UK - Bat out of Hell the Musical opened at the Manchester Opera House in February where it is currently enjoying a 12-week run. The show is the brainchild of Jim Steinman and rock superstar Meat Loaf - a romantic adventure about rebellious youths. Steinman composed Meat Loaf's Bat Out of Hell albums and always dreamed of lifting the tracks from record to stage. Forty years later the dream has become a reality.
Production manager Simon Marlow, who will also take the production to the London Coliseum in June for another 12-week run before transferring the show to Toronto, knew that for this technically complex large scale production he would require the help of Unusual Rigging. He said, "As production manager here in the UK and technical supervisor in Canada, I am in charge of everything, from the set, engineering, automation and rigging etc, to costumes, wigs and special effects.
“Having worked with Unusual Rigging on several other projects, most recently constructing the temporary theatre space for Lazarus, the David Bowie musical, they were my go-to company for this project because it throws a number of technical challenges at us."
Work has been done to both the front of house and grid at the Manchester Opera House and modifications will also take place at the London Coliseum in order to ensure the venues can take the show, but Simon claims that quite possibly the most complicated aspect of this particular show involves some imposing RSJ scenery. "The front of house rig is covered by it - and although it looks spectacular, i
Spain - The School of Modern Music (TAF) has installed an Allen & Heath dLive S Class digital mixing system, comprising a S5000 Surface with DM64 MixRack, in its concert hall.
Located in Madrid, the centre offers a wide educational programme, focusing on practical experience and a detailed curriculum and requiring professional world-class facilities, staff and equipment.
Alex Blanco, chief technical officer at TAF, comments, "Students should feel that what they are learning is useful, so we endorse practical assignments from the outset. dLive was chosen because of its expansion possibilities and exceptional configuration flexibility, which allows us to manage any type of event, from concerts or theatre productions to broadcasting.”
The dLive system is employed to manage the school’s concert and theatre productions as well as for touring duties and TV show recordings. The system was recently used on a talent show for the Castilla la Mancha TV channel, which involved mixing 20 musicians and the contestants. As well as the live mix, a feed was provided via MADI to the broadcast mobile unit. The dLive was also used on a series of nightly musical shows broadcast on TV.
"Choosing dLive has been a really wise decision. On the one hand, students can learn by working with cutting-edge technology, and on the other hand the school and its technicians have a tool that allows us to manage any type of event, regardless of its complexity," concludes Blanco.
Canada - Lighting designer Al Paquette was looking for some new and exciting fixtures to incorporate into his design for the current 1000 Arms tour by Canadian country rockers Blue Rodeo - and chose Robe Spiiders and PATT 2013s which were newly purchased by lighting vendor Apex Sound & Light from Ontario, Canada.
Al has worked with the popular band for the last six years, and this is the fourth full production tour he's done with them for which he created a totally original look and design. He knows what they are comfortable with onstage, "it's about setting the right mood and environment for the music," he explained.
Limited truck space was another consideration for this one, so getting maximum impact from a minimum number of fixtures was essential. Keeping this in mind he chose the 20 x Spiiders and five PATT 2013s.
The Spiiders were evenly positioned along the upstage truss with the five PATT 2013s on floor stands at various heights around the back.
The Spiiders created an "awesome" wall of light enthused Al, who used the central flower effect for highlighting the audience during some special punctuating moments.
The PATTs were dimmed down for most of the show, used for nice warm tungsten glow effects and - sparingly - as a blinder.
Prior to this tour, Al had been using another brand of LED wash light for a few years which was getting a little old and tired, so he started scouting around for something different.
He likes the colours and the beam look on the Spiider’s tighter zoom. He also likes the way the light is
Australia - Philips Lighting reports that its LED stage lighting added to the drama and detail of an award-winning production of the hit Broadway musical Wicked at the historic Theatre Royal in Hobart, Tasmania.
