Sweden - Hip hop band Hov1 recently played a series of mid-sized local venues of around 3,000-capacity on their first Until Next Time production tour.
Jakob Larsson was responsible for the lighting, drawing heavily on LED fixtures from GLP. Taking advantage of the advances in technology the LD was able to requisition 22 of the manufacturer’s JDC1 hybrid strobe from rental company Bright Group Sweden, along with 80 GLP X4 atoms and 24 X4 Bar 20.
Larsson explained his design concept. “As there are only four people on stage, I needed to create big looks, using light as a décor element as well. We decided to go with a ‘pod’ design and we also decided early in the process that we needed an A-stage and B-stage to bring the show closer to the audience. Along with show director Sacha Jean Baptiste we then had a bunch of creative meetings, along with the band, to put together the show.”
The JDC1 features in the upstage pod on low trim height with three rows of JDC1 with seven fixtures in each row. The atoms were placed as a side light creating beams onstage, but mainly they were used in a square over the B-stage. “These created awesome matrix effects,” he said. “That idea turned out really great.” Finally, all the Bars were placed on the floor on the downstage edge of the A-stage, and all around the B-stage to enhance the square shape.
He added that his first deployment of JDC1 in a touring show had been a major success. “The idea was to create a bright wall of strobes and frankly there is no alternative to this fixture w
UK - London department store Selfridges regularly hosts different exhibitions and immersive events. Their latest is The Flipside, a multi-sensory exhibition which has just opened. Following their previous work with Selfridges, White Light was approached to provide the complete technical support for The Flipside.
The Flipside is located at The Old Selfridges Hotel and allows customers to journey through a vast, one-of-a-kind space where the world’s most forward-thinking brands and creative minds intersect with radical ideas.
The display features a range of individual brands including Louise Vuitton, Thom Browne, Gareth Pugh and Google Pixel 2. Working alongside lighting designer Richard Howell, production electrician John Delaney, designer Chiara Stephenson and sound designer Alex Baranowski, WL had to ensure that each designer’s brief was brought to life and that each brand had its own idiosyncratic experience.
Richard comments: “Each brand was distinctive, yet each one had to be immersive. For Louis Vuitton, the brief was to invite visitors to explore a deeply modern way of looking at travel. As part of the design, there were different islands each containing items of opulence and luxury. We had to highlight this through the use of bespoke lighting and rigging.”
He adds: "With the Gareth Pugh section, Selfridge’s wanted their customers to experience the designer’s ground-breaking installation, which touched on themes of escape, freedom and clarity. As this was a particularly immersive experience, we drew on ul
UK - The Beginners, play-within-a-play featuring 4 to 10 year-olds, opens a window into the boundless and colourful imaginative powers of childhood.
Adding impact to this play, and making its fantastical characters come to life even more vividly during a production at London’s Unicorn Theatre, is the rich assortment of colours created by Zoe Spurr, using Chauvet Professional COLORado 2 Zoom Tour fixtures.
“The COLORados were a great choice for The Beginners,” says Spurr. “They helped me add a different transformative element to the critical last third of the play. I was able to bring complementary colour, depth and effects onto the stage to help bring the magic of The Beginners to life.”
The play tells the story of three families trapped in a waterlogged cottage during a holiday. At one point, the adults visit a pub, leaving the children alone at the cottage. Bored, the children create their own play. It is during this play-within-a-play that the children’s wisdom, insights and fertile imaginations come to the fore.
Drawing on the colour rendering capabilities of the high-output RGBW fixtures, Spurr bathes the stage in vivid hues that clearly distinguish this section of the play from the more narrowly focused earlier scenes. Colours give life to the aspirations of the children, while at the same time underscoring their concerns.
Spurr hung four COLORado Zoom 2 Tour fixtures in a circle in front of the forestage apron. “The theatre has a large proscenium and deep stage, as well as a large ‘D’ shaped
Europe - Enrique Iglesias strutted his high-octane stagecraft for the latest European section of his Enrique Live tour, complete with a slick, eye-catching visual design by creative director Travis Shirley.
