USA - Excitement for ABC-TV’s Academy Awards show built well before the telecast began with the arrival of celebrities captured by the Oscars Opening Ceremony: Live from the Red Carpet. The pre-show, held on famed Hollywood Boulevard outside the Dolby Theatre, featured for the first time Claypaky K-EYE K20 HCR LED wash lights selected by lighting designer Madigan Stehly.
Stehly has worked on the Red Carpet show for the last five years. This year marked his first in the lighting designer’s seat. He describes his brief for the live broadcast as “daylight reinforcement” since the show leads into golden hour, which “quickly changes the intensity, quality and colour of light” as the sun sets.
“The whole Red Carpet is the show, not just the defined interview stages,” says Stehly. “Celebrities arrive and interact with each other – that’s part of the broadcast as well. Viewers see the step-and-repeat in the background. There can’t be a jarring change between the stage and the Red Carpet or between one stage and another as we constantly fight to keep up with the sun. Each light in the rig is placed with a specific purpose of creating a consistent environment around the carpet.”
He reminds us the show presents all the challenges of a live production, too. “Sometimes we’re on script, sometimes we don’t know what will happen next but we always have to be ready react quickly.”
This year’s show featured “a major change to the position and format of the main stage - where the bulk of the show is centred,” Steh
UK - New Robe MegaPointes and LEDBeam 150s, purchased by SJ from Birmingham UK based rental and technical specialist DMX Productions, were used to spectacular effect in lighting the 2018 Voice in a Million (VIAM) extravaganza which was staged at London’s SSE Wembley Arena. VIAM amasses some of the largest children’s choirs in the world.
The Voice in a Million organisation was founded by Robert and Jo Garofalo in 2006, to raise awareness of the millions of children worldwide who are orphaned, abandoned or separated from their birth parents. In 2009 the VIAM shows began to showcase children’s choirs from around the UK. Now these annual shows are full scale arena concerts with some of the largest children’s choirs in the world, this year comprising 10,000 children’s voices.
DMX productions, for the second year, supplied lighting and all other technical elements – including audio and video - for this year’s VIAM Wembley event. The lighting was designed by Tom Grant and operated by Jack Pettit.
A network of flown trusses was installed in the venue’s roof, and the 16 x MegaPointes were hung on sections of super-truss. The 44 x LEDBeam 150s were attached to vertical ladders around the side of the stage as well as on a V-shaped truss upstage.
From these positions, the whole stage could be lit up.
The MegaPointes were used extensively in both spot and beam modes and, being so effective in both modes, in addition to the wash functionality, it meant that using them could actually reduce the number of units needed … withou
UK - Students from the University of South Wales Lighting and Technology department, who were given the opportunity to operate the lights for a music video shoot by The Haus Band at The Wales Millennium Centre last month.
The students got to use a variety of consoles, including a ChamSys PC Wing to run a David Howard- and Dominic Boston-designed rig that featured over 50 moving lights, including Chauvet Professional Maverick and Rogue fixtures. Aside from getting the chance to operate this impressive gear, the students garnered valuable insights into the lighting design process.
“It was really nice to lead a project with students from conception, though programming and production, to completion,” said Howard. “It’s something I had not yet done on a university project of this scale. It was also nice to see pre-visualised programming come to life on a real rig, something ChamSys Magic Vis allowed very easily. The process took students through the whole design process, providing insights into real world practices.
“The process emphasized the importance of helping clients achieve their vision. “The Haus Band wanted a big festival look for the video shoot. Yet budget limited what could be included in the rig,” said Howard. “What's more, this look had to be created without the benefit of a video wall – and it had to be done in a set space.”
Howard and Boston addressed this challenge by breaking from tradition and eschewing standard horizontal truss looks. Instead, the designers went with a more angular truss configuration that
Malaysia - Goldenduck International recently outfitted the newly-opened MBO The Starling Mall with end-to-end cinema surround audio systems by Harman Professional Solutions.