In the role of both lighting designer and technical supplier was Gareth Kays of GK Productions, Tasmania's leading performance technology consultancy. His brief was to create an impressive, Broadway-style production on a comparatively small stage.
"One of my main challenges was disguising the ground support system which allowed lead character Elphaba to take flight during the number Defying Gravity," Kays explained. "I used Philips Showline SL BEAM 300fx moving head luminaires at full zoom for back lighting Elphaba as she rose into the air. Light radiated out from her, masking the mechanics and giving the impression she truly was flying. I used Philips Showline SL LEDSPOT 300 luminaires to light the downstage in a dappled gobo wash, which added to the radiating backlit look."
Kays also used the Philips Showline SL LEDSPOT 300's advanced effects system and CMY colour mixing to bring the staging to life.
"In a lot of the scenes I used very strong colours and large gobo effects to create a magical storybook feel. I found the stock gobos in the Philips Showline SL LEDSPOT 300 gave me plenty of creative options; I used the brick gobo for a not so subtle yellow brick road, and utilised the same gobo with a cyan for the interiors of the castle scenes to break up the stage floor. The framing shutter system is also fantastic for my theat
UK - Rental company Adlib continues its work with top comedians, having just supplied full production – sound, lighting and video – for Jack Whitehall’s sold out, three week At Large UK arena tour. The Liverpool based company previously supplied production for his ground-breaking 2014 arena tour, which was staged in the round.
Having appropriate production in the right proportions and places is a key to delivering comedy on a large scale. It is about presenting this very intimate and personal style of entertainment and communication in a way that ensures audiences in larger venues enjoy all the same essential experiences as a one-to-one scenario.
Steve ‘Patto’ Pattison mixed front-of-house, working with a strong team from Adlib including monitor engineer / sound crew chief Marc Peers and systems tech Tony Szabo, who was responsible for the precision and detail required to ensure that every seat in the house had crisp, clear and audible speech.
Patto’s console of choice was a DiGiCo S31 - a first time out with this particular product for both him and Tony - while Marc used an S21 for monitors. As only eight channels were being used, the tiny footprints of the consoles were an ideal mix of quality and size for the application.
The stage box was a DiGiCo SD-Rack This was connected via BNC coax cable from FOH to stage and run at 48K for full redundancy in both directions, allowing each console to back up the other if necessary. Marc Peers’ set-up utilised one of Adlib’s Wardrobes, an ingenious fully configurable double width case -
UK - The British TV show Strictly Come Dancing approaches its 15th season this year. Renowned for its visual razzmatazz, the show’s lighting depends on a vast network of data control, an essential component of which is the powerful ProPlex IQ Two 1616.
“We purchased an IQ 1616 Ethernet-DMX node last autumn for Season 14,” says Mark Newell, lighting gaffer and chief systems tech for the show. “It’s an integral part of a system incorporating two consoles and a media server, all outputting on the same network. We’ve been using the ProPlex node to output DMX for a grid of LED battens, pixel-mapped within the media server, and used to light any band extras or special props that the couples use during their dances.
“Because the consoles we use for Strictly have a limited number of outputs, we have to swap routing during the show. The ProPlex IQ 1616 is perfect for this job because we can easily change the routing very quickly using the large touchscreen display. Unlike other products of a similar nature, the large display on the IQ 1616 has all the information you need in a large font without having to go through lots of sub-menus to get to the required page.
“There is also an excellent web browser interface and both control options are very simple to use with no fuss. The 1616 really defines user friendly. In addition, to be able to purchase a 16-port device is great, as the cost saving over buying two 8-port devices makes it a very attractive option.”
Newell adds, “The game show Big Heads we’re currently doing
USA - Country music star Brantley Gilbert has launched The Devil Don’t Sleep tour playing arenas in North America through early spring in the first leg. Nathan Alves and Howard Jones co-designed the show, which features Claypaky Scenius, Mythos 2, Sharpy and Stormy Strobe fixtures.