The lighting for the ongoing world tour is specified by Travis as part of his production design which also incorporates video and set, with Robe as the first choice of moving lights.
For this section of the tour, which visited the Czech Republic, Greece and Slovenia, BMFL Spots, Pointes and Spiiders featured prominently on the rig, together with six Robe BMFL Spots used for an integrated follow spotting solution, all provided by Czech Republic based rental house ZL Production, working for promoters BG Arts.
Keeping everything running smoothly on the road is Enrique’s production manager Andres Restrepo. The tour started back in July 2017, initially as a co-headliner in North America with US rapper Pitbull, and it evolved from there into own shows, and has since visited every continent. The equipment is supplied regionally as close as possible to the spec, a model very common in the EDM world.
“We know in advance which promoters we will be working with, and with that pretty much which companies will be providing the equipment,” he commented, adding that while Robe was their preference, they also have to be ‘open minded’ about fixture substitution depending on what’s in stock, where and when!
The main overhead rig is based on seven trussing fingers, upstage / downstage orientated, each one gently angled and slightly
UK - The Trent Vineyard church located just two miles from Nottingham has one of the largest auditoriums in the region.
With a capacity to welcome over 1,200 people for Sunday services, talks, and music events means, the venue can also be utilised as a conference centre.
In 2017 the venue was expanded and refurbished, the church turned to leading AV supplier SFL to design and install a system capable of meeting their various needs, along with those of a fast-turnaround corporate conferencing clientele.
Pat Smith of SFL explains: “Trent Vineyard was already a happy d&b customer. So, when it came to designing a new system for the larger, differently-shaped space, we had a good starting point in terms of what the outcome should be.”
The expanded auditorium space is the same in depth, but substantially wider than it was previously. This challenge was key to the SFL approach to system design. Smith continues, “Consistent and even sound coverage is critically important, and actually fairly easy to achieve from the stage to the back of the auditorium. The more complex task was extending that even coverage to the far left and right corners of the room.”
As well as using d&b ArrayCalc to model the performance of various designs in the new space prior to the construction being completed, SFL physically configured a number of different installation options for testing to ensure that the ideal audio setup was achieved.
The result is based around four arrays of four Y8 loudspeakers and Vi-GSUBs. Coverage is then enhanced by thre
UK - Illumination specialists LED Creative is supporting scenic designer Joshua Grace on UKTV’s Jon Richardson: Ultimate Worrier.
Recorded over eight episodes in front of a live studio audience at London’s Hospital Club Studios, the show features comedian Jon Richardson exploring the severity of his various anxieties before carefully filing them away in his ‘worry index’.
Grace’s imaginative set makes clever use of primary colours to highlight the ‘filing system’ theme, with rows of files forming the immersive backdrop that borders the circular stage. Linear LED illumination has also been used to provide the clean, bright edges which pick out the contours above and below the raised podium area.
Working alongside the production crew, LED Creative provided their Alpha 60 and Bit 8-Way Control system to help create the show’s bright, vibrant look.
Speaking about the project, scenic designer Joshua Grace says “The design for Ultimate Worrier relies on built-in LED technology that allows the set to change colour throughout the show, bringing it all to life. LED Creative provided the perfect solution for the integrated product in the set, and it is always a pleasure to collaborate with the team who work their magic to make it all happen in the workshop and in the studio.”
Available as ‘plug and play’ rental units, the LED Creative BIT 8-Way controllers used within the installation are engineered specifically to work in unison with LED ribbon and decorative fixtures; in this case LC Alpha 60 has been woven
USA - Country music artist Morgan Wallen is relatively new to the music scene, having released his debut album If I Know Me in late April of this year. His star is clearly on the rise however as Up Down, his lead single from the album, was recently certified gold. Wallen has been on the road since February with an Elation rig that includes the new Artiste DaVinci, and will be out all summer opening up for Luke Bryan.
