Europe - This year, the World Ballet celebrated its 10-year anniversary, which was marked with a spectacular show that challenged and animated the audience with new and well-known elements from both classic and modern displays from the world of ballet, opera and classical music.
Lighting onstage was invisible to most of the audience during the show. It is a known issue in ballet that lighting is often intended to show three-dimensional bodies moving in complex ways through space clearly and unobtrusively but without intruding too much on the audience’ consciousness.
Lighting designer Martin Holst deployed SGM Q-7 and P-5 flood and wash LED luminaires for the six shows. He set out to create a simple, safe and visually clean looking expression ensuring no “interference” in the scenery.
It was made simple by collecting the lamps with MX pipe rings into a circle to be hoisted electrically. Safeguarding the design came through the selection of IP65-rated fixtures from SGM, and choosing to shape the lighting display in a circular form gave a clean look for both photographers and audience and ensured the highest visibility of the stage and performers.
“Illuminating in the early evening hours during summer can be tricky, but these SGM fixtures have been effective at any time of the day. Replacing the previously used PAR lights, we now have a setup with produces an even light distribution while securing the outdoor production as the SGM fixtures are IP65-rated and waterproof - also around the cabling,” states Martin Holst.
Canada - The Joanne World Tour is the fifth headlining tour by Lady Gaga, in support of her fifth studio album, Joanne. When the curtain was raised for the opening show in Vancouver last month, the audience was awed by a spectacular set and visual concept masterminded by production and lighting designer, Seven Design Works’ LeRoy Bennett.
The inventory comprises over 500 GLP fixtures. This includes 294 of the new JDC1 hybrid strobes, 147 of the award-winning X4 Bar 20 and 38 GT1 hybrids - all of which play a major role in a tour de force that pushes the boundaries of arena-style production to the limits.
The design is based around a massive back wall, measuring 21m x 3.5m and weighing 12 tonnes, which houses all the JDC1’s and X4 Bar 20 battens, while the GT-1’s are partly flown in the air above the stage and in a row on the floor at front of the stage.
“The main lighting for the show is that wall of strobes and X4 Bars,” the designer confirms, adding that the ability to run low-res video imagery with the added bonus of having strobes that are able to tilt alongside the X4 Bars, gives the wall enormous personality. Due to its size and power requirement, it takes three dedicated 400 amp supplies to run the wall at 60%, since production did not want to tour generators.
Designed into the set are three B stages spread out around the arena floor, and Lady Gaga performs on each, travelling via bridges which drop from ‘cocoon’ like structures - surfaces which are used for some inspired pixel mapping. All structures were fabricate
Germany - When one of Germany’s top lighting designers for broadcast, Thomas Gerdon, needed a multi-purpose luminaire to fulfil a number of roles for a major product presentation in TV show format, he looked no further than Elation’s hybrid Platinum FLX luminaire.
“It was a quick decision to choose the FLX for the job,” says Gerdon, who has called the luminaire one of the best hybrids on the market and is well familiar with its multi-functional abilities. “I have used them on several television programmes over the past two years, like Verstehen Sie Spass, and they have worked out perfectly. For this show, I needed a strong beam light but also a multi-faceted light that could be used to produce different effects for transitions to video and for guest entrances.”
The exclusive product presentation took place at the Ballhausforum conference centre in Unterschleissheim, Germany, near Munich. Commissioned by American communications agency Drury Design Dynamics for a renowned US-based IT and consulting company, the TV format presentation featured a professional news show setup and was moderated by a prominent broadcast journalist.
German production company satis&fy supplied the Platinum FLX hybrid moving heads along with Elation SixBar 1000 battens and other lighting for the event. satis&fy supported with sound and video as well and also furnished the stage setup, which was designed by Drury Design.
Streamed live and replete with panel discussions, addresses and presentations, the show was relaxed but strictly business p
South Africa - Set, lighting and AV designer, Wilhelm Disbergen, relied on a Hippotizer Boreal Media Server and a giant mirror to create something utterly extraordinary for the ballet production Big City, Big Dreams, staged at the Joburg Theatre, in Johannesburg.