Founded in 2005, MBO Cinemas operates 27 complexes across Malaysia, making it the third-largest chain of movie theatres in the nation. The new state-of-the-art facility at The Starling Mall in the Kuala Lumpur suburb of Petaling Jaya offers a wide range of movie-going experiences, with revolutionary theatre formats such as MBO Big Screen, MBO Premier, MBO MX4D and MBO Kecil.
In order to ensure pristine surround sound reproduction, MBO Cinemas hired cinema sound integrator Goldenduck International to outfit MBO The Starling’s ten theatre rooms with premium cinema audio systems. Goldenduck selected a complete cinema audio solution comprised of JBL ScreenArray Series cinema speakers and Crown amplifiers.
“We are extremely honoured to be involved with MBO’s flagship project at Starling Mall,” Sittiporn Srisanguansakul, owner, Goldenduck. “MBO asked us to design audio systems for each theatre that would provide guests with consistent and impactful cinematic audio at every seat. We used JBL Screen Array speakers to achieve that goal, resulting in an immersive audio experience for all guests at Starling MBO.”
The Harman system installed in the large-format MBO Big Screen theatre includes 27 JBL 4732 ScreenArray three-way cinema speakers. The four-way speakers are supplemented by 27 JBL 4732M/HF mid- and high-frequency speakers, while 27 JBL 4739 low-frequency cinema
USA - Steven Wilson is out on tour with a lighting package provided by Bandit Lites, bringing his ever-evolving sound to audiences around North America. The English musician and singer-songwriter released his fifth studio album To the Bone in the fall of last year, and while lighting director Tellson James is apt to note that Steven’s sound dictates the lighting, he also works to make sure the mood of the lighting matches the songs.
Bandit Lites is supplying Martin MAC Viper Profiles, GLP JDC1 Strobes, Clay Paky B-EYE K20, a Road Hog for control along with Chauvet VIP X6iP Video Panels.
With each venue featuring its own lighting fixtures, James shared how the Bandit-supplied package is crucial in crafting a consistent look that is still adaptable no matter whatever unknown factors the venue is going to throw their way.
“The B-EYE s offer something that no other fixture can achieve: All the usual stuff plus, great colors, super bright, huge zoom range and a multitude of ‘good’ built in effects,” noted James. “And the JDC1s are one of the best new fixtures that have come to the market recently, with their great colours, the ability to break down the pixel groups, super bright, and really, really bright white strobe which can be broken down into pixel groups, too! Oh yes, and it tilts.”
“When I first began working with Dave Salt and his team I was struck by how professional and focused this organization is,” said Bandit’s vice president Mike Golden. “Dave made a point of bringing Daniel Oswalt, their technician in
USA - With total album sales topping 12m and more than 35m singles sold, Imagine Dragons continue to soar – and the Las Vegas band’s epic live gigs no doubt play a significant part in its swift ascension into ‘arena filler’ status. Last year witnessed the four-piece thunder its way through North America, wowing fans on the first leg of its Evolve World Tour which started in Phoenix, Arizona and is scheduled to conclude in Kiev later this year.
This opening stage of the global outing, in support of the band’s third studio album Evolve, comprised 31 North American dates and SRae Productions – owned and operated by Sooner Routhier and Robert Long – used a trio of Hippotizer Boreal Media Servers to control a stunning array of 30 LED pods. Mounting the pods on a brace of automated Axis the SRae team used four projectors to shoot on to physical roll drop units.
The three Boreals – two active, one acting as back-up – received location data via PSN information fed from Raynok Automation software. Here, Green Hippo’s SHAPE proved invaluable.
Matt Geasey, technical director of SRae reports: “We really enjoy the SHAPE function of Hippotizer, which quickly aligns and builds the show while utilising multi controller to accept and manage different pieces of information coming into the system. The ability to quickly adjust the SHAPE file while the system is online, and then sending the new file into the system is really handy for live implementation.”