Lighting design and event production studio, Genetic Productions, provided the lighting gear for Wallen’s inaugural headlining tour, Up Down, which played dates February-April across the US Genetic’s Zac Coren served as lead LD and programmer for the tour, which was designed using Capture Nexum software.
“At Genetic, we do a wide range of events, from corporate meetings and high-end social events to touring, so we needed a fixture that could hold its own in all of those areas, as well as not break the bank,” comments Genetic president Andrew Sparks, who cites versatility and brightness as reasons for deciding to invest in the Artiste DaVinci. “We have found ourselves quickly and easily replacing the other units we had been using with the DaVinci as it is punchier and has more overall features."
Located behind the band as upstage floor lights, the DaVinci's are used to cast aerial effects as well as provide back light for the band. Zac Coren reports, “The DaVinci's have been great by giving many options for creating unique looks for every song. Even when stacking a prism, gobo, and animation wheel, I was
UK - GLP’s impression LED fixtures recently demonstrated that in addition to raw power, the advantages of multi-functionality and subtlety are paramount when it comes to lighting dramatic performance in smaller theatre venues.
A specialist in this genre, designer Lee Curran was originally exposed to the German company’s lighting catalogue at Shakespeare’s Globe where the X4 Bar 20s were specified as part of the new lighting rig at the time. “I remember demoing the units with Malcolm Rippeth and Victoria Brennan, and being surprised at what they were capable of,” he states.
Then shortly before embarking on the production of The Lady From The Sea at the Donmar Warehouse, he used a single X4 Bar 10 on English Touring Theatre's production of The Weir, to provide a variety of light through a window in a very tight space with almost no throw distance. It not only provided him with the perfect solution but set him up for further deployments of the X4 Bars.
“With The Globe and The Weir we made good use of the pixel mapping to produce colour effects, while on The Lady From The Sea we also used both tilt and zoom in quite subtle ways. We also needed some of the units to fit in very tight spaces, so their size was a huge advantage.”
Curran already had some units from White Light, but with the fixtures in high demand and the budget limited, a chance meeting with GLP UK’s Simon Barrett at an Association of Lighting Designer (ALD) event, led to further necessary inventory being procured at very short notice. “Th
USA - Signify (formerly Philips Lighting) has announced that the LA Opera, located in the Music Centre's Dorothy Chandler Pavilion in downtown Los Angeles has invested in the company's new LED-based Philips Vari-Lite VLZ Profile fixtures as part of its stage lighting rig.
LA Opera's current production of Verdi's Rigoletto, with lighting design by Robert Wierzel, is the first production in its history lit with a predominantly LED lighting rig.
Jeff Kleeman, LA Opera's technical director, says, "We already hold a stock of Vari-Lite VL3500 Spots and Washes, VL3000s and VL4000 BeamWash fixtures, so we were very interested in the VLZ Profile when they became available recently.
"Initially we were drawn to the impressive 24,000 lumens output - they are bright, even brighter than our VL3500s. We've had zero issues with the exceptional light source, which creates a large and particularly even field. But there is so much more to like about the VLZ. The color spectrum, the shuttering system, the low power consumption, which is critical for the venue, and then there's the very quiet operation: quiet is a big deal for us."
He adds, "Our work schedule means that, although we begin the design process months in advance, it is only a week prior to load-in when we pull and prep fixtures before the get-in. There is usually a pretty tight window to rig, hang and focus the light, so the small, light VLZ fixtures make that process all the smoother. They have absolutely met our expectations."
In 1987, LA Opera was the first opera company to utilize a c
UK - The recent adaptation of Frankenstein at Manchester’s Royal Exchange by celebrated playwright April de Angelis, marked 200 years since the publication of Mary Shelley’s famous gothic horror.
To help maintain the suspense and ratchet up the tension, lighting designer Johanna Town, used four MAC Encore Performance WRM, provided by HSL, in her armoury of effects.