The original showcase, directed by Fiona Ramsay, was a collaboration between three dance companies – the Joburg Ballet, Vuyani Dance Company, and Moving Into Dance Mophatong. Over 40 professional dancers adorned the stage as classical ballet infused with contemporary and street dance. The love story, with the city of Johannesburg as the backdrop, portrays a young man in the corporate world who falls in love with a dancer.
An artistic and key focus of the set was a giant mirror (15m x 9m) suspended at a 45-degree angle over the white ballet mats below, enabling the audience to see the dancers from above. “I also projected visuals on the floor that reflected onto the mirror behind the dancers,” Wilhelm explained. “Because I used strong side lights, I could wrap the dancer in a clam shell of visuals. During the finale, the wall lifted and was almost perpendicular to the floor, giving the full company a gigantic silver wall to dance in front of and giving the audience a view of themselves watching the show.”
Thanks to the Hippotizer Boreal, the enormous image (16m x 16m) was easy to set up and wonderful to paint with. Two stacked Christie projectors, supplied by Staal van den Bergh, overlapped slightly to achieve the square format. “It was wonderful to see the dancers envelop
USA - Everyday, millions of people around the world get on cycles, pedal diligently, and go nowhere. They aren’t complaining though. Indoor cycling (or spinning), where participants in group sessions pedal stationary bikes with flywheels under the watchful eye of a trainer, has taken off like a rocket, passing running and swimming as a fitness activity in the US, according to a recent Nielsen Survey. A key reason why cycling centres are powering their way into the hearts of so many people is because they offer immersive multi-sensory experiences that make it fun to stay fit.
Platinum Sound Light and Video is using a customised audio, music and lighting system to create this type of engaging atmosphere at an international indoor cycling chain. Colour changing Iluminarc Logic Tri-4, circular RGB fixtures controlled with a Logic 4x36 DMX unit, are providing the chain with the type of dynamic lighting environment that keeps indoor cyclists pumped up.
“Currently, we’ve installed the Iluminarc fixtures in over 100 of the indoor cycle centres and will be adding them to a projected 300+ future locations,” said Caleb Seastrunk, general manager of Platinum Sound Light Video. “The vivid colours and smooth colour changes we get from the Iluminarc fixtures are critical to creating the right kind of setting for our client’s customers. Not only are the colours bright, they’re also realistic, which encourages people to get caught up in the moment when they are at the cycling centre.”
Platinum is arranging 17 of the Logic Tri-4 units around the cycl
USA – The Mayweather vs. McGregor fight on 26 August was the latest, much-ballyhooed spectacle at Las Vegas’ T-Mobile Arena. Dubbed “The Money Fight,” it featured UFC star Conor McGregor making his pro boxing debut against undefeated boxing legend Floyd Mayweather.
But while the packed house was focused on the fight in the arena, ETC was focused on the lights in the arena. ETC’s line of architectural products – Unison Paradigm, Echo and Mosaic – covers every inch of the T-Mobile Arena, everywhere from the luxury suites to the back of house hallways, from the Hyde Lounge nightclub to the concession stands, and even the external lighting showing the arena off to the world.
With electrical design provided by ME Engineers and system integration by 4Wall Las Vegas, the capabilities of ETC’s architectural line are on display throughout the T-Mobile. VIPs have full control of lights in their suites via Touchscreen interfaces, while integration into the arena-wide Paradigm system means they automatically dim when a show starts. Echo infrastructure made it easy to light the back of house spaces and help the building achieve Platinum LEED (Leadership in Energy and Environmental Design) status.
ETC’s rigging is also represented at the T-Mobile arena, with Vortek by ETC supplying the custom hoists that raise and lower the scoreboard. And ETC’s Mosaic system controls all the external lights, ensuring that all the fans approaching the venue – and all the millions of viewers watching coverage of the fight on a multitude of networks covering t
UK - S+H Technical Support provided substantial quantities of its LED starcloth product to production designer Sid Scott of Scott Callaghan Art Production for the 2017 National Eisteddfod of Wales.