SRae’s Green Hippo machines at the Imagine Dragons gigs were running
Poland - The new Karova Club in Warsaw has opened, with an advanced technology infrastructure. As a central component of the AV fit-out, Phono Media, Martin Audio’s recently-appointed Polish distributor, supplied system integrator, LFX, with a CDD (Coaxial Differential Dispersion) and BlacklineX solution to fulfil the owners’ request for the Martin Audio brand cachet.
Explains Phono Media director Jacek Stanislawski: “This is a brand new club and the owner approached them for a quotation, believing that Martin Audio would be a perfect solution for the club sound. The owner, Marcin, has a lot of knowledge and passion for sound and he demands the same high quality as he would expect at home. His goal was to provide hi-fi quality to achieve the same result with classic club music.
“Once LFX had made a presentation, showing references of installations at the Ministry of Sound and fabric - and we had carried out a listening demo with CDD -they were sold.”
The 400-capacity venue is divided into two DJ booths and four other music zones, including a VIP area, patio smoking room.
To achieve even coverage throughout they proposed four CCD12 and four CSX118 subwoofers as the main dancefloor sound. For stage sound they provided four Blackline X8 and Blackline X210 sub.
Project managing the installation were Jacek Stanislawski and LFX owner, Maciek Karczynski. Lukasz Rybinski was responsible for tuning the system, using Martin Audio’s proprietary VU-NET, along with Smaart software.
In summary, Stanislawski said, “The CDD speakers
UK - Really Creative Media, digital and live production company, created live performance visuals for Friendly Fires’ one-off comeback gig at O2 Brixton Academy, 5 April.
Machine Management, brought in Really Creative Media’s video expertise to ensure Friendly Fires’ first UK gig in five years delivered maximum visual impact.
“Having worked with Clean Bandit since 2016, who are also with Machine Management, we knew the artist team at Machine,” commented Nick Dew from Really Creative Media.
Over the course of one month, creative director Jack James brought the bands’s‘psychedelic’ content vision to life, generating original footage filmed in-house during a series of one-day shoots followed by post-production editing.
Jack explains: “The band expressed a keen interest in us using practical effects such as ink droplets into water rather than trying to imitate effects through animation. We built a filming rig in-house, which allowed us to suspend high-speed cameras with macro lenses as well as the associated lighting kit in any position around our effects setups.
“We then used a variety of techniques such as dropping ink into petri-dishes of milk and water, and pushing air through liquid to create bubbles and continuous flow patterns. Different tactics like synchronising droplets of ink with the music and the use of speaker coils to affect the movement of liquid helped to create a range of visual looks to suit different songs throughout the hour-and a half set. It was quite an undertaking.
“This was a rewarding gi
UK - Sound Space Vision (SSV) acousticians and theatre planners worked as consultants with architects, MUMA, to provide an innovative and sustainable community space for Storey’s Field Centre at Eddington, on the University of Cambridge’s North West Cambridge development.
Storey’s Field Centre is the dynamic hub of the community of Eddington, a new neighbourhood under construction as part of the North West Cambridge development. The Centre is a civic building in the heart of the new development and encompasses meeting rooms and a large multi-purpose hall for exercise classes, lectures, music of all genres, local festivities and events alongside a nursery.
SSV joined the project to support the range of uses both in the acoustical design and the noise isolation and the activity-led design and specification of the technical fit-out of the building.
MUMA designed the main hall with a high level of design and finish, and SSV created several bespoke technical solutions to optimise the hall and contribute to its overall aesthetic. At once dramatic and pragmatic, the hall is the Centre’s primary public space, holding up to 275 standing and 180 seated.
Given the hall’s rectangular shape and the Centre’s mandate for a varied and active schedule, SSV envisioned a space that was adaptable, flexible, and, crucially, easy to operate by its users. It is a stylish, light-filled, three-storey space with refined acoustics and production fittings and fixtures that are well-detailed, discreet, adaptable and hidden within the architecture.