The whisper-silent performance of the warm white fixture was critical for the in-the-round space, as she acknowledged.
"Since the Royal Exchange Theatre is in the round, and the audience sits amongst the lighting fixtures, we needed a moving light that was super quiet - and I have to say we were extremely pleased with the Martin MAC Encore. The lantern has a beautiful tungsten feel to warm white but at the same time is also able to be used for cold attack effects. The beam has a really nice flat field with a good zoom range.
“The units come with some nice breakups and water effect gobos, and we found the animation wheel really useful. We used the on-board LED motion flicker (Animotion FX System) throughout the show to great effect. Overall we were very impressed with the Encore, it felt like a high quality moving light designed for the theatre market," she concluded.
Her assessment was echoed by Mark Distin Webster, head of lighting at the Royal Exchange Theatre. “We were very impressed with our first encounter with the MAC Encore; physically it is a very easy unit to manipulate and rig with handles in all the right places. Our intimate, in-the-round space mean
USA - Bandit Lites’ crew headed out to the Hangout Music Festival, the one of a kind weekend where nearly 40,000 people flock to the sandy beaches of the Gulf of Mexico to hear artists such as The Killers, Zedd, The Chainsmokers, Halsey, Logic, Kendrick Lamar, Odesza, Foster the People and Sza.
The festival may be in its ninth year, but each year boasts new elements with this year’s additions including a roller rink, full salon, and added water stations along with returning favourites such as beach volley ball, an ocean side Ferris wheel, yoga sessions, wedding chapel and VIP poolside lounging.
Bandit provided the lighting for three of the festival’s stages, including the mainstage, taking careful consideration of supplying a variety of gear that would accommodate the wide swath of artists traveling with their own packages.
“Hangout is the official start of festival season for us and always a blast to be involved with,” stated client rep and production director Dizzy Gosnell. “There truly is not a festival like it. The brief for the mainstage was for the system to be able to work for the three headliners, The Killers, Chainsmokers and Kendrick Lamar, and of course have enough toys for bands on earlier in the day to have some punch in daylight if needed. It helped enormously that the headliners had sent out their needs weeks ahead of the design, build, and prep.”
The mainstage had over 200 fixtures including Martin Atomic 3000 Strobes, VL 3500 Washes, VL 3000 Spots, Chauvet Illuminarc Panel 80 LED Washes, Clay Paky Sharpys, 8
USA - Back in 1840, local people discovered the medicinal benefits of the sulphur springs outside a small trading post in south-central Indiana. This led to the emergence of what would become a nationally famous spa in the town of French Lick (named for a French trading post built near a salt lick).
This spa eventually gave rise to an early 20th century resort, which attracted a diverse range of famous visitors, from Joe Louis and Franklin Roosevelt, to Irving Berlin and Al Capone. Years later, the town would take a further step into the limelight with the opening of the French Lick Resort Casino.
Recording artists like Willie Nelson, Styx, Joan Jett and Eddie Money routinely journey to this remote section of Indiana to perform at the popular resort. Lighting their shows, as well as the high-profile conferences that take place there, is the house LD Alan Hamilton, who runs his diverse, multi-functional rig with a ChamSys MagicQ PC Wing Compact.
“ChamSys is my go-to console for the concerts at our Event Centre Hoosier Ballroom, which was expanded a few years ago to accommodate more people,” said Hamilton. “I also use it for larger corporate events in our other ballrooms. My history with ChamSys goes back years, but last summer I migrated to a PC Wing with a 23” touchscreen as my main console. We use Art-Net, so of course the software is ready to go out of the box with ChamSys even without the Wing.”
Hamilton’s typical concert rig is put together on 44’ downstage truss, 40’ midstage truss and 40’ upstage truss. Lighting gear us
Australia - The Roundhouse at The University of New South Wales Kensington campus has been hosting major rock gigs, corporate functions, and student parties for five decades. Recently re-opening after a major refurbishment, the heritage venue now sports an updated and refreshed lighting rig driven by High End System’s flagship Hog 4.
