UK - Wicked, winner of multiple Tony, Drama Desk and Grammy awards, has become a Broadway staple, poised to celebrate its 17th year on the Great White Way in October at its home at the Gershwin Theatre. The show’s nearly half-dozen licensed touring versions have drawn almost as many award accolades.
The latest touring edition of the show is scheduled to hit 15 cities, from Baltimore to Vancouver. These shows put the musical’s songs through a new DiGiCo Quantum 7T console. Purchased through Milwaukee-based Clearwing Productions, the compact audio desk features DiGiCo’s sophisticated theatre software, a package designed specifically to meet the demands of theatrical workflows, with features such as an auto update system, aliases, the players tool and a VCA programming map.
“We spent the better part of two years planning the upgrade for the touring show, and the DiGiCo was the obvious winner,” says Zach Williamson, current associate sound designer for the Broadway and touring productions of Wicked. “We were looking for the console that will take us for the next 10 to 15 years on the road, and the Quantum 7T is it.”
The Broadway show continues to use the same analogue console it has since day one, nearly 7,000 performances ago, but the touring version needed the kind of power and small footprint that the DiGiCo desk affords users. “The Quantum 7T is light to travel with and load in, and its reliability is exceptional, which is critical for a touring console,” says Williamson. Both he and Wicked sound designer Tony
Slovakia - The Slovak Volleyball Federation recently contracted laser specialists, Kvant, to provide a spectacular multimedia show for the Superfinals of the Slovak Cup, at the Eurovia Arena in Bratislava.
The clients were looking for a high-quality ‘curtain raiser’ for the opening of the men’s and women’s finals, and to entertain the audience between the breaks. Following the finals, there was a live performance as the winners were announced. Helping to boost the extravaganza were 24 Aqua 580 Beam from PR Lighting.
The spectacular itself was designed by Martin Gabco, Kvant's show designer, with lighting, laser beam and graphics all operating to time-code. While Kvant fielded 10 of their ClubMax 10W lasers and four Spectrum 30W lasers, some of the PR Lighting pieces were set on the balconies around the hall, some combined in a floor package behind the LED perimeter, and some were rigged above the field of play, on local overhead catenaries as the coherent beams of the lasers weaved their magic.
Kvant favour the PR Aqua 580 Beam for its supreme power and waterproof rating, and as such they stock it exclusively in their rental inventory. The fixture itself is waterproof (IP66-rated) and produces a powerful output from a Philips 25R 550W engine which is calibrated at 7800K. Housing PR's patent optics and a tight 2-degree beam angle the fixture is packed with advanced features.
Projecting over a distance of approximately 50m, the PR Lighting pieces decorated and boosted the ambience around the hall - which was particularly effective since
Germany - Kings of Floyd are a Pink Floyd tribute band based in Germany. Led by Brit, Mark Gillespie, this assembly of international musicians has earned a reputation for presenting an accurate and atmospheric representation of the supergroup. The band regularly undertake national tours, playing popular theatre venues to sold out audiences. In order to replicate and do justice to the magic and majesty of Pink Floyd, Kings of Floyd and their experienced crew place audio quality high on their list of priorities.
FOH engineer Howard Heckers, notable for his work with Supertramp co-founder Roger Hodgson amongst others, is the band’s audio lynchpin and his work in helping to produce the authentic Floyd sound is essential. Central to his setup for Kings of Floyd is a DiGiGrid IOS unit, as he explains:
“I’ve been a DiGiGrid user for a while now, having started touring with the Waves LV1 around three years ago. In 200-plus shows during that time, DiGiGrid products have never let me down. I use the DiGiGrid IOS for front-of-house - it’s the best option available with eight inputs, eight outputs, two headphone outputs and AES. It’s ideal for PA feeds and some local inputs like talkback and playback from a video stream for the show. I love the preamps - very transparent and clear.”
