UK - Visual designer Nick Jevons of Electric Fly Productions used an Avolites Diamond 4 for controlling lighting for the first Radio 1XTRA Live event staged at the Ricoh Arena in Coventry. Show visuals were played back from a Maxedia media server triggered by a Pearl Expert console run by Jake Jevons.
The show featured Akon, Chris Brown, Kelly Rowland and Craig David and was the first of its kind to be staged by the BBC's popular digital urban music channel. It was broadcast live on 1XTRA and recorded for a BBC 2 live special and BBC Digital's Red Button channel.
Jevons was brought onboard by producer Dave McColmont of Angel Music, following his many ground-breaking designs integrating video and lighting for the BBC's One Big Weekend events. All lighting and rigging was supplied by Blackburn-based HSL, with visuals and control from Electric Fly, and screens from CT.
(Jim Evans)
USA - Nordstrom, one of America's leading fashion specialty retailers, recently turned to lighting designer and programmer Mike Casale for a spectacular visual display for their Annual Men's Fashion Show on Chicago's trendy Michigan Avenue. Casale employed Intelligent Lighting Creations (ILC) to bring his vision to life.
Using Martin's new LC Series panels and Maxedia media server, both Casale and ILC were able to create an atmosphere that would complement the designs while garnering the crowd's full attention.
"The LC Series panels provided an excellent backdrop for the runway and stage area," said Bob Moisan of Intelligent Lighting Creations. "The output of the LED's was tremendous and created an exciting event for the audience as well as the production crew."
(Jim Evans)
Ireland - Green Hippo's Hippotizer media servers are frequently seen on big spectaculars and events but it is sometimes easy to overlook their involvement in the quieter projects. Quiet is perhaps the wrong word when describing the phenomenal performances of dancer Colin Dunne, whose latest solo work, Out of Time, Green Hippo has just sponsored.
Performed at the Glór Theatre, Ennis in February, before going on tour later this year, Out of Time explores Dunne's private world as a dancer rooted in the Irish step dance tradition. It looks to the past for simple beginnings as he examines his relationship with a tradition that has shaped his life.
Dunne wanted to find a way to present traditional Irish dance within a contemporary setting and an introduction to Green Hippo's Sean Westgate by the show's director, Sinead Rushe, was the beginning of an evolutionary, creative process which was to do just that.
"It is nearly a year ago since we all first met in London - me not really knowing anything about film technology at this end - and Sean not knowing anything about bloody Irish dance at his end," explains Dunne. "I was not sure what the Hippotizer really was, and was a bit intimidated by it at first. However, a workshop session with Sean in June showed Sinead and myself what it could do and gave us a sense of its versatility."
Using video footage of dancers from 1930s to 1970s - including himself as a 10-year-old performing on TV - Dunne wanted to use projection to bring aspects of Irish dance to the stage which, in a solo piece,
Ireland - Dublin-based High Resolution Lighting co-ordinated the supply of all video, digital and visual control elements for the 2008 final of You're A Star, Ireland's popular quest to find new singing talent.
The final was staged in the Helix Theatre at the City of Dublin University and the contemporary video-based visual design combined ideas from the creative team of lighting designer Andrew Leonard, set designer Molly Malloy and moving light and Catalyst programmer/operator Peter Canning. Sound was engineered by Paul Ashe-Brown using the house rig.
The show was produced by Screentime ShinAwiL, directed by Pat Cowap and broadcast live on RTE 1 where it consistently topped the Saturday night ratings. The 2008 final was won by Limerick singer Leanne Moore, who beat Wicklow singer Robyn Kavanagh on the results show, with the other finalist, Deidre Archbold from Cork voted off earlier in the evening.
High Resolution Lighting supplied 400 panels of Stealth screen, which were arranged as eight scenic panels around the stage, with five strips in the audience at the sides below the balconies and along the back of the stalls.The audience strips were used for branding and text, and for adding colour and movement for wide camera sweeps and reverse shots into the audience. There was also a larger section of Stealth ensconced below the specially constructed star-shaped Perspex stage floor.
Hi Res supplied 60 high definition Element Labs VersaTubes and 100 standard VersaTubes that were integrated as set and sub-floor (HD) pieces. VersaTubes were also used to mak
Russia - Inaugurated in 2000 and now in its ninth year, the annual Laureus World Sports Awards was staged this year in the historic Mariinsky Theatre Concert Hall (formerly known as the Kirov Opera and Ballet) in St Petersburg and was televised to a worldwide audience.