France - Dushow, one of France’s leading technical production companies, has invested in 20 of Robe’s RoboSpot remote follow spotting systems.
Dushow’s commercial director Christian Lorenzi commented, “We see this as a big innovation in the follow spotting world. It’s very flexible and gives everyone involved in staging all types of shows many more options.”
The RoboSpot system comprises a BaseStation and a MotionCamera that communicate via DMX with no latency and enable several of Robe’s most popular moving lights – including, currently, the BMFL Spot, BMFL Blade, BMFL WashBeam, DL7S Profile, DL4S Profile, MegaPointe and Pointe - to be controlled from anywhere in a venue or space.
The RoboSpot MotionCamera is available either as a separate unit or integrally on the BMFL Follow Spot fixture, a modified version of Robe’s signature high powered luminaire. A video stream sent to the BaseStation allows the operator a ‘first person view’ of the performers onstage.
This can enhance the look of the show or presentation by enabling very tight and controlled spotlight beams and enables LDs, designers and show directors to position follow spots in positions where it would not be practical or physically possible to have an operated follow spot.
The 20 x Dushow BaseStations and 20 x MotionCameras – each of which, using the latest software release, can control up to six Robe fixtures – were purchased for three specific tours, and will now be available in rental stock.
Lighting designer Thomas Dechandon utilised three
UK - The hit musical, Hamilton opened at the end of December to sell out audiences at the Victoria Palace Theatre in London. Prior to its opening, the venue underwent a complete facelift to prepare for the show, with everything from the decor, the seats and the uniforms of the staff tying in with Hamilton. As part of the refurbishment, Unusual Rigging was brought on board to rejuvenate the theatre's 'tired' flying system as well as to provide rigging services for the show itself.
Jeremy Featherstone of Unusual explained: "The flying system at the Victoria Palace Theatre had become life expired due to many years of use. For Hamilton, Unusual was asked to refurbish fifteen counterweight sets that were needed for the show. Essentially, all the moving parts and ropes were replaced during the pre-rig period and the opportunity was taken to lengthen some of the cradles to increase their capacity to balance some of the heavier lighting bars."
With the venue shut, rehearsals for the show had to take place off site. Chris Boone, production manager for the show said: "We did an out of theatre set up with pre-rig at Set Up Scenery in Cambridge. With Unusual providing over 30 motors, we test built the whole site there."
A major part of the installation within the theatre focussed around the lighting rig, with eight counterweight flown LX bars and an integrated LX truss and catwalk system which hangs over the stage. This catwalk system weighed in at around 9000kg when fully loaded and this weight was spread over 18 points.
UK - Part of this year’s Barbican OpenFest saw a major new Culture Mile light and sound installation take place in the Beech Street tunnel, opposite Barbican Underground. Culture Mile presented Tunnel Visions: Array which transformed the tunnel into an audio-visual performance space combining cutting-edge projection and sound technology with the Barbican’s distinctive brutalist architecture.
Created by Tony Award-winning artists 59 Productions led by director Richard Slaney, co-produced with the Barbican, and with music by composer/conductor Esa-Pekka Salonen, Tony and Olivier Award-winning sound designer Gareth Fry was commissioned to create a multi-channel spatial sound design for the immersive multimedia art project, using TiMax SoundHub-S64 spatial audio matrix and playback engine.
TiMax directed the audio playback of 30 channels of audio stems and effects tracks from its on-board playback engine, including SMPTE timecode, making for quick and complex rendering of spatial pan effects, multitrack mix automation and precise synchronisation with visual content.
TiMax input parametric EQ proved invaluable for source sweetening of the multitrack audio stems derived from raw live microphone recordings of the composition piece. Salonen’s Karawane – written in 2014 – was previously recorded by the BBC Symphony Orchestra and Chorus in concert at the Barbican Hall as part of a BBC Total Immersion Day.