The tour supports Gilbert’s new album of the same name. Jones’ company, Nashville-based DCR, is supplying all of the show’s equipment; it has provided gear for Gilbert since before his first record deal. The tour marks Alves/Jones second collaboration for the artist.
The Devil Don’t Sleep is a departure in design from Gilbert’s recent tours. “In the past tours used truss structure to define a shape, like the motorcycle motif for last year’s tour,” Alves explains. “Now we’re using digital scenery with videowalls front and center. That gives us more flexibility to take him to a new creative environment for each song.”
The stage features five LED video surfaces. A 20 x 20ft LED is at centre with 15 x 20ft LEDs flanking them. Two extreme letterboxes, measuring 20 x 6ft each, are on the floor bookending the drums.
The lighting rig is the largest Gilbert has had, Alves notes. Its large complement of Claypaky fixtures consists of 36 Mythos 2, 34 Scenius, eight Sharpys and 14 Stormy Strobes.
Although a large portion of DCR’s inventory of Scenius and Mythos 2 is devoted to the tour, Jones reports that the fixtures have “been very busy” with “significant rentals” between tour legs.
Thirty-four Scenius serve as side and back light
Sweden - Located on a tree-lined avenue, restaurant Usine adds a touch of French industrial flair to the heart of Stockholm’s business district. Featuring a bistro, tapas bar, café/takeaway and conference facilities, a zoned Yamaha audio system blends seamlessly with the venue’s aesthetics.
Usine’s name comes from the French word for ‘factory’, which is reflected in its girders, overhead air ducts and other services being left exposed and made a feature of. AV specialist Watt & Volt was contracted to design and specify a zoned audio system, choosing Yamaha CIS products to deliver high quality audio in a challenging environment of hard, flat reflective surfaces.
Controlled by an MTX5-D matrix processor, the system is divided into nine zones and features 32 VXS8 full-range, surface mounted loudspeakers, plus two IS1112 subs in the main bar/dining area, two flush-mounted NSIC400s in the bathrooms and 12 IPX3-rated VS4s covering the outdoor areas.
The system is powered by one XMV8280, one XMV4140 and one XP5000 power amplifiers, with eight zones each controlled by a wall-mounted DCP1V4S panel one constant volume channel feeding audio to the toilets.
Spread throughout the venue are three XLR panels for the connection of audio inputs, giving Usine the flexibility to host DJ sets and live performances.
“We wanted a system that would be easy to use for all staff members, but products with aesthetics that would blend seamlessly into Usine’s industrial theme,” says Watt & Volt business development manager Carl Ingler. “T
USA - Versatility is a key ingredient in any lighting rig that Creative Production & Design builds for a multi-artist show. This was especially evident recently when the Austin, Texas-based company created a lighting and video show for CRUSH Dallas 2017, part of a four-city Insomniac production. Their immersive, high octane rig engaged the packed house at the South Side Ballroom, while also supporting the diverse musical styles of artists on stage, thanks in part to a massive collection of PVP X6IP LED video panels from Chauvet Professional.
“My business partner Justin Jenkins and I always try to make our show designs flexible and well rounded,” said Dan Wyatt of Creative Production & Design (CPD), who served as the production manager and designer on the project. “This event was no different. Not only did we have DJs like Yellow Claw that just need a table full of CDJs and a front video wall, we also had artists like Keys N Krates that perform with keyboards, drum kits, and more on a separate riser setup. We put everything on rolling risers and casters so it could be moved around to accommodate what each artist needed to make the best fan experience.”
At the centre of the rig and providing a consistent, but always changing, visual element was a massive PVP X6IP video wall set behind a 21' tall by 24' wide heart-shaped truss structure. “Our lead video operator, Kendall Clark, used a heart-shaped mask in Resolume to clean up the edges and keep all the video content within the heart structure,” said Wyatt. “This heart shape was not just
USA - Quickly becoming on the of the hottest stars in country music today, Cole Swindell has recently set out on the What the Hell World Tour with fellow country music superstar Dierks Bentley. Fresh off his very successful Down Home Tour, Swindell and his production team were looking for a fresh tour design to take on the road in 2017.
