custom, one-off design, Graham explained: “The whole production design, from initial lighting and video plots to final content selection, is something we worked on with the band through the summer. They were great about laying out the elements that were important to them, and the way they wanted the show to feel, both on stage and in the crowd. That gave me a great launching point to draw the show around how the lighting and video need to play together to create that end-result.”
USA - There’s a sense of magic one feels upon entering the century old Ogden Theatre. It’s not just because Harry Houdini appeared there soon after the stately building on Denver’s Colfax Avenue opened its doors in 1917. The transformative aura comes more from some of the special acts that the theatre has hosted over the years, like the two shows that Prince performed in Ma, 2013 (his last in Colorado). Closing his concert by leading the audience through the chorus of “Purple Rain,” the rock great asked, “Does that feel good?” Then answered, “It’s like medicine.”
The healing power of music, along with ample amounts of magic, were in the air at the legendary theatre in late December, when world music collective Nahko and Medicine for the People performed a blend of music that seamlessly wove in elements of jazz, gospel, rock, reggae and other genres. Fitting the vibe of the music was a subtle but colourful and constantly changing lightshow that Alec Szuch controlled with his ChamSys MagicQ MQ100, with an Execute Wing and Extra Wing, supplied by Synaesthesiax.
“Alec is an emerging talent, and we were happy to provide him with this console,” said well-known LD and Synaesthesiax owner Jonezy Lights Jones. “We have owned that MQ100 for five or six years; it’s a durable workhorse. It’s travelled all over North America, Japan, the Philippines and Europe. It’s good to see what Alec is doing with it.”
Szuch, who designed the show in addition to programming it, says that running his console has been a pure pleasure. “Workin
UK - In one of the company’s biggest ever projects in the UK, J&C Joel, helped keep sound in check by installing their acoustic solutions in the Royal Birmingham Conservatoire’s performance spaces.
The £57m facility is an international music and drama academy, which is part of Birmingham City University. It has over 500 students on undergraduate, postgraduate and research programmes, as well as a junior department of over 200 students. In 2015, renowned cellist and conductor Julian Lloyd Webber was named as Principal.
The Conservatoire has moved to a new building adjacent to Millennium Point, where Birmingham City University already has a campus. The new building includes The Concert Hall – a 500-seat concert hall with a large stage, to accommodate a symphony orchestra. Other venues include The Recital Hall with retractable seating, The Lab, a cutting edge, completely flexible black-box studio, and Eastside Jazz Club, the first permanent jazz space in any UK conservatoire
For the multifaceted project J&C Joel provided an array of stage engineering and acoustic solutions for The Concert Hall. This included 24 acoustic concertina banners, rolling beams, moving stage, temporary demountable forestage and an acoustic reflector rigging system.
One of the most important aspects of the job was the acoustic properties in the performance spaces. To improve the acoustics in The Concert Hall, 24 acoustic concertina banners were installed ranging in size from 2.2m wide to 4.5m wide.
The banners were manufactured by the in-house fabri
Namibia - Jazz and soul singer and songwriter Joss Stone visited Namibia for the first time - and for one night only - as part of her on-going Total world tour, making an appearance in the intimate environs of the Warehouse Theatre in vibrant capital Windhoek.
This much anticipated, high-profile and instantly sold-out gig – which saw Stone play a duo set accompanied by acoustic guitarist Leon Michael King – needed to be lit beautifully and appropriately, a task for which the theatre called on the talents and creativity of LD Ramon le Roux of A&R Technologies.
Ramon chose to augment the house rig with Robe moving lights, supplied by Windhoek based rental company dB Audio, and he specified 12 x Robe Spiiders for the main wash fixtures and seven 600E Spots for the hard-edged luminaires, all rigged on the house trusses.
Ramon’s industry career started at the Warehouse Theatre, and he worked there as resident LD and lighting systems tech for around three years before spreading his wings, an experience that means he is well acquainted with what will and won’t work in the space.
For front generic lighting, he utilised three 25-50 profiles and a couple of 2K Fresnels gelled in CTB, which easily covered the space, together with a dozen of the theatre’s LED and conventional PARs. For atmospherics, they also hung a collection of dimmable lightbulbs at varying heights in the roof above the stage
Ramon received a brief from Joss Stone’s production team which included keeping it simple and straightforward, nothing too busy or
USA - The Winter Jam Tour Spectacular, Christian music’s largest annual tour, is travelling the East Coast with a lighting package provided by Bandit Lites. The evening of worship and fellowship features performances and messages from Christian music’s top artists and speakers including Skillet, Kari Jobe, NewSong, Jordan Feliz, John Crist, Nick Hall, KB and Building 429.