Heckers, whose career credits also include Liza Minnelli, Melanie and Randy Newman, owns several DiGiGrid products: “I actually have three Waves LV1 setups for different tours. The Kings of Floyd gear stays in the truck but I use a similar setup for other tours. I
USA - RØDE Microphones has announced that the doors to the RØDE House have opened. The RØDE House is live music and performance space within the Momentary, a new contemporary art space in Bentonville, Arkansas which officially opened to the public on Saturday 22 February.
The Momentary was founded by the Walton Family, based on the vision of Tom, Olivia, and Steuart Walton. The Walton Family Foundation is supporting the project as a way to enhance the quality of life in Northwest Arkansas. Occupying a decommissioned 63,000sq.ft cheese factory in Bentonville, Arkansas, the Momentary is a satellite to Crystal Bridges Museum of American Art, founded by Alice Walton.
The RØDE House is a multidisciplinary performance space within the old Milk Intake Room of the factory. In 2018, RØDE founder and chairman Peter Freedman became a founding funder of the Momentary alongside Walmart, Coca-Cola and The Tyson Family Foundation, and construction of the RØDE House began. The venue is a platform for Australian and international artists to perform for American audiences, and marks the beginning of a new cultural exchange between Australia and the US.
To commemorate the opening, a special ceremony took place on the site, with traditional custodians of the land on which the Momentary stands, the Osage Nation - represented by Chief Standing Bear and Cameron Pratt, curriculum specialist at the Osage Nation Immersion School - coming together with Australian First Nations representatives Leslie McLeod and Wesley Shaw.
“To witness this union of First Nation
Austria - When German car manufacturer Audi looked to draw attention to their first fully electric model car, Audi e-tron, at the Audi guest experience in Kitzbühel, lighting designer Chris Moylan of Optikalusion says the only option he really had was Elation’s Proteus Hybrid.
“It’s the only fixture that would have worked for this,” he says, explaining that he needed a powerful, IP65-rated lighting fixture he could place every few meters along very difficult terrain full of snow and ice, something that could tolerate the harsh environment of the Austrian Alps, including subfreezing temperatures. “The Proteus Hybrid is tough. It’s weatherproof, bright and reliable, the ideal fixture for this type of event.”
Produced by creative agency Dreinull and event lead agency Die Favoriten, Moylan handled lighting design for the event together with Dreinull, who came up with the lighting concept and initial design. According to the LD, the lighting brief was quite clear – a forest of beams that could react to cars as they drive along a narrow, winding mountainous road.
He explains: “The cars would drive past sensors which would then trigger a number of lights to move and pass their beams over the car. Pure cyan from the Proteus remained bright enough to show clear beams while giving the forest a magical, otherworldly look. Once the cars had passed, the lights would point back to the ground and await the next car.”
Rows of Proteus Hybrids lined the route with a line of fixtures perched atop a rock wall at the end of the road drawing
Indonesia - The Voices recently equipped the Karnaval SCTV stage with a JBL by Harman audio system to deliver powerful sound with balanced coverage for a variety of musical acts.
Karnaval SCTV is a popular variety show on Surya Citra Televisi (SCTV) that is broadcast live from several major cities throughout Indonesia each month. The shows feature a star-studded cast of celebrity guest appearances as well as live musical performances.
To commemorate the 18th anniversary of the city of Lubuklinggau, Karnaval SCTV broadcast live from Silampari Sports Park, welcoming a host of celebrities including musicians, television personalities and soap opera stars to the stage.
“The client required a powerful sound system that could reach every member of the audience,” comments Liauw Wu Shen, owner, The Voices. “The system had to be dynamic and adaptable to deliver spectacular performance for a variety of music genres and performances. The event commemorated the 18th anniversary of Lubuklinggau city and hosted a variety of eminent celebrities, so reliability was extremely important. After considering these factors, we decided that the versatile JBL VTX series systems would be best suited for the project.”