Sydney integrator The P.A. People were responsible for helming the fitout, ensuring that lighting, audio and AV were integrated for seamless control. “The Roundhouse wanted industry standard equipment and consistency,” said Chris Dodds, managing director of The P.A. People. “That’s why they now have a d&b audiotechnik PA, DiGiCo audio consoles, Shure microphones and a Hog 4 lighting desk. The Hog 4 has integrated nicely with the UNSW’s existing inventory of Hog family consoles, meaning their regular operators don’t need to learn another platform.”
“The Hog 4 is an extremely versatile desk, and all of our regular operators and visiting crew enjoy busking on it,” said Mark Nicholls, production manager for Arc, the company that runs The Roundhouse for UNSW. “Most of our freelancers are regular Hog users. They come in with their Hog show files, get their looks set-up, and get the show going quickly.”
Mostly working on corporate gigs during the touring off-season, The Roundhouse is set to attract major festival sideshows and touring acts as 2018’s season kicks off later in the year. “We have the Hog 4 set-up with a few general cues so an audio guy like me can get a corporate gig or dinner goin
Thailand - Transmission Festival Asia returned to Bangkok in 17 March, bringing with it a frenzy of EDM - mixed by world-renowned DJs and delivered with the help of a Funktion-One sound system.
For over a decade, United Music Group’s Transmission Festival series has delivered EDM spectaculars to an increasingly appreciative – and ever-expanding – global audience. Each year, the team serves up a fresh edition of the event, which brings together an impressive roster of acclaimed DJs to perform in a continuous chain of sets, thematically linked under a single overarching narrative.
For this year’s Transmission Festival Asia 2018, Spirit of the Warrior was adopted as the theme, a concept introduced and expanded throughout the night by specially created video content displayed on giant video screens. A loaded package of lights, lasers, live performers and pyro provided 360 degrees of pounding visual intensity, while a Funktion-One system comprising Vero vertical arrays and Evo series loudspeakers ensured comprehensive coverage and euphoric audio clarity for the assembled clubber crowd.
UK-based Funktion-One supplier Audio Plus was responsible for providing the entire audio system – a continuation of the relationship first forged in 2009, when organiser and promoter Anco van der Kolk first approached them to provide a world-class PA for the original Transmission events in the Czech capital of Prague. Following the incredible success of those early European shows, Transmission spread wings, going global by perfectly replicating each theme
Poland - Painting with Light was commissioned by interactive and media-based attractions specialist Alterface to light the new Bazyliszek dark ride which has just opened and is creating a buzz at the rebranded Legendia theme park in Katowice.
Alterface, Jora Vision and ETF partnered to create this one-off experience in Poland’s oldest family amusement park.
Painting with Light had previously worked with Alterface, also based in Belgium, on the Comics Station project in Antwerp. Luc Peumans led the project for the Genk-based creative lighting and visual design practice.
He worked closely with Alterface project manager François Danhaive and their overall ride producer Benjamin Walravens, plus Jora Vision’s art director, Simeon van Tellingen and project manager Robin van der Want.
Luc capitalized on his extensive theatrical lighting experience to create the emotion and drama needed to help ensure Bazyliszek is a thrilling and unforgettable experience.
There are numerous variations of Bazyliszek in Poland - a complex, legendary and highly venomous reptile, possibly a serpent king and rooster combined - which can turn people into stone with a single glance!
Legendia’s Bazyliszek ride is situated in the Magical Forest zone of the park, which takes guests back to the times of ancient myths!