Working for production company Done and Dusted, audiovisual services company Creative Technology (CT) provided the event's demanding screen requirements, a service it has been providing to the Laureus Awards for the past three years whilst sister company, Dimension Audio, was on hand to address its audio needs.
In charge of CT's five-man crew was project manager Alex Leinster, who explains what was involved: "We used Barco OLite 612 modules for the main screen in an 8x6 module which was split into four columns that were tracked backwards and forwards on a Vertigo Rigging system during the show, to create entrances for winners and presenters to emerge through.
"We then had a further 1,296 tiles of OLite 612 that were housed in custom metal work on each side of the main screen and divided up as three 'fingers' on either side."
Barco's lightweight, transparent MiTrix modules were then used to create a 40m-wide banner around the top of the theatre's auditorium, comprising a total of 663 tiles, again housed within custom metal work. A further two panels, consisting of 174 tiles of MiTrix, were positioned on either side of the stage.
"We used another 126 tiles of MiTrix to cover the master truss that supported the tracking OLite screen," continues Leinster. "That meant
UK - High-performance dnp optical screens are being adopted by the SA Media Group to offer a radical high-impact, rear projection digital solution for advertisers on portable outdoor displays.The high-impact innovation is the brainchild of Scott Anthony, who recognised 15 years ago that products being displayed for outdoor media campaign solutions were not up to agency/media standards. "This was an area crying out for innovation," he said.
Anthony developed his own portfolio of flexible mobile media advertising vehicles. "These were primarily poster media vehicles - however, I started to look at digital media possibilities when I was engaged with private and public sector campaigns, educating people about the risks associated with drink driving. We needed to engage with all the senses - audio as well as visual."
It was then that SA Media Group were introduced to Bedford-based A/V specialists, Paradigm Audio Visual, who are also the sole distributors of the dnp product range. "We felt that Paradigm had the relevant experience and technical expertise to help us, and we discussed how we would develop the largest rear projected multimedia van in the world."
As a result SA Media Group supplied the vehicle and Paradigm supplied the dnp optical screen; the rig was then constructed by Paradigm's team, and the first vehicle was born. Scott Anthony opted for the 120" screen.
Each converted Renault Master is fitted with a Sanyo 12K projector, an integrated alignment rig system, full ventilation system, the dnp optical New Wide Angle Sc
Eire - Barco has installed a large-scale, visual decision-making environment in the main auditorium at Google's Irish headquarters. The Barco display is equipped with advanced imaging and multi-windowing capabilities, and is used to magnify auditorium presentations and create an information-rich, engaging forum for collaborative discussions.
For years, Google was using complex switching and cabling setups, as well as multiple remotes to connect and operate its projectors in order to show various presentations. Google AV/IT staff found this arrangement costly and time consuming. As such, Google decided to replace its existing projection equipment in its auditorium with an up-to-date visual system that offered only the best in terms of ease of use and projecting various types of content simultaneously and flexibly. After an extensive review of display solutions, Google narrowed down its decision to a multi-channel Barco display system.
The display wall installed at Google consists of four Barco SXGA+, single-chip DLP SIM 5R projectors, and its award-winning display management system - the XDS-1000. Barco's XDS-1000 creates a giant desktop environment on the display, and allows users to control the system with mouse and keyboard. Input sources, such as PowerPoint presentations and video content, can be resized, moved or made to overlap anywhere on the screen. Both source and layout selection happen through Barco software on the desktop. Additionally, the XDS-1000 is fully networked, which enables visualization of local and connected sources on the same screen in rea
UK - The Mission's recent farewell tour brought much of its own to the stage, but it also gave many nods to some of the highlights of the band's touring past. The rig was structurally reminiscent of some of the first tours they did, with a custom Pre Rigged Truss Arch from the 80s containing a backdrop with an album's cover art on it. The only problem was however, that the original canvas backdrop no longer existed. So instead lighting director Adam Stevenson from Entec turned to Martin's LC2140 for the solution.
"We really wanted to have the album artwork in the arch, and we thought about projecting it, but there were some limitations for projections, especially with the shape of the arch we used. So we thought; how about a screen instead?