The Voices deployed JBL VTX A8 line array loudspeakers to deliver clear, detailed sound for a variety of musical performances. Paired with a JBL VTX B18 18-inch subwoofer, the system delivered powerful bass response with improved linearity and increased sensitivity. To power the system, Wu Shen selected a Crown VRack 4x3500H
Czech Republic - David Kachlir has delivered a lively lighting design for the current production of Mamma Mia!, which is playing on the 680-seat Musical Stage at Městské Divadlo (City Theatre) in Brno, Czech Republic.
At the heart of the Musical Stage lighting rig are some of Robe LED luminaires including new T1 Profiles and T1 Fresnels, DL7S Profiles and LEDBeam 150s, part of an investment process in the brand that started in 2015.
It’s the first time that David has lit the foot-tapping musical written by British playwright Catherine Johnson, based on the songs of Abba and set on a Greek island.
He has enjoyed the challenge, working alongside a strong creative team including director Petr Gazdik, also one of the Czech Republic’s best-known actors, and set designer Emil Konecny.
“Petr had some very clear ideas about lighting right at the start of the creative discussions,” explained David, saying that while he communicated these very lucidly, Petr also values working collaboratively, “so I also had the space to come up with suggestions”.
The 14 DLS Profiles, featuring the seven-colour engine specifically designed for theatre - are split into two positions - a row on one of the upstage LX bars for rear lighting, specials, gobos and texturing onto the floor, and a row of seven on one of the front advanced bars just about the first rows of the audience.
The rear DL7S Profiles provide atmospheric lighting for some of the solos as well as picking out the principles in the big production numbers with all the cast on
Albania - Tirana recently welcomed a new two-tier leisure venue, with the restaurant and night club Lost hosting live bands and DJs, and Tema Lounge - occupying a separate space in the same building - providing background music by day, notching up to foreground music after dark.
The sound in both venues (along with control and production lighting) is reinforced by a Martin Audio BlacklineX system, specified and installed by Prosound, the manufacturer’s Albanian distributor.
The company’s audio system installer, Armand Dosti, was entirely comfortable specifying Blackline, having earlier introduced other high-profile venues to the same solution. Furthermore, Prosound already had a relationship with Lost/Tema owner Filip Fermanis from earlier projects.
Surveying the two spaces - the former holding 200 people and the latter with a slightly reduced capacity - they recommended a system based around four Blackline X15, with a pair of X8 for in-fills and four X210 subwoofers for Lost, and four Blackline X10 and two X8 for Tema Lounge.
“From our point of view Blackline always represents the best choice in the Martin Audio speaker range regarding value for money,” stated Kliton Gjika, Prosound CEO, adding that the venue was measured and optimised using Smaart room analysis.
In terms of layout, clients enter the building via Tema Lounge, which is open every day from morning until late evening. This leads into Lost, which is generally a late-night venue, open Thursdays and weekends, with live music. “Lost has become a very popular night c
USA - grandMA3 consoles made their Super Bowl Halftime Show debut at Miami’s Hard Rock Stadium where they joined a complement of grandMA2 consoles to control video elements, stage effects and the LED wristbands worn by approximately 65,000 spectators.
Super Bowl LIV featured one of the most talked about Pepsi Halftime Shows in years with Shakira and Jennifer Lopez turning up the heat with their high-energy, bilingual performances on the main stage.
Jason Rudolph, a lighting director for the halftime show for the last decade, was equipped with a pair of grandMA3 light consoles and four grandMA3 processing unit M to control all the video elements in the show as well as the LED lighting not from moving head fixtures.
“We pixelmapped the KNV LED cubes on media servers and fed that via Art-Net to the grandMA3, where I merged it so that I could control the cubes either via the console programming or via content,” Rudolph explains. “The media server were controlled via MA-Net, and we sent out sACN for data distribution to the system.”