The nine-day event was staged in a large field near Bodedern on Ynys Môn (the Isle of Anglesey), around eight miles from Caergybi (Holyhead) and approximately 20 miles from Bangor on mainland Wales.
The main entertainment hub on site was the Pafiliwn, a 40m deep 1,800 capacity pavilion built by Neptunus Structures, which was new in 2016, and once again utilised throughout the Eisteddfod for a diverse mix of entertainment, from a Sunday service to rock concerts, stand-up comedy, etc. in the evenings as well as a variety of competitions – dance, poetry, music, etc. – during the daytime.
Sid created the Pafiliwn production design in close collaboration with lighting director Nigel Catmur, Eisteddfod producer Medwyn Parri and Huw Aled Jones, the Eisteddfod’s head of technical operations.
Their objective was to create an immersive theatrical environment in the venue that would help engage the audience and take them on a journey for each performance, transforming the white box-style marquee into an exciting and invigorating live experience.
Having used the Neptunus structure for the first time last year, the team wanted to make several enhancements to the presentation space this year.
The LED starcloth wrap ran 120m down both sides of the structure and behind the audience, and also around two sets of 15m wide stage wings - stage left an
USA - As a full-service production company with the ability to design an immersive attendee experience, Cornerstone AV prides itself on allowing their imagination to be the driving force behind their designs. Known for developing the ideal technological backbone for any event, Cornerstone was once again brought on board to create the production design behind the annual Young Living Essential Oils National Conference.
With the production moving outdoors this year to the Rice-Eccles Stadium at the University of Utah, the design team wanted to maintain that sense of audience immersion so they developed a complete LED video experience with the assistance of production partner Elite Multimedia.
“This event is normally held each year at the Vivint Centre, but since it was currently being remodelled, the producers decided to move the event outdoors to Rice-Eccles Stadium,” began Chad Fraughton, Cornerstone AV vice president/executive producer. “During the booking process, we learned that we would be sharing some close dates with the Nitro Circus tour and we would have to be creative with our production design in order to accomplish a bit of concealment of their large ramps. To do this, we decided to go with a mega-structure creation of arches on both stage left and right flanking a large centrestage area. When we presented the idea to the executive staff at Young Living, they loved it and it really made the event feel bigger than life.”
Fraughton worked with Elite Multimedia to identify the perfect LED video solution. Understanding the need for e
Italy - After several years in a poor state of repair, the Embarcadero waterfront bar/restaurant in the Italian city of Salerno has undergone a major refurbishment to mark its 50th year. A comprehensive Yamaha Commercial Installation Solutions (CIS) zoned audio system has been added, which delivers high quality sound while being very easy to control.
Established in 1967, Embarcadero has traditionally attracted a wealthy clientele because its moorings attract tenders from yachts passing through the Gulf of Salerno. This year its present owners, Mr Generoso Galderisi and Mr Ettore Merola, have returned it to its former glory.
Mr Galderisi wanted to add a cutting-edge audio system and considered various options. He spoke to Mariano and Valerio Fabio of Salerno-based installers Casa Musicale Cav. Quinto Fabio, who suggested a Yamaha CIS system would be the best solution. Wouter ‘Tony’ Verkuijl of Yamaha Music Italy demonstrated to Mr Galderisi, his architect and technical consultants that the CIS solution was not only the best sounding and looking, but it would also satisfy all the venue’s needs.
Embarcadero has a number of indoor and outdoor areas, which could prove difficult for designers using less comprehensive product ranges or mixed-brand systems. However, Yamaha’s solutions meant a complex but easily-controlled, nine zone system could be installed, with 36 loudspeakers delivering high quality audio to every area.