Due to the number of acts taking the stage, production manager Jerry Holcomb designed a lighting system that offered plenty of options for various looks, while balancing budget and flexibility. “Because Winter Jam allows each artist full access to the rig, we need to have enough depth and variety to allow for different programming styles,” said Holcomb. “Also, because Winter Jam is seated end stage 360, leaving open sight lines in always a concern.”
Bandit Lites provided more than 200 fixtures for the production, including Martin Atomic 3000 strobes, VL 3500 Washes, GLP X4, GLP X4S, GLP X4 Bar 20 and Chauvet Rogue RH1 Hybrids.
The stage is comprised of several levels and depths, meaning that no matter where someone is seated, they get a good view of the spectacles. GLP X4 Bar 20 fixtures line the upstage edges of every layer, accentuated by more Chauvet Rogue RH1 Hybrids, and depending on the venue, more Hybrids are placed on the upstage concourse, giving another layer of depth.
This year’s design also incorporated audience trusses loaded with GLP X4s, Chauvet Rogue RH1 Hybrids and Martin Atomic 3000 Strobes, bringing the stage look out over the au
USA - Charlie Puth hasn’t had much downtime since the release of his debut album, Nine Track Mind, in early 2016. The breakout pop singer hit a number of major markets for the first time on his most recent North American tour alongside Shawn Mendes, and utilised Adamson Systems Engineering’s E-Series and S-Series loudspeakers.
The tour marked FOH engineer Liam Clifford’s first outing with an Adamson system. He says: “I loved the vocal clarity in the E-Series more so than any other box I’ve mixed on. That’s the most important thing to me, especially when mixing a pop artist. The other big plus is the amount of headroom we had. FOH was often between 140ft and 160ft from the PA every day due to a B-stage located where FOH would typically go. Even at this distance, it felt like the PA was right in front of me.”
The typical configuration on the trek, which hit major arenas in 28 cities in the U.S. and Canada, had main hangs of 15 Adamson E15 three-way, true line source enclosures and three E12 three-way, full range enclosures per side. The complementing left and right sub hangs were each comprised of eight E119 subwoofers. Also, in the air were a pair of side hangs comprised of 12 E15s and three E12s each.
“The single 19-in. subs were new to me, though I really liked the way they coupled with the E15s,” Clifford adds about the E119s. “I had a great low-end response and even coverage from front to back without slamming the first couple of rows with low end.
“We made a great impression on this tour, and a lot of that had
South Africa - DWR Distribution’s initiative SOS Charity Fund helped secure bedside lamps and other lamp fixtures for The Hope School in Westcliff, Johannesburg.
The school provides education for around 200 students - from the age of three to those in grade 12 – with physical disabilities and disadvantaged backgrounds.
Recently a company approached the Hope School to assist them with the refurbishment of the hostel bathrooms. They then took it a step further and generously decided to upgrade the girls’ dormitory with new furniture, bedding and curtains. All that was needed was mattresses and lamps.
The receptionist at the school, Val Rogers, who assists with fundraising, was set to task and sent out e-mails to various companies. She wrote: “Our school tries as best we can and we do have a programme, which enables families with a need. On Fridays, the identified children get food parcels to take home with them. We have a lot of wonderful hardworking therapists at our school who assist the children and the results speak for themselves. That said, our school is nearly a hundred years old and due to this, we have some areas that need assistance. There is a project in progress in our girls’ hostel and I am asking if you could help by sponsoring our school with the possibility of twelve bed lamps.”
It seemed a small request and the SOS were glad to help. As additional dormitories are revamped, the SOS has pledged to supply additional lamp fixtures.
DWR has put out an invitation to the pupils from the Hope School to visit its offi
UK - An investment in a pair of 7,000lmPanasonic projectors has enhanced the University of Birmingham’s drama students’ adaptation of the book Looking Backward by Edward Bellamy.
With the requirement for a projector that could achieve a high level of output to cut through stage lighting plus project onto two different surfaces during performance, the University of Birmingham went to Stage Electrics for guidance.
Stage Electrics’ Paul Lucas liaised with the Universities Drama Department to interpret their requirements. He says: “It became apparent that the department wanted to acquire professional technical equipment that exposes students to the leading brands and technology. They needed projectors that could be used for full performances, delivering a high-quality presentation whilst still being portable enough to move between their various spaces and studios; I knew Panasonic’s PT-DW750 was exactly what the university needed”.
The PT-DW750 has an operating noise of just 30 dB which makes it suitable for noise-critical situations, along with image projection quality, a single chip DLP and 7,000 lm, Stage Electrics knew that this projector would be the tight fit – a choice Phil Speck, a technical tutor and lighting designer of the University of Birmingham’s Drama Department, agreed with.