Once again working with tour provider Elite Multimedia, production manager James “Mo” Butts began the process of finding the ideal tour design and in the end, it was the creativity of Sooner Routhier at SRae Productions that was chosen to highlight the Academy of Country Music award winner.
“When we started outlining the new tour design we chose four designers that we really felt were doing great work and asked them to submit design proposals for a completely new production design,” began Butts. “As an artist, Cole loves video and it’s a primary request in his designs. He also likes a wooden, industrial look to his tours, and Sooner really did a great job of applying her own interpretation to the design requirements for a creative, new tour design.”
“With the set design, we were inspired by wooden and metal architectural elements. We wanted to find creative ways to incorporate those into the staging,” said Routhier. “Rule number one in scenic lighting is ‘light the scenic’. We did so with small LED up lights along the set carts and larger wash lights downstage.
Working together, Elite Multimedia and SRae Productions decided upon a tour lighting package that included Clay Paky Mythos, El
USA - Crossroads Christian Church has been growing in Corona, California, since it was founded in 1892. Now occupying a large, multifaceted campus including a modern 2500-capacity Main Worship Centre, the church welcomes around 7000 attendees every weekend to enjoy its message, and the sophisticated live show that frames it.
Tyler DeYoung is the technical director and FOH engineer at Crossroads, and has recently specified an SSL Live L500 digital audio console for FOH duties, which was supplied by systems integrator CCI Solutions.
"As well as the three services in the main auditorium, that space is also regularly rented out for music events and used for other special church events, explains DeYoung. "We run about 48 inputs every weekend - full drum kit, tracks, keyboards, two guitars, bass, five vocals, and a couple of acoustic guitars. On top of that we might add strings, horns, or more singers, depending on need."
The facility is currently fitted with 96 channels of SSL stagebox I/O to ensure plenty of capacity, whatever the challenge.
DeYoung's approach to sound at Crossroads is about providing impact, while being mindful of the message. "You'd probably say our services are on the louder side," he notes. "We don't want to hurt anybody, but we want it to feel full . . . Big. We want it to be exciting so no one will be afraid to sing out."
The SSL L500 provides both the PA and the broadcast / record mix from a service. For the main mix, DeYoung uses a basic set-up of input channels and VCA groups, while the broadcast mix is created from
USA - The Nashville Municipal Auditorium hosted the Youth Evangelism Conference in March. Bandit Lites provided the lighting package for the event for Orchestrate Experience with lighting designer Trey Meares and Orchestrate Production director Alex Fleming. Featured guests included Dave Edwards, The Skit Guys, Luke MacDonald and the YEC Worship Band.
Due to the audience size and the nature of the conference, Meares created an 'in the round' setup to an end stage in the arena, giving attendees the maximum amount of impact, while still being mindful of the calling of the conference. “Lighting always has the ability to drive the ‘mood’ of the room, and I make an effort to not let the technology overpower the message that is being delivered by the organisation,” Meares shared.
“On the other hand, lighting can make the room exciting for the attendees and can also be used to draw attendees into a more serious moment. It is essential to let the message speak for itself, but the lighting can complement what is being said.”
To drive that impact, Meares used a carefully crafted design that could emphasise both the collective worship moments for the audience and the noted speakers. VL 3000 Spots provided front light, delivering both widespread coverage and flipping over for beam looks in the crowd. Philips Nitro 510 C fixtures washed the crowd in light, and due to the power of the fixtures, also facilitated epic effect lighting for the entire arena.
“On stage, we had VL3000 Spots and GLP X4S Impressions; the combination of these fixtures
UK - Working for exhibition designers and producers event.live, Blackout were approached for the third year to provide rigging for Microgaming’s stand and bar at the ICE Totally Gaming exhibition at ExCeL, February 2017.