The indoor zones are in the restaurant (VXS3F and HS8S loudspeakers), restaurant kitchen (NS-IC800), bar/takeaway counter
USA - Everyday life came to a halt in the US for a few moments on 21 August, as people stopped whatever they were doing and forgot about whatever cares were on their minds to marvel at the first solar eclipse to be visible across the entire lower 48 states in 99 years.
Over half of the country’s population (about 165m people) witnessed the event, according to news reports. Few of these eclipse gazers had as much fun for as long a time as the 10,000 or so who turned out for Bowman, South Carolina’s Solar Eclipse Festival.
Held at the city’s new outdoor concert facility Yonder Field, the festival kicked off in the morning with an inflatable animal race and similar events, followed by some safe eclipse watching, and capped off with a concert headlined by former Kid Rock turntablist turned iconic rock star Uncle Kracker. Pumping up the action on stage and captivating the crowd with some intense non-solar looks was an intensely bright and colourful lightshow created by Matt Slater using Intimidator and SlimPAR fixtures from Chauvet DJ.
“Brightness was the key at this show,” said Slater, a lighting designer at Luke Combs. “The festival is built around the eclipse, so the lighting on our stage had to be bold and bright. I spec’d four Intimidator Spot 355Z IRC fixtures for this concert and was stunned by the output and coverage I got from these fixtures.”
Slater positioned two of the Intimidator Spot 355Z IRC units upstage on his SL320 stage and used the two other units in his ground package. He credits the fixture’s three facet rota
South Africa - Johannesburg based MGG Productions created a futuristic look and feel for the 2017 Discovery Sport Industry Awards held at Sandton Convention Centre’s Pavilion venue. A huge claw-like Prolyte H40 structure, designed by Francois van der Merwe, formed a dome over the stage area and a Robe retinue with control on grandMA2 lite, completed the look while sound was mixed on a DiGiCo S21. The show attracted and acknowledge sport professionals in South Africa.
“The client wanted something different,” said DJ Carstens, project manager at the event. “Instead of a usual set, we created an industrial expression. Francois van der Merwe came up with the design.”
Lighting incorporated 12 Robe Squares. “The Squares were bright, and they were really great,” commented Francois van der Merwe. “The rig also included Robe Spiiders which I enjoyed. In addition, we used six Robe BMFLS Blades and six WashBeams, 12 Robe LEDBeam 100s for truss warmers, 24 Martin MAC 101s, 18 Claypaky Sharpys and 18 Philips Nitro 510C Strobes. A grandMA2 light with NPU was used for control. A 3,9mm VuePix stacked screen served as a backdrop.
“The client wanted something beautiful,” added Francois. “We had three different looks, warm, cold and neutral, and a ballyhoo for the announcement of the winners.”
On the audio side, sound engineer Constant De Vos from MGG mixed on a DiGiCo S21. “It’s a lovely console, and the one I use the most for events,” said Constant. “The S21 is user friendly and is easy enough to navigate even if are new to the
USA - The Aspen Music Festival and School, for decades the presenters of one of the world’s most renowned orchestral music festivals, celebrates its 68th year in 2017. The just-completed Aspen Music Festival and School (known as “AMFS”) encompasses eight weeks every summer, with multiple venues and more than 400 concert events to delight classical music enthusiasts, many of which are broadcast to audiences worldwide.
At such a major music festival, sound quality is paramount, which is why Lawo has chosen to help sponsor the event in years past.
“Lawo’s commitment to the arts fits perfectly with the calibre of creativity that is nurtured by Aspen,” says Lawo North America sales representative Michael Mueller. “That’s why we wanted to make a contribution to this prestigious music festival.”
The mission of AMFS is to train and educate students for a professional career in classical music; the annual festival is an outgrowth of that mission. Each festival season, the AMFS presents as many as 400 performances at locations both on campus and off-site, as well as at various symposiums and master classes.
But the centrepiece of the festival is the 2,050-seat Benedict Music Tent, which is described as combining the acoustics of a concert hall with the ambience of an open-air tent. This is also where AMFS’ Lawo mc256 mixing console plays an indispensable role, delivering a broadcast-quality stereo mix and simultaneous 5.1 surround mix of each performance.