“As a department, we could not be more pleased with the PT-DW750’s and the variety afforded by the options of control and input,” reports Phil. “Stage Electrics were great in listening to all the requirements we had and provid
USA - Dallas-based technology design firm Idibri was chosen to design a new sound system for the Alamodome, the City of San Antonio’s 65,000-seat multi-purpose facility.
The PA specified was the L-Acoustics’ K2. Installed by LD Systems’ integration division, the new system is now composed of 76 K2 boxes and a dozen KS28 subwoofers powered by LA8 and LA12AX amplified controllers, with fill support from X8 coaxials on the club level.
“The Alamodome is a huge venue with some very real acoustical challenges, but you still want to give every seat the same great experience,” says Ray Givens, sales engineer and project manager for LD Systems, on the Alamodome sound system renovation. “The K2 lets us get excellent coverage and meet the SPL requirements of every game, including the Final Four - which will get really loud - without sacrificing speech intelligibility.”
He adds: “L-Acoustics is developing the same kind of reputation in sports venues as it has in live music,” says Givens. “It puts the sound right in front of the fans in the stands, no matter where they’re sitting. Upper bowl or lower bowl, you don’t feel like the sound is coming from some distant place. It puts you right up close.”
Ryan Knox, senior consultant at Idibri, points out that the Alamodome’s new sound system designs began with modeling in L-Acoustics’ Soundvision, the first 3D sound system design program capable of operating in real time. Beyond the main K2/KS28 arrays, the design was able to determine precise locations for the X12, X8 and 5XT speak
USA - Despite record-setting freezing temperatures, professional football fans had a lot to cheer about during Super Bowl 52 as incumbent champions the New England Patriots faced off against the Philadelphia Eagles for the coveted national title - which drew over 100m viewers and 67,612 live audience members.
Pink set the tone for the evening with a dazzling one-minute, 53-second rendition of The Star-Spangled Banner, sung through her Sennheiser Digital 6000 wireless microphone system.
On a night brimming with excitement and anticipation for the two teams and fans around the world, Pink exuded both confidence and class, sweeping listeners through an unforgettable performance of the US national anthem - with every emotional nuance of the famously difficult 19 semitone song captured in detail by Sennheiser’s Digital 6000 wireless system.
“For an artist whose vocal performance is so well renowned, it is important for us to have the ultimate equipment specification both on tour and during the Super Bowl,” said Jon Lewis, monitor engineer for Pink. “We have a very strong relationship with Sennheiser, and the Digital 6000 enables us to attain the best digital audio quality as well as dependable RF.”
The Pink team has been using the Digital 6000 system over the last several months while touring, and appearing on high-profile television programmes and award shows such as Saturday Night Live, the Grammy Awards, the Video Music Awards and others.
During her performance of The Star-Spangled Banner at this year’s S
UK - A.C. Entertainment Technologies Ltd. (AC-ET) has supplied Dynamic Audio Device (D.A.D) loudspeakers to the Victoria Theatre, Halifax to provide high fidelity professional stage monitoring for performers during the venue's diverse programme of shows and other live events.
Built in 1901, the 1,512-seater venue caters for everyone; from no-holds-barred rock 'n' roll, chart-topping pop, ballet and opera, to comedy, family shows, musicals and the annual pantomime.
The speakers were supplied as part of a full upgrade to the theatre's audio system, with the sale handled by Steve Eaton, senior sales executive in AC-ET's dedicated audio division.
Following a site visit to discuss the client's technical needs and budget, Steve recommended the D.A.D speakers as a very cost-effective solution for delivering stage monitoring to complement the high performance of their new PA system and control desk, whilst enabling them to stay within their budget for the audio upgrade.
Steve supplied four D.A.D Touring Power series Touring12MA speakers to be used as front wedge monitors, and four D.A.D Fusion series Fusion12A speakers to provide side-fills - all flightcased.
Steve commented: "The D.A.D. brand came to AC-ET's attention four years ago due to its high performance at a very attractive price point, which we feel represents a new level of value for venues, installers and rental companies alike. For those looking to stretch their budget further without having to compromise on quality and performance, they should definitely catch a demo of the D.A.D.
USA - Famous lives are often the focus of exhibits at The National Museum of African American History and Culture and its neighbour, The National Museum of American History. But rarely do these two prestigious institutions, which are part of the Smithsonian complex, roll out the red carpet for heroes quite like those who were honoured this January at DC in DC. Held over the Martin Luther King holiday weekend, the two-day event celebrated super heroes with the world premieres of the Black Lightning television programme and the animated Batman film Gotham by Gaslight.
At the after party for the pop culture extravaganza, lighting designer Elizabeth A. Coco set an appropriately festive and glamorous tone with a sparkling atmosphere. Adding to the ambience was the colourful uplighting she did at both museums with a collection of Chauvet Professional WELL Fit fixtures, supplied by Atmosphere.