The Microgaming stand and bar designed and produced by event.live had a daily change in set design to encourage repeat footfall and stand out from the visually competitive surrounding stands. The final day of the show engaged delegates with a castle-themed bar, utilising Blackout’s rigging expertise to suspend a number of chandeliers from one half of the truss grid above the bar to surround guests with in-keeping decor, whilst being entertained by professional sandcastle sculptors organised by Microgaming.
Tim Searle, Blackout’s project manager and his six-strong crew, over the course of three days, supplied and installed 300m of black Prolyte H40v truss forming a rectangular grid from which over 430 kinetic lights were hung above the immersive exhibition stand. The 24m x 20m grid featured a double-layered truss perimeter, onto which 135sq.m of black sharkstooth gauze was attached creating an aerial perimeter of the exhibition stand below. An additional 480sq.m of black gauze was installed across the top of the truss grid, forming a dark ceiling layer. Blackout’s crew supplied 28 1 tonne hoists in order to winch the extensive installation into place above the stand.
Tim Searle comments: “In addition to the rigging work for event.live on the Microgaming stand inside ExCeL, our additional team of four installed a Microgamin
The Netherlands - Allen & Heath’s dLive S Class and ME digital mixing systems have been purchased to manage the On Stage live radio show for no.1 Dutch radio station, NPO 3FM.
The new radio show includes performances from live bands, and incorporates visual clips. dLive manages the live radio, floor sound and several feeds for live internet streaming. Comprising a S5000 and DM64 with DX32 expander rack, the system is fitted with MADI and Waves network cards, with an IP8 remote controller and a ME personal monitoring system, including 6 ME-1 mini mixers, for monitoring the bands. dLive is configured to provide three different mixes going to the DJ desk, and dlive communicates with the DHD radio mixer via Dante.
“As a fanatical iLive user, I was pleased to get the opportunity to purchase the dLive and ME systems. The learning curve was only about one hour,” explains Elwin Dorlas, who manages the On Stage radio show. “As I need to do a lot of mixing in a short period of time, dLive’s low latency and intuitive layout are key. I love the new FX, compressors and pre-amp modelling, and the I/O patching is spot on. The integration of the ME monitor system completes it for me, and the musicians love the level of control it offers them.”
Austria - World renowned lighting designer Björn Hermann employed 60 x Claypaky Mythos2 and 20 x Claypaky Supersharpy2 to deliver two titanic light sculptures as part of global crystal producer Swarovski's Festival of Light, hosted at their seven-hectare fantasy park Swarovski Kristallwelten (Crystal Worlds) in Wattens, Austria.
Lead creative agency for Festival of Light was Berlin-based international creative production company StudioNOW, who originated the project's concept. StudioNOW worked alongside Hermann and German art collective phase7 to create an adventure park of sound and light that included the two colossal light sculptures crafted by the beams of Claypaky's award-winning long-throw arc lamps. The Mythos2 and Supersharpy2 fixtures were supplied to the event by German event production and rental specialist satis&fy.
"The inspiration for the project came from the reflections in Swarovski's world-famous crystals, which gave us the idea of transforming the whole area of Swarovski Crystal Worlds into an enormous light crystal," explains Sven Sören Beyer, the founder and artistic director of phase7. "A huge light sculpture encompasses the whole park, uniting the individual elements into a single artwork that makes Swarovski Crystal Worlds shine in a new light."
Creating this overarching light element were 60 of the highly advanced, multi-award-winning Mythos2. The Mythos2 features a new and reliable Osram Sirius HRI 440W lamp, which ensures the extraordinary performances that have made the success of Mythos worldwide. The fixture also f
China - Nexo STM M28 has made its debut appearance in the great city of Shanghai, in a new entertainment venue that has become one of the main hotspots for both local and foreign visitors.