Eric Marchwinski of Earlybird Visual, LLC programmed PixMob on a grandMA2 in session with Rudolph so the latter could trigger the crowd’s LED wristbands during the show. Montreal-based crowd lighting company PixMob helped spectators feel like part of the show with illuminated wristbands synchronized to the super-charged music.
Production designer Adam Biscow of Nashville’s Strictly FX, LLC used two grandMA2 light to control all of the stage effects. Twenty-two cryo units were mo
USA - Every week for the past seven years, Jimmy Fallon steps onstage in Studio 6B at Rockefeller Centre in midtown Manhattan and leads a viewing audience of over 2.4m through an hour of comedy, talk, and music, always opening and closing the show with Hey, Hey, Hey, Hey, the show’s jazzy/funky theme song, composed and performed by The Roots, The Tonight Show Starring Jimmy Fallon’s Grammy Award-winning house band. Sound is managed through the show’s three DiGiCo SD7 consoles paired with five SD-Racks.
Artless Poole, Jr. has been with The Roots for 20 years, mixing the band’s live shows as their front-of-house engineer, and is there for them on The Tonight Show as the house mixer for the band, as well as the show’s diverse guest artists, and everything else that happens on that stage. It all goes through Poole’s SD7 console, supported by a DiGiCo EX-007 fader expansion unit.
“Mixing music on television has always been a goal of mine, and late-night talk shows have become more and more based around music, introducing new music and artists across every genre every day, and I love that I get to mix that,” says Poole, who has also mixed live shows for Santigold and D’Angelo, as well as several episodes of The Voice, and on Jimmy Kimmel Live! and The Queen Latifah Show. “It’s all I ever wanted to do.”
Poole oversees more than 200 inputs each night, and that channel load has become much easier to manage since the show upgraded his SD7 with a new Quantum engine. The upgrade tripled the numbe
Norway - Sound engineer Tom Meyer has built up a large collection of DPA microphones over the years and has always been very happy with the results they deliver. He is now spreading the word to artists he works with and has recently persuaded pop singer Lisa Skoglund to switch to one of the company’s new 2028 Vocal Microphones.
“As soon as the 2028 Vocal Microphone was released, I ordered one for Lisa and she is so happy with it that she takes it with her wherever she is singing,” Meyer says. “I take a selection of DPA microphones with me on every gig I do because they make my job much easier - and they are popular with my clients, as well.”
Based in Bardu in northern Norway, Tom Meyer has been tackling live sound engineering projects since 1990 and now runs his own company, TM Tour Production. He first became aware of DPA through the 4011 Cardioid Microphone and was very impressed with its sound, particularly when he used it to amplify large conferences or kick drums for touring bands.
“I felt that I could gain them much higher than anything else and they sounded so good,” he says. “When I moved north and started by my own company, I decided to get the best tools possible and gradually started buying DPA. I now have more than 30 of them.”
In recent months, TM Tour Production has been using its DPA microphones on a variety of projects, including live gigs with Hollow Hearts, a folk band from Tromsø.
“The first time I worked with Hollow Hearts, I put up a DPA d:facto Vocal Microphone for the band’s singer Ida Løv
UK - P&J Live at TECA, the North of Scotland’s new events venue, has invested in over 700 Prolights fixtures to provide in-house production services for events ranging from conferences to gala dinner dances.
P&J Live’s deputy operations manager technical, Steve Morrison needed a moving wash fixture to provide flexible, high-quality lighting during events. He specified 140 Prolights PixieWashXB units after being impressed by their versatility, size and quality of light output.
The additional 560 LED fixtures included RA2000 moving LED profiles, Eclipse HD LED ellipsoidals, Eclipse 1K and 2K LED Fresnels, StudioCob LED PARs, Lumipix 16H LED battens and SmartBat Plus battery uplighters.
Steve commented: “These little LED fixtures are really useful to create atmosphere and table lighting for a gala dining experience. Their flexibility is exactly what is required throughout the spaces. Using the Lumipix battens to under-light white scrims has created a more intimate look for dinner dances to great effect. Our production team is really pleased with the end result.”