Coco positioned the battery-powered WELL Fit units throughout the venue, including 18 in front of The National Museum of American History, 12 in the main hallway of the museum, and four in the Warner Bros’ theatre lobby, as well as 12 by the VIP Red Carpet in the Museum. An additional 48 WELL Fit fixtures surrounded the interior of the African American museum’s Heritage Hall. Coco was able to create a consistent colour palette at the event. Mostly, she used the RGBA units to render deep blues and purples that accented the evocative urban superhero theme of the after party, with deep yellow accents.
“Without question, the colours we got fro
UK - Using SGM’s P-5s, director of Teknique Systems Ltd., Tony Kennedy, created a magnificent colour changing lighting system on the exterior of the most popular museum in Glasgow, the Kelvingrove Art Gallery and Museum.
“We chose to add 18 SGM P-5 fixtures because we wanted to use a quality LED fixture that was reliable, energy saving, and compact,” said Kennedy, who worked on the installation together with City Building Glasgow.
With over 40 years of industry experience, Kennedy designed a new cost-effective lighting system with a wireless pre-programmed control system, enabling the staff to easily colour change the building for special events.
“Our vision was to upgrade the existing lighting to a new modern LED system that would allow our client to keep the lighting colour temperature the same as the old fixtures, but have the advantage to be able to colour change the building for any special events or anniversaries at the touch of a button,” explained Kennedy.
Kelvingrove Art Gallery and Museum is one of Scotland’s most popular free attractions, featuring 22 themed galleries with a variety of exhibitions and displays. For this iconic building built in 1901, Kennedy underlined the importance of remaining sympathetic to the magnificent architecture and choosing the appropriate lights.
“We have been using SGMs P-5s since they first launched, and have found them reliable, versatile with various lens options, compact, bright, and easy to use with the wireless capability on board. SGM also offers a great service as well as
Europe - In 2018 the Ehrlich Brothers are once again touring large arenas in Germany, Luxemburg, Austria and Switzerland with their latest show Fascination. The two brothers, Andreas and Chris Ehrlich, have developed a spectacular show featuring illusions in which high-tech stage equipment plays a major role and that is packing some of Europe’s largest halls and stadiums.
On their current tour, for example, the Ehrlich Brothers are making an eight-ton, 2,000 BHP monster truck materialize on stage out of nothing as well as "teleporting" individual spectators right across the hall.
To realise a production of such complexity, the Ehrlich Brothers have been relying on chain hoist systems and controllers from Movecat. To replace the kinetic systems previously used, Ehrlich Entertainment GmbH invested in Movecat‘s VMKS chain hoists, V-Motion-E variable motion controllers and I-Motion Basic-C show controllers.
The Movecat VMK-S chain hoists, which comply with BGV C1, DIN 56950:2012- 05 and EN 61508 SIL 3, are notable for their innovative technology and ultra-flexible handling whilst meeting the highest safety standards. Henceforth, Ehrlich Brothers productions will employ seven special versions of the VMK-S-1000 model as climbing hoists capable of lifting loads of up to 1,000 kg safely through distances up to 24m.
In combination with the VMK-S chain hoists, the Ehrlich Brothers are relying on seven Movecat V-Motion- 40-E-SIL3 variable motion controllers in their ‘E’ configuration. Unlike the basic version, these are equipped with spe
USA - Showtime Sound LLC, Kevin Hart’s regular production company, recently met the challenge of a special in-the-round setup for his New Year’s Eve appearance at Orlando’s 10,000-seat CFE Arena. This challenge was tackled with help from Chauvet Professional Rogue and Nexus fixtures.
“There are different situations to deal with when you have a 360° open stage,” said Zack Bunner, head lighting tech at Showtime Sound. “We were able to use the fixtures in our rig to create a sense of space onstage, surrounding Kevin with light without interfering with the connection you get from the open layout. Working closely together with Kevin’s lighting director Ken Delvo, Showtime project manager Brett Angstadt did an excellent job designing the rig so we could achieve the balance we were looking for.”
The team from Showtime used 12 Rogue R2 Wash fixtures and 16 Nexus 4x4 panels to create the engaging look. They positioned the Rogue units on horizontal truss bars suspended 30’ over the 24’ x 24’ centre stage. Drawing on the fixture’s tight beam angle, they focused light on the stage truss, washing it in whites and an array of colours. They also used the Rogue fixtures for audience lighting.
“Our bread-and-butter fixture is the R2 Wash,” said Bunner. “We used this as a great crowd wash, as well as a stage wash throughout the show. The zoom is so versatile we were also able to use the light for various beam looks. As a crowd wash, it illuminated those in attendance, allowing our artist to see them and connect, without blinding anyon