Using a dedicated SMPTE timecode track striped onto its internal SSD drive, TiMax controlled and synchronised a stack of Disg
UK - It is 35 years since Dreamgirls first hit Broadway. It was a sensational success then and the latest production at London’s Savoy Theatre is equally so.
Sound designer, Richard Brooker, wanted an analogue sound to the audio, in keeping with the show’s 1960s/70s setting, but also wanted to benefit from today’s digital technology. He specified a DiGiCo SD7T to handle Front of House mix duties, which has the warmth of sound he was looking for with all the advantages of the digital domain and the theatre-specific functions of DiGiCo’s ‘T’ software.
“No other manufacturer has put the time and effort into understanding the strange idiosyncrasies of the theatre world,” says Richard. “The SD7T has functions that are imperative when you’re working on musicals and that’s because the guys at DiGiCo talk to us, the people that use them, and make them work the way we need them to.”
Dreamgirls is the story of The Dreams, three talented young singers who embark upon a musical rollercoaster. They experience the realities, both good and bad, of show business, which tests their friendship to the very limits.
“The show is set at the end of the 60s, just running into the 70s and the disco era,” says Richard. “Stylistically, music changed quite a lot during that period, as did technology in the recording industry. Because of that, I didn’t want to do anything fancy with plugins or the like; I wanted an analogue show that wasn’t actually analogue. I use the SD7T’s onboard dynamics because I love them but, othe
USA - Allen & Heath dLive Digital Mixing Systems were in use on multiple Coachella Valley Music and Arts Festival stages in support of a diverse line-up of musical acts and production needs.
Launched in 1999, Coachella has grown into a premier music and arts festival, grossing over $114m and drawing over 250,000 attendees annually. Coachella 2018 saw a large number of dLive artists on the line-up, including BØRNS, Hayley Kiyoko, Nile Rodgers & Chic, Nothing But Thieves, PVRIS and The Neighbourhood.
Praised for its intuitive workflow and tiny footprint, the dLive C1500 Control Surface was a popular choice across Coachella festival stages. The C1500 is the first rack-mountable surface for the dLive system. Packed in a diminutive frame are 12 faders over 6 layers, built-in audio I/O, an audio networking port and a 12" capacitive touchscreen. All dLive Control Surfaces pair with a MixRack to deliver 128 input processing channels, 16 stereo FX returns and a configurable 64 bus architecture, all at 96kHz, while providing class-leading latency of 0.7ms.
Michael Bangs, Allen & Heath USA live sound touring manager commented, “Sometimes coming into a festival environment as a visiting artist is a real pain — getting a large mix surface into the FOH position is frequently just impossible. We saw many acts bypass this limitation with the dLive C1500, carrying in a flyable 19” wide desk with the horsepower and capability of desks literally 4-5 times the size.”
In addition to traditional FOH/monitor console support with dLive, compact
Europe - British Electronic Dance Music (EDM) pioneers, Orbital, reunited last year to the delight of music fans world-wide after five years apart following separate projects. Brothers Phil and Paul Hartnoll are currently touring their reunion show across Europe.
Lit and stage designed by the band's long-term lighting designer Jonny Gaskell, the show features an array of lighting effects from the Claypaky A.leda B-EYE K20 and Claypaky Stormy CC.
Known and loved for their moments of on-the-spot improvisation during live shows, Orbital can be a challenging act to light for even a seasoned designer. However, Gaskell has worked with the brothers for over 25 years and is confident in optimising the lighting for their performance style, as well as realising their creative input.
"We know each other well and are able to bounce ideas off one another to really develop the show," says Gaskell. For the reunion tour, Gaskell and the band designed a video-heavy set featuring solar eclipse-inspired digital content created by Orbital's long-standing content creator, Giles Thacker.
"I wanted to place the boys within the video content itself - surrounding them in an immersive video and light environment," says Gaskell. "I raised the central riser to allow for a substantial amount of screen below their performance platform, and I designed a further two screens to go behind and above them."