USA - After debuting last year at The Strat in Las Vegas, Celestia, a Cirque du Soleil-type entertainment show, has emerged as one of the city’s top North Strip attractions. With a troupe of performers highlighted by ‘an otherworldly lighting design’ by Tom Sutherland of DX7 Design, the fast-moving circus-style production is a carnival of thrills.
The LD entered the project somewhat late as part of a creative team hired a relatively short time prior to opening night to ‘cast their eyes over the production’ and enhance the show’s look.
“They had brilliant acts and a state-of-the-art theatrical tent but there was no real glue or production value,” Sutherland states, explaining that the new creative team only had a few weeks to implement their ideas, which included an extra build and additional lighting fixtures. “We stripped out some rigging, put in some extra upstage positions and built a big semi-circle truss around the back, which is the centrepiece of the entire set really. I think we put it all together in under a month.”
Created by executive producer Brian Burke and live-production company Intrigue Shows, Celestia is a galactic journey filled with daring acrobatics, athletic dance, and aerial feats, all told through live music and cutting-edge technology that includes Elation Professional lighting effects.
As part of the improvements, DX7 Design purchased Elation Dartz 360 LED moving heads to mount on the semi-circle truss to wrap the stage in 180 degrees of lighting effect. Thirty-two Dartz 360 beam/spot units
USA - SNHU Arena in Manchester, New Hampshire, has filled many roles since it opened in 2001. Not surprisingly, being in the heart of the state that holds the first-in-the-nation presidential primary, it has hosted rallies for virtually every candidate in this century who’s aspired to take up residence at 1600 Pennsylvania Avenue not to mention sports, concerts, and conventions of every type.
On Wednesday 5 February, the spacious arena assumed a somewhat different appearance. Instead of swelling with crowds of 10,000 or more as it does for political rallies and concerts, it welcomed a more intimate gathering for a sales event for IT services provider Connection. Once inside the arena, the conference’s thousand or so guests were immersed in a welcoming environment that featured an Events United lighting, video, audio, and scenic design anchored by over 70 fixtures and 56 LED panels from Chauvet Professional.
“We worked with the venue staff to transform the SNHU Arena into a blank canvas by draping off 90% the side seating,” said Tim Messina, Events United owner. “This gave us the ability to work with a 90ft vertical trim height, but still have people feel that they were in a smaller space.
“Our goal was to make this event all-encompassing for the guests in attendance, as well as for those watching the live stream that was sent to Connection’s remote sites. Our team did this through the use of lighting, video, and scenic elements, from the lit banners on the sides that transitioned to the video wall on the stage, to the overhead moving
USA - Theatre lighting design specialist Tyler Micoleau recently collaborated with New York-based Public Theatre’s Public Works programme, lighting a production of the musical Hercules, a world-premiere presentation of a stage musical adaptation of the Disney film, developed in a collaboration between The Public Theatre and Disney Theatrical Productions.
To add poignancy, the venue chosen was the outdoor Delacorte Theatre in New York’s Central Park, and helping Tyler to achieve his objectives were 34 Fusion by GLP FP7 Par and 20 Fusion by GLP FS10 Stick battens, operating alongside the repertory house rig.
Tyler has a long history of working on productions with Lear deBessonet, founding director of Public Works, and has designed four productions for The Public Theatre at the Delacorte.
The LD said: “Musicals are not the typical production at the Delacorte Theatre and I needed additions to the repertory lighting package that could contribute the colour changing and dynamics more typical to musical theatrethan a straight play. While in recent summers, The Public Theatre has had some colour changing LEDs and a small inventory of moving lights, they haven’t had weather-resistant (IP65 or better) ratings.”