"The LC screens were perfect and the audience and band loved it. For the last four nights we used the first four albums, so one album a night plus logos and pictures of the band. We had four nights with no hitches - the whole rig held up and there was no down time."
Stevenson used Martin's Maxedia to control the digital content of the LC units with the help of Entec's Fraser Elisha, who operated and programmed the system for him.In many regards it was a very special show for Adam Stevenson, who got his first lighting break with The Mission after starting his lighting career at Entec in 1985, straight from school.
"I was lucky enough to go out with The Mission right from the word go and continued to work with them throughout my time at Entec. I did their first ever show, and now their last show, plus hun
UK - As part of an ongoing sponsorship arrangement, Compulite and Fuzion, its UK distributor, have recently upgraded RADA's Compulite Vector Orange console to a Vector Green.
The console was first used on the production of Little Women staged in the Jerwood Vanbrugh Theatre at the beginning of February. The main design concept for the show utilises video, designed by Nigel Sadler from Green Hippo, to transform the set into numerous different locations for the different scenes in the production.
Lighting designer Matt Prentice used moving lights as specials to keep the light off the video projection, these included three ETC Source 4 Revolutions and six Clay Paky Alpha Halos all supplied by Stage Electrics London, another major RADA sponsor.
(Jim Evans)
UK - XL Video UK supplied MiTrix screens to Mark Ronson's LD Matt Arthur for the latest UK leg of the Brit Award winning star's tour. XL worked closely with lighting suppliers Lite Alternative, who supplied the Catalyst digital media server and suggested using media server tech Stevie Marr to look after both elements of the video.
Upstage were five 'fingers' of MiTrix, each 1.5m wide with a 4.5m drop, rigged with six 250Kg CM Prostar motors (two for the centre panel and one each for the others) suspended inside an upstage truss. These fingers were each constructed from 54 panels of MiTrix and spread out into a 1960's style fan, as Ronson was particularly keen on a retro look for the stage.
There were several risers spread across the stage, including a downstage section for people and dancers, accessed via two sets of stairs. All the riser fronts were bordered by MiTrix panels, so everything facing the audience was video fronted.
Arthur positioned Martin MAC 250 moving lights behind the risers which were blasted through the MiTrix when there was no content showing on the surfaces. For content, he utilised some standard Catalyst material plus a series of custom retro images produced by Stevie Marr. The Catalyst was triggered by the Jands Vista lighting desk operated by Arthur.
The 60's theme was completed with red velour swagged borders and legs and a full red velour upstage drape. Lighting kit was supplied by Lite Alternative, whose crew of Andy Pollard and Alex Johnson worked closely with Marr and Arthur.
(Jim Evans)
UK - Event services company PSL successfully completed a UK tour supplying video projection and screens Madness, culminating in a rotating 'in-the-round' set at the massive 20,000-seater O2 Arena in London.
PSL supplied four 20ft x 15ft projection screens to fulfil the specification of video director Julian Hogg, using the new Christie Roadster S+20K DLP projectors to provide a mix of pin-sharp graphics, Madness' own material created by Tim Fleming of Plastic Pictures and live footage, generated by PSL's eight-camera PPU, all using Sony cameras.
"With the stage itself rotating, we had to have more cameras than usual to provide front coverage," explained Hogg, doing his first show in the O2 Arena. "This was an unusual show for Madness as it was set in-the-round. We were flying our screens nearly 50ft in the air, above the lighting grid and below the PA, sitting in between rather than having first choice of position."
For the biggest show of the Madness tour, Julian Hogg and VJ Mark Scarret were housed underneath a bleacher, not the ideal position for the men in charge of the show's visuals. "Spatially, it was quite difficult to see where the musicians were and what they were doing, but we were pretty grooved by the last dates of the tour," says Hogg.
"When we started, there were a lot of opinions flying about, but by the third or fourth show, we had got what everyone wanted. The artistic concept is less about the players, more about their image. They don't like seeing themselves on screen, and would prefer to see visuals of t
Germany - In addition to the worldwide debut of High End's two newest products - the DL.3 and the Road Hog Programming and Playback Wings - attendees at ProLight & Sound in Frankfurt are eligible to enter a draw to win a new Road Hog Full Boar console with Playback Wing.