These mixes are digitally recorded and archived by the school’s Edgar
Europe - When it comes to some of the biggest names in the business, performing at some of the largest stadiums and venues across the globe, MDG know a thing or two about providing the perfect haze and atmosphere - for both the lighting and the artists.
Stellar artists Adele and Phil Collins both engaged the design services of Patrick Woodroffe who, in collaboration with Roland Greil, both from design practice, Woodroffe Bassett Design, produced some stunning shows for their latest tours. On each production, Greil took on the mantle of associate lighting designer, lighting director and operator so has a unique perspective on the role and delivery of haze and fog across a wide spectrum of environments and venues.
Woodroffe and Greil specified two different types of MDG machines across three tours in all: Adele’s LIVE 2016 tour and Phil Collins’ Not Dead Yet tour both employed MDG’s theONE dual fog and haze generator, while Adele’s LIVE 2017 tour made full use of 8 of theONE machines and 2 MDG Atmosphere APS haze generators.
Adele’s LIVE 2017 Stadium tour has been a global progress visiting some of the biggest stadiums in the world. It followed on from the 2016 Adele LIVE Arena tour which featured more indoor venues, and for which three of MDG’s theONE generators were chosen. These were easily able to handle the indoor requirements, showing off to best advantage the symmetry of Woodroffe’s lighting design that worked so well with Es Devlin’s impressive set design.
But for the stadiums visited in 2017, and the challenge of a new
USA - Chance the Rapper is enjoying plenty of popularity and critical comment in general, and on his past US tour in particular, which featured an eye-catching show designed by another rising star in our own industry, Michael Apostolos.
Like the artist, Michael is also based in Chicago. They met through Chance’s management team four years ago, when Michael started as LD, and he is now the creative director as both their career trajectories have soared.
Michael put Robe moving lights right at the heart of the Be Encouraged tour, specifying 30 x BMFL Spots, four BMFL WashBeams and 56 x LEDWash 1200s as well as eight CycFX 8s for the tour, all supplied by rental specialist, Solotech.
The lights were positioned across five overhead ‘finger’ trusses, fanning out from upstage center and along the deck upstage of the band risers.
The LEDWash 1200s formed the “backbone” of the show explained Michael. They were in virtually every cue, programmed into the grandMA2 console, and some meticulous programming ensured that each LEDWash look was unique and interesting.
The BMFL Spots were the major profile fixture, while the WashBeams were used for specials and surprises in this colourful, high-impact performance.
The CycFX 8s were used to add low backlight to the band and help create highlighting moments delineating the musicians on stage.
In his creative director’s role for the tour, Michael also designed the set, based around a large upstage curved LED screen, bringing a clean and elegant look to the stage. This was fram
UK - Pro audio provider, The Warehouse Sound Services, helped this year’s Edinburgh International Festival (EIF) conclude with an explosive finale thanks to over 100 Adamson loudspeakers.
Working with Tammo Schuelke, concerts and projects manager for Scottish Chamber Orchestra and production manager Wesley Cameron, The Warehouse had to design a complex system. The over-riding challenge was to ensure perfect synchronicity between the sound of the concert and the visuals of the fireworks. In addition, power, clarity and perfect coverage across the event was critical.
The Virgin Money Fireworks Concert brought the festival season to a close in style with a stunning display of over 400,000 fireworks from world renowned fireworks company Pyrovision choreographed to live orchestral music performed by the Scottish Chamber Orchestra set against the spectacular backdrop of Edinburgh Castle.
Glittering pyrotechnics illuminated Edinburgh’s iconic Castle for the electrifying conclusion to the International Festival 2017.
Renowned Scottish folk singer Karen Matheson, vocalist of Celtic supergroup Capercaillie, joined the Scottish Chamber Orchestra for traditional Scottish tunes and the world premiere of a new work composed for Karen by Capercaillie founder Donald Shaw.