Both he and Alex Brandt (the lighting supervisor of The Public Theatre) had also been interested in seeing what kind of IP65-rated equipment was currently on the market as the latter was tired of having his electricians constantly swapping out gear due to wind and rain damage.
“In order to get the lights integrated into
UK - Marking the 15th year of Christie’s partnership with the National Film and Television School (NFTS), this year’s Christie prize for Most Promising Student was awarded to Michael Pearce, NFTS graduate in digital effects. Michael received a monetary prize, a certificate, and a crystal trophy to celebrate the win at the NFTS Graduation Ceremony. Already employed as a colourist, Michael has already gained vital experience having worked on numerous short films, music videos, commercials, documentaries and feature film credits.
John Rowe, head of digital effects at NFTS said of the win: “Michael has earned his reputation as a diligent and trustworthy ally, working tirelessly across every genre to help finish projects to the highest possible standards. His determination to succeed and his resourceful nature have resulted in him earning a full-time contract at world-leading postproduction house, Company 3. It can be no surprise that someone so universally liked and trusted has won this prestigious award. Michael has a positive approach to every aspect of life and fully deserves this accolade.”
“We’re once again delighted to recognise outstanding talent in the industry, and we’d like to congratulate Michael on his outstanding achievement,” commented Brant Eckett, marketing director (cinema) at Christie. “In our 15-year partnership with NFTS, we have seen the school continue to grow and enhance its offering, with courses such as digital effects, and it has been an honour to support an array of initiatives, including its shift from film to dig
UK - The Lastminute.com London Eye dazzled its vast visiting crowds this year with a first-of-its kind, eight-metre tall Christmas tree adjacent to the attraction. With plans to transform the tree every hour into an attention-grabbing light show to music, the Merlin Entertainments team turned to TLS Lighting, for a bespoke LED lighting solution that would fully pixel-map the tree’s surface.
Merlin Entertainment’s David Rigby explains: “We wanted large scale pixel-mapping and TLS Lighting created a custom-designed and manufactured lighting system in a conical shape that was supplied to us as plug and play. We know we can always trust TLS Lighting to create exactly what we need with the feature sets we are looking for. They don’t let us down.”
The tree twinkled with almost 4000 RGB LED light modules and was adorned with a total of 64 strings of lights, varying in length from two to eight metres in length to achieve what Rigby describes as the “perfect look across the whole tree”.
With each pixel individually controllable, the Merlin entertainments team had full command of the 11,520 control channels and programmed the coordinated light shows via a High End Systems Hog 4 lighting desk which streamed control to TLS Lighting PixNet controllers using ArtNET protocol.
Rigby adds: “We get a very good service from TLS Lighting. We work with technology that we will constantly push boundaries with. More pixels, more power, more brightness. Its very hard to find a company that will work with you at that level and support you. That’s the
World - For the current world tour by Charli XCX, lighting designer Elliott Mountford is enjoying the power and consistency of the VL2600 Profile luminaire from Vari-Lite.
The tour is in support of Charli XCX’s third studio album Charli. Having worked with Charli and creative director Jed Skrzypczak through the summer, Mountford knew what was required, but also the limitations. “Charli hates key light,” he says, “so most of my show is backlit, with a very silhouetted look. I love big, backlit looks in white, but they have to be super-wide for every audience member to see the effect.”
In achieving this, Mountford was impressed by the VL2600 Profile’s powerful output and wide zoom range. “I wanted great contrast between the lights and the rest of the rig - we had 100-plus strobes that they had to compete with,” says Mountford. “They cut through everything. My side-lights were workhorses for making sure Charli was illuminated, even during the brightest scenes. The brightness and the zoom are insane,” he explains.
Asked if the VL2600 Profiles had met his expectations, Mountford says: “Yes, they certainly met expectations. They went above and beyond to impress me each time I used them in the show. They totally out-performed any other similarly-sized spot that I’ve used.”