VShow, a five-year-old KTV brand, has recently made the leap into live music, commissioning the V Livehouse in the heart of Shanghai’s ‘club central’ on Huaihai Dong Lu, another sign that the Chinese nightclub and bar entertainment market is getting back on its feet. At V Livehouse, the band is the central attraction. The performance stage is embraced by high-end interior décor, superior food and beverage service, and top-class management.
For this environment, a high-specification front-of-house PA was essential. The STM M28 ‘omni’ cabinet was a perfect fit for the venue, offering high SPL from small unobtrusive cabinets. Three M28s per side were installed, fitted with 120° flanges because of the relatively short throw required. Below the STM clusters, four Nexo LS18 cabinets provided the sub-bass. A couple of Nexo PS10-R2s provide front-fill coverage, and outer edges of the room are covered by a total of four PS15-R2s.
On stage, twoPS10-R2s are used as stage in-fill monitors, installed in the ceiling in front of the stage and facing down towards it at an angle. Drummers have their own Nexo PS10-R2/LS600 monitor system.
All systems are driven by Nexo NXAMP4x4s and NXAMP4x1 powered TDControllers. A Yamaha QL5 digital mixing console is at front-of-house.
Nexo Shanghai dealer, Shanghai Haoyun Audio-Visual Equipments Co., Ltd. supplied the sys
UK - Winner of the 1991 Olivier Award for Comedy of the Year, Ray Cooney’s Out of Order is making a triumphant return to the stage. Starring television favourites such as Shaun Williamson and Sue Holderness, this classic farce will now embark on a nationwide tour. White Light is providing the lighting equipment on this production.
Out of Order tells the story of Richard Willey, a Government Junior Minister, whose plans to spend the evening with one of the opposition’s typists go disastrously wrong. This revival is being produced by Tom O’Connell and the lighting designer is Jack Weir. He comments, “Out of Order is a purposefully over-the-top, hilarious farce and typical of Ray Cooney’s work. The show takes place in real time, in the one location of a hotel room overlooking the London skyline. My role was to light the action and highlight the farcical elements which pervade throughout.”
He adds: “The set features several doors (with characters frequently coming on and off stage) and this really drives the action of the piece. Therefore, on a practical level, I had to ensure the play had enough coverage and that we believed the environment which designer, Rebecca Brower, had created.”
To achieve this, Jack drew on WL’s extensive equipment range to achieve his design. He comments: “I speciﬁcally chose the Martin MAC TW1. These offer a great deal of ﬂexibility; something which is vital when touring a show like this. When we visit venues, we have essentially less than a day for the ﬁt up so time is deﬁn
UK - Colour Sound Experiment supplied a lighting and video floor package for the latest run of live shows by talented music producer Bonobo (Simon Green), with a new lighting look for the stage designed by Will Thomas.
The tour is in support of Bonobo’s recent UK Top 5 album, Migration, released in January on independent label Ninja Tune Records. Will Thomas has previously worked on Bonobo’s extensive Black Sands and The North Borders tours, which culminated at the end of 2014 with a sell-out show at London’s Alexandra Palace.
Will has produced an energising and refreshing show to match the vibe of the music of Migration and its transitory themes. A major starting point for this was the visual material commissioned by Bonobo and produced by Strangeloop from LA, who also created the screen design which brought an architectural presence to the stage.
It was largely left to the ingenuity of Will and technician / rigger James Hind – with support from others at Colour Sound.
Enjoying a great working relationship with Colour Sound, Will and James started building structures in the warehouse and experimenting with different ideas for five individually supported LED screens.
The route they chose utilised six Guil Engineering UKL 800 XL tower lifts which were rigged with assorted trussing pieces to which the screens were then attached. These lifts are like a modern version of the classic rock ‘n’ roll Genie superlift . . . and were supplied, brand spanking new, by Neg Earth.