Numerous challenges abounded in creating the right atmosphere for each fast-moving scene of the 3-minute mixed-media ride, where multi-mover vehicles glide visitors through five different zones with seven distinctive scenes – one even
USA - On the press junket for the premiere of special effects-laden Pacific Rim: Uprising, David Kane and Brian Fisher of Kite & Key Technologies used a special effect of their own: the new High End Systems’ SolaFrame Theatre. Kane and Fisher, working with production company Junket Productions, Inc. were blown away by the quality of the light, its extensive gobo pack, and the fixture’s biggest superpower: its quiet operation.
“Typically, any place where sound is critical - such as the shooting suites at press junkets - are a no-go zone for automated fixtures,” says David Kane. “But the SolaFrame’s dead silent operation allowed us to put the fixtures right next to the talent, and the sound department never even knew they were there.”
Press junkets are one-on-one sessions meant to create a sense of intimacy between the interviewer and celebrity - and usually it’s no place for a moving light, whose noisy mechanics create an unwelcome intrusion for audio. But thanks to the SolaFrame Theatre’s extreme silent operation, Kane and his partner were able to harness all of the advantages of the moving light for the interviews: an extensive gobo set, full-frame shuttering system, and a high-CRI Bright White LED engine that generates light that looks good on camera and everywhere else.
“Everyone on set who saw the fixture was blown away. Even with gobos rotating at high speeds and the animation wheel going, we put our ear right up to the fixture and couldn’t hear a thing,” says Kane. “Brian and I loved the colour q
USA - St Paul held its annual Winter Carnival from 25 January to 10 February, a winter tradition the Twin Cities area has marked annually since 1886.
This year’s celebration was especially well attended as it happened to coincide with the throngs of guests in the area to celebrate the 2018 Super Bowl. The St Paul Festival and Heritage Foundation of Minnesota brought event production company Showcore in to design and run the event’s nightly light shows, which included illumination of a 70ft tall ice palace using Elation Professional IP65-rated lighting.
The massive St Paul Winter Carnival Ice Palace was built out of ice blocks harvested from a lake in Minnesota and constructed in Rice Park in downtown St. Paul.
Showcore used Elation SixBar 1000 IP LED battens within the structure to glow the palace walls; IP65-rated Proteus Beam moving heads to shoot moving pillars of light from the tops of the towers; and Arena Zoom Q7 IP PAR colour changers to uplight elaborate ice sculptures carved throughout the run of show. Josh Wabaunsee of Showcore served as lead lighting designer on the project.
Showcore is based locally in the Twin Cities area and has worked with the Winter Carnival for the last four years, this year handling everything from lighting plot design to programming, installation, and nightly board operation. “Our role was to make the ice palace light up in colourful themed looks depending on the celebration of the night, and to provide scheduled time-coded light shows to pre-recorded songs that would play in the park,” stated Showco
UK - As one of the most well-known reality TV formats, The Real Housewives documents the adventures of a group of women as they go about their day-to-day lives. With all the drama and plot twists that follow, sound recordist Stuart Windle needed a "solid solution to ensure recordings were never lost", leading to his choice of the JoeCo Blackbox BBR1MP.
The Real Housewives franchise began on the TV channel Bravo with the Real Housewives of Orange County in 2006, later spreading throughout USA, and now has accumulated a total of 16 different franchises across the globe. From lavish homes to various other "unscouted, noisy and often not ideal" locations, the productions follow where the women lead, often leaving little time for preparation.
Stuart Windle, sound supervisor and location sound recordist for The Real Housewives of Cheshire, decided to implement the BBR1MP during a break before filming the most recent series. Windle uses the BBR1MP as the "heart of a very compact, powerful, high-track count custom system" incorporating the recorder with power and RF distribution for up to 24 channels of radio mics in one 5U rack designed for fixed rig reality shooting.
"Reliability is incredibly important," says Windle. "With a high number of radio mics and only one multi-track recorder on location, we needed to know that the set-up would run solidly for six hours of shooting, and the BBR1MP does that. The most incidental line or reaction could be the next big storyline and obviously a scene can often only happen once. There is a
Germany - Christian von Kaphengst, Till Brönner, Wolfgang Haffner, Torsten Goods, Bruno Müller and Ida Nielsen are just some of the well-known German and international artists to have graced the stage at Musik Kontor in Herford – a high-profile club that has been making waves on the Nordrhein-Westfalen music scene since opening its doors in 2012.