USA - Michael Brown is a lighting designer who loves to experiment and take some creative risks in the quest for imagining new and exciting performance environments and that’s exactly what he did for the US leg of Bon Iver’s recent tour, part of the campaign for new album i, i, where 49 x Robe MegaPointes and 25 x Kinetic Lights custom moving mirrors were at the core of his design combining the diverse visual disciplines of art, architecture and concert lighting.
Michael has worked with the band since 2012, following a chance backstage encounter a few years earlier with lead singer Justin Vernon. It’s been a fertile and stimulating partnership, for which they implicitly trust in his creative judgment.
He first encountered the Kinetic Lights winch system in 2017 while researching cool art projects for the Eaux Claires Festival in Wisconsin for which he was the creative director/ visual arts curator for all four years - 2015 to 2018 - that the event has run so far.
Bon Iver’s Justin Vernon and Aaron Dessner from The National are the main curators - for music and all aspects - of the entire festival.
Christopher Bauder and WHITEvoid - the company presenting the project side of his work – had a lot more experience of utilizing the kit, and both Justin Vernon and Bon Iver’s production manager James Dean were also onboard.
The 3D geometry that defined the band’s touring lighting rig was created by five identical overhead chevron trusses comprising 32ft long wings connected by a 90-degree corner block, which resembled a di
USA - As the San Francisco 49ers and Kansas City Chiefs battled it out for the NFL Championship, the Pepsi Super Bowl LIV Halftime Show brought a little Latin flavour to Miami’s 65,000-seat Hard Rock Stadium on Sunday 2 February, thanks to an explosive show by Jennifer Lopez and Shakira, aided by Puerto Rican rapper Bad Bunny and Colombian star J. Balvin, and a cast of near 170 musicians, dancers, and performers.
This massive production - an eagerly awaited annual event - was broadcast live by Fox to 100m viewers worldwide, all of whom witnessed a lighting show which had at its centre over 120 Ayrton Perseo IP65-rated multi-function profile fixtures.
The spectacular production was created by the Super Bowl team headed by show designer, Bruce Rodgers of Tribe, Inc. and lighting designer, Bob Barnhart of 22 Degrees. “We quickly decided the Ayrton lighting rig would be the centrepiece of the whole design,” said Barnhart.
Rodgers’ stage design included four runways of light upstage of the main stage, delineated by 52 Perseo fixtures which would also outline the circular main stage. He also installed 24 further Perseo fixtures on either side of the tunnels to light the teams as they made their pre kick-off entrances onto the field.
“The upstage ramps were the background of the show for us,” says Barnhart. “It’s very hard to get elevation in a set in the middle of a field with only 8-minutes set-up time, so we depended on those four long rows of lights to give us a really strong background.”
One section of the upstag
USA - The Bronxville Union Free School District encourages their students to participate in a number of extracurricular activities including the performing arts programmes produced by the High School, Middle School and Elementary School departments.
Wanting to supply their student technicians with the latest in production technology used to accentuate the performing arts, The Bronxville School Foundation awarded a grant submitted by student technician AJ Radik for the addition of Siren Series LED followspots from Altman Lighting.
“I’m a junior at Bronxville UFSD and I started doing tech for the theatre productions back in the sixth grade,” began Radik. “I am mainly focused on the sound and lighting designs of the productions and last year as we were doing a production of Little Shop of Horrors, one of our old spotlights starting smoking and became inoperable for safety reasons. Afterwards, I spoke with the director of the production Pamela Simpson and she suggested that we write a grant to the Bronxville Foundation for new spotlights, so I did.”
Supported by the Bronxville community to award grants for high-impact projects that the District budget cannot fund, The Bronxville School Foundation has provided opportunities for new initiatives in technology, curriculum, teaching techniques and innovative classroom design. Knowing their willingness to also support the arts, Radik was hopeful that the grant might come through for the benefit of all the student technicians working behind the scenes.