The screen was Colour Sound’s proprie
USA - Most of the fans who turned up at The Holding Company to hear a St. Patrick’s Day concert by the popular Irish band The Fooks were appropriately dressed in green. They weren’t alone. The well-known Ocean Beach music venue was also adorned in brilliant emerald, thanks to some imaginative lighting by Matt Collier and a collection of fixtures from Chauvet Professional and Chauvet DJ.
The touring LD for Brothers Gow, Collier took time off from the road to light the San Diego nightspot. He transformed its stage and exterior into a sea of green using Rogue R1 Spots and SlimPAR 64 par-style fixtures. “The Rogues and SlimPARs both render excellent greens, so it was pretty easy to create something that looked good,” he said. “It added to the spirit of the evening. Everyone wears green on St. Patty’s Day, but we got the whole building green, so it stood out.”
Collier positioned four of the Rogue fixtures on risers and used them for aerial lighting. “The output from the Rogues was great enough that I could give the stage a green glow with two of them,” he said. “At times, I would use the other two Rogues to create orange, so I had the green and orange of the Irish flag.”
The 16 SlimPAR 64 RGB fixtures in Collier’s rig were used to wash the exterior of The Holding Company building in green. “I put six SlimPARs on crank stands to the left of the building and six on crank stands to the right, and pointed them across the front,” he said. “This gave me optimal throw distance and even coverage. For extra coverage, I put four of th
UK - Situated at the heart of The University of Manchester’s campus, the Martin Harris Centre for Music and Drama recently underwent a significant refit, including the installation of a state-of-the-art, energy-efficient production lighting package, featuring a control desk, LED luminaires and power controls from ETC, and auditorium lighting from GDS, all supplied and installed by Stage Electrics.
An important arts venue for north-west England, the Martin Harris Centre offers students a fantastic space in which to study and perform, as well as hosting many professional musicians, performers and prize-winning authors. It provides an excellent space for contemporary and classic theatre, music and comedy events, and holds a reading series that has in the past featured such literary luminaries as Martin Amis, Will Self, John Banville and Clive James.
The project, which was made possible due to significant funding from the Faculty of Humanities, is part of a campus-wide initiative that supports the University’s commitment to environmental sustainability and saw a complete overhaul of the lighting in the venue’s Cosmo Rodewald Concert Hall and John Thaw Studio Theatre.
Longstanding supplier to the university, Stage Electrics was appointed to design, specify and install a complete lighting system for the two multipurpose facilities. Karl Spencer, the venue’s technical services manager, worked closely with Stage Electrics’ Rob Beamer and Karl Formstone to ensure the right solution was selected and installed.
“Energy efficiency was a drivin
Australia - Lighting specialist Resolution X, a company based in Melbourne and Sydney with an impressive track-record of high-profile production services, has recently supplied White Night Melbourne with lighting and rigging services. White Night is an outdoor art festival that attracts over 500,000 attendees each year.
The team deployed over 25 W-DMX transceivers and receivers over the White Night weekend through several spaces, from the Royal Exhibition Building (REB) and surrounding gardens.
“Our control position was at the heart of the Carlton Gardens, where we had our new compact GrandMA onPC command wing Systems, running two separate W-DMX networks, each with a BlackBox F-1 G4S transceiver, and an 19dBi directional antenna,” commented Mark Hopkins, of Resolution X.
The first receiving point was 80m away, on a roof, feeding DMX to IP64 ShowPro Quad PARs, Claypaky Mythos and Sharpys. “The second system was the more impressive one” added Mark. “We placed 40 ShowPro Hercules, our battery-powered LED wash fixtures, lighting the trees along the path through Carlton Gardens and up the REB. The system worked flawlessly over the 200+ m even with the antennae at only 1.8m high, and thousands of attendees all on their phones, creating a lot of noise in the 2.4GHz spectrum.”
In total, the team used a combination of BlackBox F-1 G4S transceivers, BlackBox F-2, and Micro R-512 G4S series, in a combination of transmitting and receiving to multiple locations, all interference and latency-free.
“We wanted to test how far we could go w
China - A new three-day music festival, Dragonland, made its debut on the Hong Kong event scene recently.