The evening continued with an epic 40-minute fireworks display specially choreographed to beloved classics – including delectable dance music from Tchaikovsky’s The Sleeping Beauty.
The annual festival finale is one of the largest fireworks concerts in the world with an
UK - The new £57m Birmingham Conservatoire building has officially opened its doors. This milestone development elevates the Conservatoire facilities to world-class status and includes a recording and live sound production infrastructure without compromise, and with SSL very much at its heart. The new equipment list includes four SSL Live consoles and five SSL SuperAnalogue consoles, connected with a facility-wide Dante network.
With a history dating back to 1859, Birmingham Conservatoire is one of the leading music and drama academies in the UK. Part of Birmingham City University, the development boasts five new public performance spaces, which include a 500-seat concert hall, a 150-seat recital hall, and a 100-seat organ studio. It also includes The Lab, a cutting edge, completely flexible black-box studio, the first permanent jazz space in any UK conservatoire (the 80-seat Eastside Jazz Club), private rehearsal rooms, dedicated teaching spaces for musicians, and more than 70 teaching practice rooms.
Music Technology was introduced to the Conservatoire in 2001 and now the department offers BMus (Bachelor of Music), BSc (Bachelor of Science) degrees as well as postgraduate courses.
There are four main live performance spaces in the Conservatoire. The 500-seat Concert Hall is equipped with an SSL L500 live console, while the small Recital Hall, Eastside Jazz Club, and The Lab each have SSL L300 live consoles. From the stages and performance spaces, the consoles are fed by SSL ML32.32 Stageboxes and redundant Blacklight II connections via the SSL Bl
USA - This summer, the centennial celebration of Cleveland Metroparks featured fireworks, events, and activities honouring the past and celebrating the future of Cleveland’s green urban landscapes. On a July evening, city dignitaries hosted a gala event which included dazzling outdoor lighting, supplied by ILC, and controlled by W-DMX wireless devices.
“We utilized our new W-DMX G5 units to drive data for Elation Q5 Volt fixtures,” explains Renee Herbert, business development executive at ILC. “The event took place in the Brookside Reservation and was host to over 500 dignitaries and supporters of the Cleveland Metroparks. Around the event’s entrance area, we utilized 50 fixtures to light trees and foliage in Cleveland Metroparks’ green and gold colors.
“The W-DMX units transmitted reliable data over 500 feet and ran consistently for several hours. This project had none of the technical complications that we typically see when running a wide area wireless DMX system. We’ll definitely be depending on W-DMX G5 again.” TMB is exclusive distributor for Wireless Solutions in USA.
USA - Paul McCartney’s long-running One on One World Tour has added 21 dates in the US this summer and fall. Claypaky fixtures help showcase the evolution of his music from the 1960s to today. The US leg of the ongoing tour kicked off in Miami in July and will conclude in Detroit in October.
Lighting designer LeRoy Bennett is tasked with highlighting “a vast array of musical styles over the decades” during the course of the three-hour show. High-tech AV solutions, including layers of transparent video, LEDs and lasers, form a backdrop for the history of the former Beatle’s music but remain unobrustive to fans. “While we use many aspects of technology you never see them all at once, and they are never overpowering,” notes lighting director Wally Lees.
Upstaging provided the tour with 12 Claypaky Scenius Profiles, 12 Scenius Unicos and 96 Sharpys. The versatile Unico spot, wash and beam light is making its debut with McCartney’s show.
Bennett has positioned the Scenius Unicos primarily on the upstage floor behind the band as big fill lights. “We had been using a different light and wanted to change things out a bit,” he says. “I’m really impressed by what Scenius Unico can do. They have a lot of functionality and versatility – they’re a great lamp.”