Discussing his lighting fixture selection, Gaskell says, "We are using a lot of video content on stage, so for the lighting we need fixtures that are bright enough to c
USA - Veteran lighting designer Kelly Easterling of Quantum Creative Studios recently deployed Martin by Harman MAC Encore Performance fixtures to create an intricate lighting design for The Secret Silk a Broadway-style musical which debuted on the Princess Cruises ship Royal Princess in February.
The Secret Silk was brought to life by a talented team of industry veterans, including Director John Tartaglia, executive producer Stephen Schwartz (creator of Wicked, Pippin and Godspell) and supervising producer Jayson Raitt from Quantum Creative Studios. The stunning set design was created by three-time Tony Award nominee Anna Louizos, with lighting design by Easterling, video and projection design by Aaron Rhyne, costumes by Tony Award-winner Clint Ramos, and animal puppets created by the Jim dHenson Creature Shop.
Based on a Japanese folk tale called The Crane Wife, the lighting design for the production is particularly complex. The puppets, actors and scenery are in constant motion, and the lights must change rapidly to highlight or obscure different areas of the stage. Furthermore, space was limited due to the ship’s permanent lighting system, so the lighting package needed to deliver a wide range of looks in a compact footprint.
To meet these challenges, Easterling began looking for a compact and versatile LED fixture with fast shutter speeds. During pre-production, Derrin Brown, manager of production services at Princess Cruises, recommended the new Martin MAC Encore Performance, a full-featured, LED mo
USA - Launched in February 2018, Brilliant! is the latest addition to the popular Neon Museum Las Vegas, featuring an augmented-reality A/V system designed, installed, and programmed by Earth Water Sky of Las Vegas.
Combining art, history, and technology, the innovative Brilliant! neon experience, featuring 40 historic neon signs from the museum’s collection, is highlighted by Earth Water Sky’s 360-degree laser video projection system, a 24-channel 3D audio system with multitrack 3D audio soundtrack, and outdoor lighting system with automated show control. DMX signal distribution for the entire production is handled by ProPlex Opto-Splitters and Data Cables.
“ProPlex was selected as a critical component to handle all of the DMX signal distribution needs for this complex installation,” says John Humphries of Earth Water Sky. “We are avid proponents of ProPlex, given our passion for robust products that are brilliantly engineered and extremely stable. TMB’s team consistently delivers world-class product support and customer service, making them our exclusive, preferred vendor for data networking products specified for our permanent installation and A/V integration projects, large and small.”
Humphries designed the technology systems and related hardware for the Brilliant! project, with his team handling the design, programming, and installation of the lighting, projection, and audio systems, as well as the 3D soundtrack production. Earth Water Sky also designed and installed the automated show control system.
USA - Silverdale Baptist Church in Chattanooga, Tennessee, recently acquired an Allen & Heath dLive Digital Mixing System for its church campus in Ooltewah. A second dLive, in the church’s Creekside campus, will be installed at FOH soon. And, the church is in the planning stages for a third dLive to be installed in its main Bonny Oaks campus.
Matt Johnson, Silverdale’s technical director and Mark Randolph, the church’s media minister, considered several digital mixers but chose the dLive after an on-site demo at Bonny Oaks. “The more we listened to it and played with it, the more we loved it,” says Johnson. He adds, “All Silverdale campuses have a band on the stage and the Bonny Oaks campus typically has a 30-40 person choir. But, our congregation is diverse. So we meet in the middle between traditional and contemporary styles. The dLive fit our worship needs and could be scaled to each of our campuses while meeting our budget.”
At Ooltewah, Silverdale’s volunteer tech crew had been using older digital mixers from various brands and Johnson says the Allen & Heath dLive was a significant upgrade. “We’ve got a rock-solid crew and the guys were willing to dive in. The simplicity of dLive’s setup kind of threw us for a loop – it is as easy as dragging and dropping.