Billed as the region’s first outdoor festival to combine pop with EDM, it joins Clockenflap as the only large-scale event of its kind in Hong Kong.
The venue was the Central Harbourfront - part of the latest land reclamation in the Victoria Harbour. where Clockenflap also took place last year. It is thus perfectly located on the waterfront - in the heart of Hong Kong Island - with the amazing skyline as a backdrop.
Promoted by Playerone, a crowd of 15,000 people per day had been estimated, and in terms of production AHM Engineering supplied 20 of GLP’s award-winning X4 Bar 10 battens and 90 impression X4, as one of the mainstays of the stage set.
On the opening day, Leon Lai, one of the four heavenly kings of Canto Pop, presented the latest in his Penguins Live concert series. The artist has regularly been seen on stage accompanied by GLP’s LED fixtures since providing a Hong Kong debut for the company’s Spot One around five years ago.
On the opening day, the stage featured a super-long catwalk and AHM used additional truss posts to which 20 of the GLP X4 wash lights were fixed. This was part of a design conceived for Penguin Live by Stephen Hui, who also programmed the show on two grandMA2 Full Size consoles. “As for the battens, they were really impressive in giving an extra shake and life to the lighting design,” he said.
Day two and three were then handed over respectively to EDM and Pop - and visiting lighting
USA - Multi award-winning and Tony-nominated lighting designer Justin Townsend finds that he is using Elation Professional lights more and more since his first experience with them in 2013/2014 on the Broadway musical A Night with Janis Joplin. Currently, he is using Elation Satura Profile and Platinum Seven LED-based moving heads on the world premiere of Joan of Arc: Into the Fire, an exciting new Off-Broadway musical penned by David Byrne.
“Elation has stepped up in the last few years and you see Elation gear used more and more in theatre,” Townsend stated. “They have some fantastic products with great features and they make them very quiet as well. In an industry where more is more, the fact that you can afford twice as many lights with the Elation product is exciting. With more fixtures we get more colour and more effects on our productions. It’s a win-win.”
Joan of Arc: Into the Fire plays at the Newman Theatre in New York City, part of the Public Theatre company. The Newman is a well-known space where several of Broadway’s top plays got their start including Hamilton in 2015. An intimate yet long 300-capacity space that stretches deep to the back, Townsend was looking for lighting that could both embrace the intimacy and reach to the furthest recesses of the space.
The Satura Profiles wash the stage and set from a downstage lane, and also do FoH specials and aid with followspot duties. “It has a crisp, clean light and includes framing shutters which I use quite a bit,” he says. “It gives a very s
Algeria - French lighting designer David Seligmann-Forest of Paris-based Lite4Life chose 10 Robe DL4S LED profiles to be right at the heart of his lighting rig for MasterChef Algeria, which was recorded in a new purpose-built studio and former envelope factory in El Hamis, a suburb of the bustling, vibrant capital of Algiers.
David was working as both LD and director of photography for broadcaster the Allégorie Group who produced eight episodes of the series plus the finale, which was a huge hit with the public. He is one of France’s leading TV lighting specialists and has also worked on the French version of the series, which a few years back gave him the initial opportunity to use the first generation of Robe’s then DLS units.
He has been a fan of Robe for some time and is a bit of a pioneer when it comes to introducing LED lighting into French TV. A couple of years back, he was the first to utilize Robe’s LEDWash 600 fixtures on a variety of shows. “Robe was the first manufacturer to pay attention to the need in television for a good range of colour temperatures and produce an LED range that addressed this” he says, a philosophy that was then applied to all of Robe’s future LED ranges.
The DL4Ss – purchased by the Allégorie Group - were installed in the roof of the studio for the duration of the MasterChef Algeria recording period and also chosen for their shuttering capabilities “Essentially I replaced over 30 conventional fixtures with the 10 x DL4Ss, so this ultimately saved some production budget as well,” declared