Bennett says Scenius Profiles are mounted in “key locations” to showcase McCartney at the piano and centre mic, for example. “In addition to spots we have key lighting just to enhance Paul,” Lees explains. “He is an icon and we want to highlight him, whi
France - On 12 July at Lille’s Stade Pierre-Mauroy, L-Acoustics deployed an L-ISA Live hyper-realistic sound system for the singular performance of Verdi’s Requiem by the Orchestre National de Lille (ONL) and the Choeur Régional Hauts-de-France. The 30,000-capacity stadium, normally home to Lille’s football club, was a spectacular yet fitting venue for a performance intended to bring classical music to the widest possible audience.
Founded by Jean-Claude Casadesus and the Nord-Pas de Calais region (now the Hauts-de-France region) in 1976, the ONL has resolutely focused on ‘bringing music wherever it will be heard’ ever since, performing both in Lille as well as in over 30 countries around the world. After spending 40 years at the head of the ONL, conductor Jean-Claude Casadesus continues to lead three series each season, while also forging a stellar international career.
For this special stadium performance of Verdi’s masterpiece, François Bou, managing director of the ONL consulted L-Acoustics founder Christian Heil. The L-Acoustics team custom-designed an L-ISA immersive sound system to face the hurdle of delivering the power of a world-renowned orchestra to the entire audience, all while preserving the emotional and artistic intensity of the performance. Central to the system’s design is the desire to deliver ‘what you see is what you hear’ to each spectator at the Stade Pierre-Mauroy, effectively putting the audience into the sweet spot occupied traditionally by Jean-Claude Casadesus himself.
“Our challenge was to pu
UK - The CPS Group, based on the south coast, has long had a close relationship with leisure and event venue operator BH Live. Since 1994, CPS has secured a reputation for providing high-end technical services and installations of performance lighting, pro-audio, and AV technology to the entertainment and leisure industries across the south and the UK. So, it came as no surprise that BH Live’s technical stage manager, Simon Bagnall contacted Simon White at CPS in the first instance when he was looking for a new console.
“Our choice for another MA Lighting dot2 console from Ambersphere Solutions through CPS was to build on standardising our stock of control surfaces across our venues,” opens Bagnall. “We purchased our first dot2 about 18 months ago. Since then, we have invested in two further consoles along with a fader and button wing. The platform has proved itself not only powerful but also a versatile and cost-effective investment. This latest purchase of a dot2 XL-F includes a Button wing which was really down to improving flexibility across the various uses required to more complicated programming to simple standalone applications. This brings our total inventory of dot2s to three XL-Fs, two F-Wings and a B-Wing.”
One of the most recent shows hosted by BH Live at Bournemouth’s Pavilion theatre was a production of Priscilla Queen of the Desert. The lighting was designed and programmed on the dot2 by resident designer, Olly White. “The lighting rig comprises a combination of moving heads, LED Pars along with approximately 140 gener
Belgium - The largest summer beach festival in Belgium and one of the most popular in Northern Europe, 2 Meisjes op het Strand, is known for more than just music.
Also drawing thousands of fans and attracting a large national TV audience on Flemish network VTM are the breathtaking harbour vistas at the festival site. At this year’s event, Michiel Milbou and his team at Never Fear Shadows did justice to the festival’s music and its surroundings with a stunning stage and lighting design that featured 410 Chauvet Professional ÉPIX Strip IP fixtures, supplied by Phlippo Productions.
Never Fear Shadows’ design concept for the festival was built around a 60m x 20m translucent stage structure built exclusively from the ÉPIX Strip IP fixtures. The structure provided sizzling visual support for the music of K3, Niels Destadsbader, Gers Pardoel and other stars. At the same time, it also allowed the audience (both live and television) to take in the beautiful scenic backdrop around the festival.
Unlike a black backdrop or video wall, which are the norms on large festival stages, Never Fear Shadows’ radical opaque ÉPIX Strip IP structure provided an interesting visual alternative for festivalgoers and television spectators alike. This was particularly important for TV viewers during sweeping panoramic shots of the festival.