“We’re trying to unify what we do, console-wise,” Johnson continues. “That way, a volunteer from another campus can walk up to the console and find things generally in the same locations. So it’s fantastic that the dLive makes it easy to assign inputs
Denmark - Theis Wermuth of lighting design company Create This has been handling the live visuals for Scarlet Pleasure since 2015. The Danish musical trio’s popularity is on the rise with the band recently playing its largest concerts to date, a pair of one-off shows that Wermuth lit using an automated lighting rig that included striking effects from rows of Elation Professional ACL 360 Bar moving battens.
Scarlet Pleasure has topped the Danish charts recently with a string of hits that cover soft ballads to more energetic dance songs and the band has toured with success the last two years, selling out clubs and smaller live music venues across Denmark. The two recent shows – one at the Forum Black Box in Copenhagen and the other at the Scandinavian Congress Centre in Aarhus – marked a milestone for the band. “Both shows took place in larger venues and both were sold out,” Wermuth said. “They showed how popular the band has become and we’re looking forward to a series of upcoming summer festival dates.”
Wermuth had used Elation’s colour-changing ACL 360 Bar previously on Scarlet Pleasure’s 2017 winter tour as a side light effect and liked the depth of look they added in the tour’s smaller clubs. “I wanted to achieve the same look on the two one-off shows and their larger stages,” the designer said. “We had three horizontal lines of fixtures on each side of the stage running from downstage to upstage - 60 total - and used them as washing side light and to create different beam looks. They were a very visible part of the look of
USA - The good times never slow down for fans of The White Panda, the masked DJ duo described by Entertainment Weekly as a “veritable party machine”. The infectious energy of their performance comes not only from their pulsating sound, which puts a sassy EDM twist on throwback classics, but also from their immersive stage shows, a mixture of theatrics, eye candy and pure intensity.
On their recent tour of the northeast US, The White Panda added an extra futuristic flourish to their performance with an expansive lighting and video design by Antic Studios that featured Chauvet Professional Rogue fixtures. Strategically positioned around the set’s rows of video panels, the moving lights added a sense of continuity and dynamic movement to the stage.
“We used the Rogues to connect the video panels visually by filling in the space between them with a lot of movement and vivid colours,” said Ryan Warffuel of Antic Studios. “The set created a space age impression, because this reflects the forward-looking image of The White Panda. Having a continuous look that flowed throughout the entire stage was key to creating this feeling. Given the quick pan and tilt movement of the Rogues, we were also able to enhance the mood by shooting a lot of bright and colorful beams across the stage in various patterns.”
Warffuel, who designed the lights for the tour while his partner Max Koehler took care of the video, used 12 Rogue R1 Beam and six Rogue R2 Wash fixtures in The White Panda rig. He positioned four of the beam units on each side of the sta
UK - Alton Towers Resort has turned up the heat for the new theme park season with its £16m thrill attraction, the Wicker Man, featuring real fire and stunning 'fire' effects created using a ProLights AlphaPIX video system plus various lighting supplied by A.C. Entertainment Technologies Ltd. (AC-ET).
Wicker Man is the first wooden rollercoaster to be built in the UK for 21 years, with the thrill of fire. Burning embers light the ride's path as it speeds towards a six-story (17.55m) Wicker Man structure, who spectacularly bursts into flames as the coaster races through its chest three times.
To complement real flames on the structure and get flame-like effects even closer to the riders, the resort's entertainments technical manager, Alex Tweedie approached longstanding technology vendor, A.C. Entertainment Technologies to assist with specifying and supplying a solution. After discussing the details of the project with Chris Beardwell from AC-ET's specialist video sales division, projection was discounted as it would not be bright enough during daylight.
Chris recommended the ProLights AlphaPIX 6T LED display, featuring 5,500 nits brightness level to be effective in daylight, IP65 rating, and with the 6.6mm pitch option offering the best balance between a convincing fire effect and meeting the tight budget.
