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MRG unterstützt Carpendale-Spezialshows
17/04/2019
Another busy panto season for HSL
16/04/2019
Work Pro’s LightShark lighting console on tour with 'Someone Like You - The Adele Songbook'
12/04/2019
Grammy-Debüts mit Sennheiser und Neumann
09/04/2019
Limelight betreut Digital Insurance Agenda
27/03/2019
Robe Pointes for Fey’s ‘Desnuda’ tour
27/03/2019
S+H supports ‘Children in Need’ telethon
27/03/2019
IPS supports film premieres with Chauvet LED panels
At the double premiere of the 2018 post-apocalyptic adventure films 'Mortal Engines' and 'Aquaman' in London’s Leicester Square, a large multimedia installation showed film snippets, custom created content and live action. IPS created the video screens with 106 PVP X6IP LED panels from Chauvet Professional.
“The most complicated aspect of this particular project was that there were two different premieres on consecutive days,” explains Ian Brown, Project Coordinator at IPS. “Understandably, the designer and IPS client Limited Edition Event Design wanted to create two completely different looks to ensure there was a different feel to each premiere, while working within the logistical constraints of the site and shows.”
For the first show, the premiere of 'Aquaman', IPS supplied seven rigging towers, each supporting a 1.5 m high by 2.5 m wide screen made from X6IP panels. For the next day’s premiere of Mortal Engines, three of the towers were removed and the screens reconfigured so the four remaining towers each supported a 1 m wide by 5 m high screen, also made from the repurposed X6IP panels.
MRG unterstützt Carpendale-Spezialshows
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Für die fünf Shows, die Howard Carpendale zwischen Weihnachten und Silvester 2018 in Berlin gab, ließ sich der Sänger von Shows in Las Vegas inspirieren. Gemeinsam mit Lightoperator Lutz John und dem Soundspezialisten Detlev „Willy“ Klein sowie der MRG-Gewerkeleiterin Jeanette Weidenmüller wurde ein Techniksetup geplant und bereitgestellt.
Darüber hinaus waren zwei Sonderbauten von MRG Teil der „Die Show meines Lebens“ getauften Produktion. Ein großes Portal sowie ein Hitparaden-Podest wurden federführend von MRG-Techniker Stephan Ziegler gebaut.
(Fotos: AEG/Stageview/Beccera)
Chauvet's Épix Strip IP used at Zoute Grand Prix
For the annual Zoute Grand Prix event at the Belgian coast, Stow International, one of the main sponsors of the event, installed an industrial piece of art on the dyke, showing what they do, industrial racking, and serving as pitlane for the participating cars.
For this year’s edition, the Stow racking construction was higher, including two lanes for the technical scrutineering and control to highlight the Zoute Pitlane. Stow commissioned event agency Bevas Events for a lighting concept that includes 280 Chauvet Professional Épix Strip IP fixtures. The lighting transformed the pitlane construction into a lattice of linear geometric illumination so that the Stow racking was highlighted from both sides of the dyke.
In order to transform the industrial racking structure, with its quadratic metal trussing, Bevas Events’ Designer Jeroen Van de Velde utilized the 100 LEDs on each of the 1-meter long Épix Strip IP fixtures to create a linear effect congruent to the structure’s form.
In addition to providing structural highlighting, the fixtures provided the basis for the illumination of the cars, heightening their entrance and exit through the structure with bursts of color, which rolled off the glossy paintwork to achieve a tunnel-like motion effect as they passed through.
(Photos: Bevas Events)
Elation lighting package for Mexico’s 'Abrazos'
Performance company Finzi Pasca used a large number of Elation Professional luminaires on the interactive show 'Abrazos' at the 2019 State Fair of León in the state of Guanajuato, Mexico. More than 100 Elation fixtures took part in the show.
A package of 42 SixBar 1000 IP, 8 Smarty Hybrid, 18 Fuze Wash Z350, 16 Fuze Pair Z120 IP, 11 Colour 5 Profile, 8 Paladin and 8 DTW Blinder 700 IP luminaires was used to light the show, which played from January 11 to February 5. Daniele Finzi Pasca, director of Switzerland-based Compagnia Finzi Pasca, wrote and directed the show. Lighting design was by Daniele Finzi Pasca and Alexis Bowles.
In the center of the arena, a 15-meter square stage was illuminated using 8 Acclaim Flex Tube RGB LED strips and surrounded by 42 Elation SixBar 1000 IP battens washing the stage from all angles. Trimmed at a height of twelve meters, Smarty Hybrid moving heads along with Fuze Wash Z350 and Fuze Par Z120 IP single source par moving head luminaires highlighted the dozen artists who starred in the show. Grupo Produce Comunicación was in charge of the production and its 75 performances.
(Photos: Carlos Alvar)
Another busy panto season for HSL
Lighting and visuals rental specialist HSL supplied lighting equipment to 32 Qdos pantomime productions all over the UK for their 2018-19 season, together with a full rigging - truss and motors package - plus Kinesys automation for "Cinderella" at Glasgow’s SEC.
This year HSL worked with 17 different LDs and liaised with 25 production LXs who made it happen on the various sites which included all the regional capitals - Belfast, Cardiff, Edinburgh and London. HSL’s 2018 panto team was led by Jordan Hanson, assisted by Emma Turner, and included account handlers Sean McGlone and Mark Shakeshaft.