“The long and thin batten shapes of the ÉPIX fixtures functioned as ideal building blocks for the structure whilst simultaneously doubling as the lighting sources,” said Milbou. “As a result, we were able to fu
UK - When Bat Out of Hell-The Musical co-producer Michael Cohl stood on a make-shift stage outside the London Coliseum at the press launch in November, he declared his latest project, along with fellow producers David Sonenberg, Randy Lennox and Tony Smith, and production manager, Simon Marlow, to be the biggest rock musical to premiere in London since We Will Rock You.
Peter Marshall, director of theatre for PRG XL, oversaw the provision of kit to the musical: “The show initially opened for a 12-week run in Manchester at the start of the year, before transferring to the Coliseum for the summer season from June to August. It was brilliant to continue our relationship with producer Michael Cohl and general manager Julian Stoneman again - after supporting them on Rock of Ages, and very exciting to work with Patrick and Finn, providing some of the latest technology on the market, including the Panasonic PT-RZ31K laser projectors.
“Bat Out of Hell was one of the first installs of these fabulous projectors in the world, which came straight from the Panasonic factory in Japan to the Opera House in Manchester.”
Associate lighting designer, Rob Casey worked alongside Patrick Woodroffe: “The overarching theme of the lighting for Bat Out of Hell is to achieve big, operatic backlighting which compliments Jon Bausor’s rugged set. We took a basic set of ideas from Patrick and theatricalised it using numerous positions overhead and around the set. The trusses are trimmed to around twelve metres, well out of view and capable o
Australia - IKONIX, the Australian audio-visual production expert, has supplied an Avolites Ai RX8 media server and two Avolites Miami Dongles, to run 960 gigabytes of content for Queensland's largest youth performing arts event, Creative Generation (CGEN) - State Schools on Stage 2017.
The event, now in its 13th year, was held at the Brisbane Convention and Exhibition Centre in Queensland. GCEN aims to mentor the next generation of performers, providing opportunities for them to work with professional artists. More than 1800 students aged between four and seventeen took part in this year's event.
Zachary Burton, co-founder of IKONIX alongside business partner Richard Saunders, worked with the CGEN team to manage and coordinate the production's entire lighting and video aspect.
"IKONIX has been working with CGEN since 2014," says Burton. "This year we decided to use the Ai RX8 media servers to map out and control the video content for the production's 38m x 6m rear screen."
Discussing why IKONIX selected the award-winning media server, Burton says, "The Ai RX8 server is a high performance media server. The integration between Ai RX8 and our lighting console for CGEN was fantastic. Integration was high on our agenda as we had two other media servers in operation as well as our Ai systems. Ai was also the easiest system to programme and make changes to on the fly, which is an aspect we really like."
The video content for CGEN's back screen was displayed at a resolution of 7000 x 1080 pixels and managed over four layers. Burton used a m
Spain - Multiple Grammy and Latin Grammy Award winning Spanish singer / songwriter and musician Alejandro Sanz performed a ‘once-in-a-lifetime’ show at the Vicente Calderón Stadium in Madrid to celebrate the 20th anniversary of his best-selling and landmark fifth studio album, Más, released in 1997.
The production team wanted some spectacular visual moments to make what was already going to be an outstanding show even more memorable, so the show’s production manager Borja Gonzales contacted stage automation and engineering specialists WIcreations.
WI’s Geert Stockmans headed their team after the introduction, which initially came six months ahead of the gig via Frank Janssens, a Belgian lighting specialist living and working in Spain. Geert and Frank have worked together many times, including on Malu’s 2016 tour.
Containing a diverse collection of ballads strongly influenced by flamenco, pop, and tropical rhythms, Más opened the door to international stardom for Alejandro Sanz who is from Madrid, and it was a pivotal work in his incredibly successful career.
Fifty thousand ecstatic Sanz fans attended the concert, made all the more special, historic – and emotional - for the fact that - as soon as the get-out was completed, demolition began on a truly iconic building, home to the legendary Atlético Madrid football club between 1966 and this summer.
Sanz’ lighting and set designer Luis Pastor already had an ambitious plan! It involved the tracking of LED screen columns around a curved upstage truss to reveal matri