Based on the specification, Alex initially ordered 20 of the 640mm x 720mm modular panels, which were configured in various 'Tetris-like' clusters of different shapes and sizes around the Wicker Man structure - including overhead when the
UK - Black Panther, the record-breaking new superhero film produced by Marvel Studios. For the film's star-studded European première event at London's Hammersmith Apollo, lighting designer Luke Edwards selected Avolites Titan and Ai lighting and video integration to control his 'super' design.
Attending the event was Black Panther's cast, including Chadwick Boseman, Michael B. Jordan and Lupita Nyong'o, as well as music stars Stormzy and the Black Eyed Peas. To illuminate the stars, Edwards took inspiration from the film's poster branding, using its yellow, white and blue tones for the auditorium and red carpet lighting.
"There are a few aspects we had to look at in lighting this event," says Edwards. "Firstly, the auditorium needed to look good and immediately give people that 'wow' factor when they walked in. At the same time, the lighting needed to be functional, for people to be able to find their seats. As for the red-carpet lighting, it's about making sure the overall look reflects the film, that the cast are well-lit and that the photographers get the essence of the film through the surrounding lighting in a single photo."
Edwards used two Tiger Touch II consoles and one Quartz console to control the entire event's lighting. The consoles were networked together using Titan v10.2's Multi User Networking Connect feature, allowing Edwards and his team to control the event's lighting from the front-of-house position in the auditorium.
"We spec'ed the Avolites consoles because they are small and powerful," says Edwards. "This meant t
USA - American singer Andy Grammer spread his refreshing brand of feel-good music across North America this spring on his The Good Parts tour, a club outing of mostly sold out shows in support of his latest release.
Lighting design and programming was by Joshua Koffman of Interrobang, Inc., who used a combination of Elation ACL 360 Bar moving battens and Platinum Beam 5R moving head beams to light the show. Lighting vendor for the tour was RK Diversified Entertainment of Claremont, California.
Koffman, who has worked with Grammer on one-off shows in the past, says that the lighting rig’s flexibility was key as tour venues varied a great deal. “When we were planning the stage design for this tour we needed to accommodate a wide range of venues, both in stage size and height,” he explains. “Some places had existing rigs, some didn't. Some had high ceilings, some didn't. We needed something that would provide a consistent show from venue to venue.”
What they ended up with was a ground-supported rig that adapted to changes in stage width and height based on five interconnected vertical truss towers.
The set up included an upstage wall of 25 Elation ACL 360 Bar fixtures with Platinum Beam 5Rs working from atop five sticks of truss, a rig the LD says was very pronounced in the show. “We had the ACL Bars on front of truss towers,” says Koffman. “They created the main visual change between each song using colour, position, and movement. Because they are a linear fixture, we could have them, say, vertical for one song, then hori
USA - It’s 8,504 miles from the island of Manhattan to the South Pacific’s Solomon Islands, but now anyone in the Big Apple can experience this underwater treasure and a host of other nautical wonders right in their own backyard by visiting National Geographic Encounter: Ocean Odyssey.
Located in Times Square, this 60,000sq.ft multi-media experience digitally takes visitors on an entertaining and immersive adventure across the ocean, from the South Pacific to the coast of California, where guests can get up close with dozens of species, including mischievous sea lions, sharks up to 20’ long, a 50’ Humpback whale, a battle between two ferocious Humboldt squids, and much more.
Adding to the immersive environment in the multi-room experience is an elaborate and detailed lighting design by Lightswitch that features a collection of over 200 Chauvet Professional fixtures, supplied by 4Wall Entertainment. Used throughout Encounter, the fixtures add colour and texture to its key scenic elements.
“Video is also a major storytelling element in Encounter, but the reason it works is that all of the design elements, including the lighting design, work as a whole,” says Howard Werner of Lightswitch. “The lighting not only sets the scene for a movie to play, but also is in sync with the video and the audio elements of Encounter. This synchronization is what creates a cohesive design and fully immersive experience.
“In addition, technology provides us with tools as designers, and sometimes video is the right tool to create a feeling,