“Our school has a sort of hybrid tech cl
UK - A.C. Entertainment Technologies (AC-ET) has supplied two Green Hippo Hippotizer V4 Karst+ Display Port media servers to full-service event production agency, T.H.Collective, to provide flexible, high-resolution video playback for a myriad of client events.
T.H.Collective was looking to invest in a robust system for large-format video playback on high resolution LED walls and edge-blended projection. These applications required the screen content to be displayed at a higher pixel count than a single video port could carry.
Matt Emmerson, head of video at T.H.Collective approached AC-ET to recommend a suitable playback solution to meet the company’s technically demanding requirements.
He comments: “The decision to use Hippotizer media servers came down to the flexibility in operating them. Triggers can be run using programmed timelines, individual DMX channels, midi signals, stream decks, directly with the Zookeeper control software or as a fixture from a lighting console. In addition, we often use LED and pixel tape in our backdrops. The PixelMapper component has an intuitive, user friendly interface, enabling pixel maps to be programmed quickly and easily.”
Chris Beardwell, technical sales executive in AC-ET’s dedicated video sales division, recommended the Green Hippo Hippotizer Karst+ Display Port Media Server, with its two display port 1.2 outputs and genlock sync. T.H.Collective purchased two units, giving it the option to run them as either a main and back up, or linked together to handle any larger canvases.
So far T
USA - A majestic ‘magical’ 50ft tree is at the heart of the Wildwood Grove Tree Experience, a multi-media creation from LifeFormations and The Imagination House at Dollywood in the The Great Smoky Mountains, Tennessee.
A collection of 650 pixel-mapped and illuminated butterflies controlled by Weigel software animate the 50ft wide expanse of the venerable tree’s branches, while music by Mike Avila and an alluring story narrated by the park’s cofounder, Dolly Parton, add to the enchantment. Accentuating the entire scene is a vividly coloured Susan Rose lighting design that features 16 Chauvet Professional Ovation E-910FC ellipsoidal fixtures supplied by Bandit Lites.
Deftly mixing colours, light angles and slightly off focus gobo patterns, Rose creates a captivating vista that adds depth to the tree and its rocky surroundings, giving them a dreamy edge that conveys endless possibilities. Her lighting seamlessly changes colours, intensity levels, and orientation during the show to create a flowing stream of engaging looks.
“Lighting gives an extra dimension to the impact of the Wildwood Grove Tree Experience,” said Rose. “The layers of colour and shadows that we create help make the tree pop and gave people another level to engage with the show.”
Key to helping Rose create these looks are the Ovation E-910FC fixtures, she hung four apiece on four poles located 50 to 75ft from the tree. Using lens that range from 14 to 19 degrees, she relies on the RGBA-Lime ellipsoidals to hit the tree with a wide range of coloured light from diff
Norway - A 100-year old historical machine hall situated in Oslo is home to Norway’s Design & Architectural (DOGA) foundation, with DOGA responsible for facilitating collaboration between creative talents and businesses, as well as promoting innovation and new ideas on the role of design and architecture throughout Norway.
The large main hall, dating back to 1898, needed a versatile and dependable system suitable for conferencing or seminar purposes - from single stage solo presentations through to larger conferencing situations, with multiple presentations held across various locations in the building. For these reasons, Shure Microflex Wireless was selected as the system of choice.
The space at DOGA is 340sq.m wide and 8.5m high, which makes it a popular venue for hire when organising large conferences, seminars and parties. As a historical building steeped in heritage, DOGA was keen to keep the aesthetics of the space and physical installations as compact as possible.
Consideration also had to be given to the portability and flexibility of the system due to the various events held within the space.
“Working in the event business, we have a lot of different clients with various backgrounds and technical competence,” says Torstein Strand, technical manager and event coordinator at DOGA.
“Our goal with this installation was to transform our main space into a flexible and straightforward room to rent.”
Two Shure Microflex Wireless docking stations were deployed, along with two handheld microphones and six bodypacks, u