The DL.3. This integrates a media server loaded with a wealth of digital content with a 6500 lumen 3-chip LCD projector, a highly sensitive HAD sensor camera and an infrared illumination system. Among many new features of DL.3 are its high 2000:1 contrast ratio for a dark 'video black,' lens options for longer throw projection applications, SDI input/output for professional AV markets, and new art libraries with high resolution content.
Also debuting are the new Road Hog Programming and Playback Wings, designed for Wholehog control systems including the Wholehog 3, Road Hog Full Boar, Hog iPC and Hog 3PC.
Other HES products at the stand will include Showgun, the new Road Hog and Road Hog Full Boar consoles, and Studio Command.
(Jim Evans)
UK - Media Powerhouse has announced the arrival of video engineering expert Simon Cox, formerly of Blitz Communications.
Cox joins after 10 years as head of engineering at Blitz and has long experience of developing video and widescreen video. He was responsible for its video offering and designed a multipurpose Multi Definition Portable Production Unit (MDPPU) which proved to be a tremendous success with clients.
At Media Powerhouse, Cox will assist in the research, development and sourcing of new equipment to ensure that the business is at the forefront of video technology and provide quality solutions for its increasing client base, says the company.
Simon Cox comments: "I am extremely excited to join such a new and ambitious company. I'm also looking forward to working together with Kevin Orwin to design and supply the very latest technologies and equipment available to our clients."
(Jim Evans)
UK - PSL's video display technology was deployed in an innovative musical performances, as non-conformist band The Bays joined with the Heritage Orchestra for the world premiere of a new piece of music which was being written as the musicians played. This hugely ambitious musical challenge was undertaken at the Liverpool Philharmonic Hall, as part of the city's Fresh festival.
The Bays famously don't rehearse; their music is improvised and spontaneous, and different at every performance. But this show was edgy, even by their standards. Musicians in the Heritage Orchestra played the notes in real time as they were written by two 'live composers' John Metcalfe and Simon Hale; with the four members of the Bays - drummer Andy Gangadeen, bassist Chris Taylor and keyboard and effects men Jamie Odell and Simon Richmond - joining in, the results prompted Metcalfe and Hale to interact and write new motifs and themes, using the software platform Sibelius for the musical notation.
It fell to video designer and visual project manager Adam Seaman to create a way to represent this process visually, as he explains: "I wanted to show the creative development of the music-writing process to the audience in a way never done before." Working closely with event video specialists PSL, Seaman had to solve technical puzzles of latency of signal transfer and timing, as well as meeting the artistic demands of the performance.
Three 4m x 3m screens dominated the stage, the two outer ones paired for content, which showed the different musical parts as they were being com
UK - Specialist audio visual distributor AVM has announced a new distribution partnership with Christie. The agreement sees AVM become Christie's distributor for the UK audio visual market and brings its range of single chip and three chip DLP projectors to AVM's channel customers.
Commenting on the new agreement, Mark Nisbet, AVM's managing director said: "Christie is recognised as a pioneer of DLP technology and their success in both professional display applications and in particular d-cinema has earned them and their products an unrivalled reputation for image quality. This expertise is reflected right across their range, and with their bespoke approach to developing projectors designed for individual applications, it means that resellers can offer truly tailored solutions to their customers."
Dale Miller, vice-president EMEA for Christie said: "We've chosen to partner with AVM because they have a great degree of technical expertise and projector experience, which means they are able to offer high levels of support to the trade. Additionally, they have a well established audio visual channel selling into markets which are important for our continued growth, and which will increase our brand exposure. I am confident the agreement will be beneficial both to Christie and AVM."
Whilst Christie will retain a number of direct house accounts the bulk of their business product sales within the UK will be through AVM.
(Jim Evans)
UK - XL Video UK is again supplying video production and crew for the X-Factor Live 2008 tour, an all-action performance featuring a strong line up of the 10 finalists from the 2007 BBC TV series.
Dan Omerod is the live video director. Show director is Tim Byrne, the set has been designed by Iain Whitehouse from Production North and production manager is Sarah Hollis. The tour is being project managed for XL by Jo Beirne and Phil Mercer, and is one of a number of shows they are working on this spring for Leeds-based Production North in conjunction with Blink TV.
Phil Mercer adds, "As screen supplier for the recent ITV series it's been a good challenge for XL to adapt the system for touring whilst still maintaining the overall scale, variety and quality of the original TV studio based design."