Looking to stay on the cutting edge of entertainment, the club recently updated its visual presentation with a collection of Chauvet Professional fixtures. Emphasising movement, intensity and vivid colours, the new lighting package includes Rogue R1 Spot fixtures, with Amhaze Whisper foggers added for atmospherics.
“We arrived at a point earlier this year when we decided it was time to inject more feeling into live performances with a set of dedicated moving heads,” said Musik Kontor’s Christian Eder. “The combination of the Chauvet Rogue and Amhaze fixtures provided our designers with the opportunity to create a wide array of immersive looks on stage.”
The Rogue R1 Spot fixtures are also very effective at pumping up excitement with aerial effects and engaging the crowd with audience lighting. “In their first appearance at the Ida Nielsen concert in March (Ida Nielsen was the last bass player of Prince), the sharp beams and cutting movements of the Rogues were able to impress both band and audience,” commented Eder. “Thanks to their versatile palette of saturated colors, the beams have had a truly transformative effect upon the atmosphere within the club.”
To provide additional
World - American rockers All Time Low know how to deliver high-impact, adrenaline-fuelled arena shows. Backed by a huge, fractured LED screen and stadium-scale lighting rig, their current world tour is a blaze of eye-candy glory.
The band's long-time lighting designer, Jeff Maker, is armed with an Avolites Sapphire Touch console networked with a bank of media servers for complete lighting and video control.
"I'm obsessed with getting things perfect - I needed to programme a punchy and exacting lighting design that worked with the video wall for maximum impact," says Maker, who collaborated with the band and video content creator Oliver Hutchinson to achieve a slick, solid and synchronised show aimed squarely at enhancing audience experience.
For the tour's recent UK leg, ZigZag Lighting supplied Maker with the Sapphire Touch. The LD is a big fan of the console's "super-sensitive touch screens" and the plethora of powerful, time-saving features of the Titan interface, all of which keep him a regular user of the desk.
"As an LD, you're always up against it for programming time, so any short cut or feature that simplifies your life is welcome," says Maker. "The easiest example is that having a screen sensitive enough to not have to be pressed twice just saves precious time. But there are plenty more.
"For instance, the automatic faders on the Sapphire are amazing. I've been using the Set List feature a lot for my pre-programming, and I love how it can jump to any page once the song is triggered on the set list - it just updates automatic
Germany - The 2018 edition of Deutschland sucht den Superstar (DSDS) featured another eye-catching lighting design created by the show’s long-term LD Manuel da Costa and Jonas König of MDC Lichtgestalten, utilising over 100 Robe Pointes which were supplied by Magic Light+Sound from Cologne.
Manuel has been involved with the top TV series since the very start in 2002. It was again recorded in studios 30 and 31 of the Coloneum complex in Cologne and broadcast on RTL’s Saturday night prime time. Now the 15th series, DSDS has become one of the most successful shows on German TV.
The set was designed by Florian Wieder of Wieder Design who also has a long-standing relationship with the series. He always produces a spectacular, multi-layered environment fusing interesting structural and geometric elements with innovative video and digital aspects.
This year Manuel worked alongside his associate and chief technical lighting supervisor Christoph Dahm. It is important to have a close-knit team on hand, familiar with the format and specific demands of the show, where the challenges are always to transform the stage and setting for each competitor, covering a wide range of musical genres.
For this they need the rig to be as flexible as possible, hence the choice to have a large contingent of Pointes on the rig.
The fixtures were distributed in the mid-stage area, around the second of two large circular trusses and along the back of the set in high positions on what they called ‘the matrix’ as well as left and right beside the LED wal
UK - Located in London’s Covent Garden, the Poetry Café is a cafe and events space for poetry and literature recitals, music, community groups, interdisciplinary arts, craft and much more. A recent refurbishment project has seen a Yamaha audio installation satisfy a diverse client brief.