Similar to the TV show, X-Factor Live is fast-paced and involves lots of cues and quick cutting. The stage features three upstage screens constructed from Barco I-Lite 10 LED panels. The central screen also splits in the middle and tracks to create an opening for stage entrances.
Ormerod has three of XL's Sony D50 cameras at his disposal, two on track and dolly in the pit and the third at FOH with a 70mm long throw lens, and he mixes using a GV Kayak mixer/switcher.
A major aesthetic challenge is to maintain the hectic pace on screen for two hours with an interval in-between the show's two halves, and also to give each artist their own individual look and video structure.
Joining Ormerod on the XL crew are engineer Jeroen "Myway" Marain, Ol
Slovakia - Slovensko h?adá Superstar is a casting television show based on the popular British show Pop Idol. Broadcast twice a week from October to December by TV station Markíza, this wildly popular series to find the best young singer in the land was the highest rated TV show ever in Slovakia.
Adam Pastorek, president of Martin distributor Adam A Syn s.r.o., together with director Peter Nunez, set designer Marek Holly and chief cameraman Vlado Valko, decided on a modern set design featuring the Martin LC Series LED video screens.
Dominating the set design upstage centre was a large LED video wall consisting of 28 LC 2140 panels vertically divided so they could open for competitors to enter the stage. It was the LC Series' versatility and light weight that allowed for this entrance "gate" to be realized. Stage right and left were more LC Series panels assembled as large cylindrical displays. The colossal impression of the stage was underlined by video projection and 25 plasma screens.
(Jim Evans)
South Africa - Questek Broadcast Technologies (QBT) has recently been appointed as the local agent for Chromatec and Chord Professional audio monitoring, Chromatec video display and openGear products on behalf of Michael Stevens & Partners.
"We are thrilled at the opportunity of representing Michael Stevens & Partners in Southern Africa," says Justin Thathiah, general manager of Questek Broadcast Technologies, "Many of our customers are planning to upgrade and improve both the quality and efficiency of their operations. This new agreement allows us to offer the latest specialist technologies from a world class international partner."
"Any manufacturer benefits from an experienced reseller with good local knowledge," says Ian Burkinshaw, business development manager at Michael Stevens & Partners. "We are very pleased to be working with QBT who have such a broad customer base and a long standing relationship with the Southern Africa market."
(Jim Evans)
Norway - projectiondesign has appointed Chris Axford to the role of director of international sales & marketing. He has worked within projectiondesign for two years as senior regional sales manager, responsible for the UK and Ireland markets.
J°rn Eriksen, CEO at projectiondesign comments: "Chris has already proved himself in a senior sales role within the company. He's extremely well respected by his peers and byour important clients. In his new role, we're expecting Chris to further his outstanding contribution to projectiondesign as well as the whole Professional AV and Home Theatre industry."
(Jim Evans)
UK - Stuart Reay has joined PSCo as it's new advanced product specialist, a role which has been designed to ensure PSCo continues to provide optimum technical support to its clients.
Reay has many years experience within the AV industry, specialising in visualisation for leading manufactures, such as Panoram Technologies and CRT Displays.
Managing director Stuart Holmes comments: "In response to customer feedback, it became apparent that we needed to look for an additional product specialist to support the fleet of 'advanced' products throughout complicated design integration projects and installations. Stuart's skills will also provide key logistical information, especially for the more challenging and complex projects."
"Joining PSCo is a very exciting time in my career, as it provides me with the opportunity to focus my experience working with a company with an innovative portfolio of products," says Reay. "I am looking forward to expanding the features and capabilities of the 'advanced' products like the new Infinite Plasma wall, researching new software and processors."
(Jim Evans)
Oman - XL Video supplied 150sq.m of Martin LC40 screen - the largest configuration of this surface to date - as a large format, big pixel LED solution for the opening of the new Lexus Cars showroom in Muscat, Oman.
XL was working for production company Live Communications. The Martin LC40 was specified due to its light weight and transparent properties, allowing viewers to see into the showroom whilst off, then provide large video canvass when in operation.
XL Video's brief was to fill the interior of the showroom window with a semi-transparent LED screen, showing a series of high-impact 'Wow factor' images for the reveal moment of the show. Once activated, the screen went on to show a series of graphics and video content supplied by the client and delivered via a Catalyst digital media server.
David MacIntyre, Live Communications' technical production manager states: "When I first contacted XL Video about this project, we were proposing to use a different product altogether. However, after reviewing the brief and taking into consideration the creative requirements and practical issues, Tim suggested the Martin LC40 - and this proved to be the ideal solution."
(Jim Evans)
UK - Two major TV productions - the 2007 Sports Personality of The Year (SPOTY) and the 2007 Royal Variety performance - utilised Catalyst digital media servers to drive their video content. In both cases, the Catalyst was programmed and operated by Ian Reith, who provided his server along with comprehensive content collection.
The Royal Variety Show was staged at Liverpool Empire Theatre, produced by ITV Productions and presented by Philip Schofield and Kate Thornton. It featured performances from Dame Kiri Te Kanawa, Bon Jovi, James Blunt, Seal, Katherine Jenkins, Got Talent winner Paul Potts and numerous others.
Lighting designer Al Gurdon and producer Glen Middleham both specified Catalyst onto the project, so Reith supplied his Version 4 server to feed images to a front projection screen, a main upstage video wall and also to Barco MitTix panels.
The majority of the content was created by Reith, with special material for Bon Jovi's set produced by Projected Image Digital's Nev Bull. The brief for the Bon Jovi content was to provide a realistic 'wall of light' effect with up to 100 fixtures chasing in specific formations. Once programmed, the Catalyst system was triggered via a WholeHog lighting desk operated by Reith.
The BBC's high profile SPOTY event took place at Birmingham's NEC, featuring an eye-catching lighting design by Gurdip Mahal and Catalyst operation by Ian Reith, again run via a WholeHog lighting console.
Catalyst was spec'd for the show by Mahal, and Reith used three machines. The two main ones had just been upgraded to the new Mtron Sol
UK - Customers heading to the new flagship store of leading sports fashion retailer, JD Sports are in for a big surprise since digital interactive specialists Handy AV provided an advanced moving media display inside the store at London's Oxford Circus.
JD Sports pushed boundaries with Handy AV, placing customers within a completely immersive, fast moving digital environment, enveloping both floors of the store.
The imaginative design - which takes in the high footfall stairwell and ascending escalator - was created by Handy AV's managing director Aubrey Wright, working closely with the client and their in-store designers.
The brief was to show advanced mobility; Handy AV's solution has been to fire images along six seamless plasma screens, following the line of the diagonal escalator up to the first floor, and to provide a further portrait column of eight plasma screens, which can form either a single media display or vertically chasing set of three images, running down the facing stairwell.
42m of continuous LED tickertape digital signage, which runs like a monorail - in, up and across the store's first floor ceiling, delivers high-impact sales and promotional messages.
The displays receive continuous video feeds from Handy AV's rack mounted Media Players and Content Management System, located in an adjacent building. The system also comprises individual management stations, providing screen management and scheduling, to regulate operational times. The whole system is protected by an un-interruptible power supply, for optimised up time.
Handy AV managin
UK - Continuing a long-standing working relationship with JVC, Quadrant Security Group has installed a large number of the manufacturer's LCD monitors in a new CCTV control room for Huntingdonshire District Council. Some 37 JVC LCD TFT screens have been used in total, in a newly built and designed facility that monitors 120 cameras across the busy Cambridgeshire town and beyond.
Huntingdonshire Council wanted to move its entire CCTV monitoring operation into a new purpose built building - a process that had to be completed while the existing security system remained operational at the existing site. Quadrant installed a fully digitised recording system along with operator and supervisor consoles, and arranged 32 of JVC's GD-19L1G 19" TFT screens into a monitor wall.
These are configured to show quad displays or any single camera. In the same facility, Quadrant installed 5 of JVC's GM-H40L2G 40" TFT monitors, integrated with X-View DPX multi image display processors from e-mediavision.com for the flexible multi image display of CCTV video signals.
Ian Moore, sales manager of the Public Space team at Quadrant Security Group, says, "This new facility monitors public-space CCTV in and around Huntingdon, and in the nearby towns of St Neots, Ramsey and St Ives. The main security threats are crime, disorder and anti-social behaviour. At any one time, two operators and one supervisor are in the control room, and they are delighted with the equipment we've supplied."
(Jim Evans)