The Poetry Café is run by the Poetry Society, now over a century old and described as ‘the heart and hands of poetry in the UK’. The venue caters for all ages and demographics, attracting both independent and corporate groups by day and night. A recent major refurbishment included replacing its ageing AV system. Surrey-based systems integrator Flipside was tasked with delivering a solution that was high quality and versatile, but came within the limited budget of a small venue.
“After finishing a modern but cosy refurbishment, we were without any sound. The equipment we had been using was clumsy, difficult, unreliable and very unattractive for our corporate users,” says manager Olissa Francisco.
“Our task was to provide maximum utility and quality, but without a huge price tag,” adds Flipside managing director James Cooper. “The space has a clean aesthetic and is a blank canvas for exhibitions and events, yet still has a quirky character and warmth. Above all, usability was key. Not only would the system need to be operated by staff throughout the day, but outside organisations and individuals hiring the space also had to be able to use it without a ‘crash course’ in its operation.”
After carefully looking at all possible options, Flip
UK - With a string of recent hits such as Chewing Gum, The Best You Had and Somebody Special, Swedish-Scottish singer Nina Nesbitt has earned critical success both in the UK and throughout Europe.
After a successful string of US concerts, Nesbitt recently returned for a UK tour. Lighting designer Ollie Wilkinson, managed to craft equally catchy visuals with the help of Chauvet Professional Maverick MK Pyxis fixtures supplied by Arranpaul.
After searching for a fixture to complement his existing rig, Wilkinson decided to utilize the Maverick fixture’s dual beam and wash features to provide something special to round off his lighting concept. "I wanted a fixture that could be used to fulfil a number of practical functions in addition to providing eye candy," commented Wilkinson. "After considering a number of options, I decided to give the Pyxis a try."
Thanks to its ring of nine 15W RGBW LEDs and a single 60W RGBW LED serving as a centre pixel, the multifaceted tool box that is the Maverick MK Pyxis proved itself more than a match for Wilkinson's versatile lighting style. "One of the key looks which I wanted to achieve was to illuminate Nina from the side, and to then go into a full stage wash," he said. "Thanks to its incredible zoom range (7° to 45°), the Pyxis was able to effortlessly make this switch between these phrasings."
Positioned on either side of Nesbitt, who stood for most of the show on an illuminated Perspex plinth in the centre of the stage, the Maverick MK Pyxis covered the artist with a wide spectrum o
Portugal - The Eurovision Song Contest lighting designer Jerry Appelt, working alongside stage designer Florian Wieder, specified a total of more than 600 GLP lighting fixtures for the mega event.
Among the most impressive elements of the show were eight rings, set within truss circles over the audience area, for which Jerry Appelt used the KNV Arc modules from GLP for the first time on TV worldwide. "The most secret light in the world", as production manager Ola Melzig described the modules, at the same time making no secret of how powerful these modules really are. "They're damn bright,” he said, describing his first impression. “It's best to put on the sunglasses before these things come on."
GLP product manager, Michael Feldmann, explains: "The KNV is a modular LED system and combines strobe, blinder and pixel block. There are two basic shapes, the cube-shaped KNV Cube and the KNV Arc in the shape of an eighth of a circle.
“Originally, Jerry Appelt brought the idea of modular strobing to GLP, and our CEO, Udo Künzler, immediately put the entire team at our newly formed Danish development department on the project. The result was there for all to see,” he stated.
Other GLP fixtures in use at ESC included the JDC1 hybrid strobes, of which Jerry Appelt deployed a total of 262 units. "With the JDC1 we were able to perform several tasks with one lamp. On the one hand there is the crisp white of the strobe tube and on the other the color surfaces, which can be animated in segments. Depending on the situation, we were also able to col