Glasgow is typically the largest show in terms of production and venue size and this year lighting was designed by Tim Oliver. Other key ones were "Snow White" at the London Palladium, "Peter Pan" in Birmingham and "Goldilocks" in Newcastle, all lit by Ben Cracknell, together with Edinburgh’s "Beauty & The Beast" and "Aladdin" in Bradford with lighting designed by Matt Clutterham. Cracknell also lit the show in Darlington while Clutterham lit four others.
Emma Turner co-ordinated the custom gobos, which this year included over 3,200 gobos for several different types of moving lights. At HSL they were fitted into all the moving lights and addressed; a task which took around six weeks. At the end of the season, they returned to the warehouse with their original gobo sets.
Other stats for the 2018-19 season include the supply of 2,500 intelligent lighting fixtures - a mix of moving lights, LED and 'pixel' sources. The number of generics approached 1000 - profiles, fresnels, PARs and blinders, and to feed power and data to all of these there was over 100 miles of cable - multicore, power and data. Around 1500 boom arms were supplied for rigging various lights.
HSL also supplied lighting control and follow spots to some venues where these were not available in house. This and a variety of associated kit including power distros customised for each production all left Blackburn in between the 16th November and 13th December.
There was a two-week period within that timeframe when 29 trucks were loaded and dispatched, including three trucks for Glasgow. Some trucks shared loads and the task was optimised at 4 trucks a day. For tipping, the warehouse handled up to 7 trucks a day, with the last one returning on 28th January 2019. Just prior to loading, 16 of the 17 production LX’s came to Blackburn to engage in and oversee their relevant preps.
(Photos: Louise Stickland)
Elation illuminates NightGarden at Fairchild Tropical Botanic Garden
This past holiday season, south Floridians had the chance to experience NightGarden, a new enchanted walk-through experience at Miami’s Fairchild Tropical Botanic Garden, illuminated by lighting designer Chris Werner. Produced by Kilburn Live under the creative direction of Max Painter, the attraction featured talking trees, fairies, and 10-foot tall dandelions.
Responsible for lighting design, specification and programming for all of the exterior spaces within NightGarden, Werner created a variety of visuals by using light, color and movement that supported the story line.
With a tropical environment to contend with, IP65-rated luminaires were a must. Werner specified multi-environmental Elation Proteus Hybrid moving heads and WW Profile IP ellipsoidals for the project as part of a larger lighting package supplied by 4Wall.
The Proteus fixtures operated in two main areas of the attraction. At the entrance, Proteus beams were used to project aerial patterns across a reflective lake, as well as onto the tree canopy. Farther into the attraction, in an immersive area called Dance of Lights, the fixtures were incorporated into 12 two-minute time-coded light and music shows. Scattered about the area, the Proteus lights fulfilled a number of duties from illuminating trees and the canopy to projecting beams of light through haze.
Populating several areas of the attraction with gobo breakups or custom gobos of whimsical forest characters were WW Profile IP warm-white ellipsoidal spots. The 130 W ellipsoidals with framing shutters also served other purposes, for example lighting the tree canopy and illuminating the pathway. NightGarden’s inaugural season ran from November 23 until January 11.
(Photos: Sharon Sipple)
The Overtones on tour with Electro-Voice X-Line Advance and Dynacord TGX
Vocal harmony group The Overtones sold out concert halls across the UK when they set out on a 26-date tour at the end of 2018, accompanied by long-term front of house engineer Mark Clements.
Technical production specialist Merlin PA Hire supplied an Electro-Voice X-Line Advance X2 line array system driven by one of the first Dynacord TGX-20 amplifier set-ups to hit the road. In choosing to use the Dynacord TGX amps, Merlin PA’s Neal Allen also adopted a fully Omneo workflow for the tour, combining Dante audio transport with OCA control.
Depending on each venue’s size and load bearing capacity, Allen specified a configuration to suit with a mixture of EV X2-212/90 and X2-212/120 elements, plus XLE181 in-fills and front-fills and X12-128 subwoofers. Five Dynacord TGX-20 amps per-side were housed in the rack.
Robe fixtures used for 'Varoffer' performance
Urban dance impresario Fredrik ‘Benke’ Rydman's 'Varoffer' performance at the Stockholm Kulturhuset Stadsteater in Sweden featured two different pieces: the first a 40 minute ‘solo’ performance by Rydman dancing with an industrial robot to a specially composed new soundtrack by Johan Liljedahl and Carl-Johan Rasmusson; and the second comprising 20 synchronised street dancers moving to Stravinsky’s ‘Rite of Spring’ in 5000 litres of water with a massive mirror suspended above the stage bouncing their images back into the audience to appreciate their symmetry and formation skills.
Lit by Palle Palme, Robe BMFL Blades, LEDWash 1200s and ColorSpot 700E ATs together with other luminaires all played a vital part in this show. Palme has worked with Rydman since 2003 when he was in the Bounce Streetdance Company including for their global hit 'One Flew Over the Cuckoo’s Nest' which toured worldwide.
Palme joined the 'Varoffer' creative team around nine months in advance, and the initial discussions with Rydman involved an in-depth outline about how the show should look. They established a workshop complete with scenery and lighting fixtures several months before the opening which allowed them to experiment with various products and techniques.
Both acts of the piece played in specific areas on the stage - Rydman and the Robot performed in an area approximately 8 metres in diameter, while the Rite of Spring dancers occupied a space around 12 metres on a custom 5 cm deep carpet filled with a 3 cm draft of water on which they slided and glided.
Palme used two of the 11 BMFL Blades as low side and front light, with five BMFL Blades on LX bar 0 also for front lighting, and four of the fixtures on the over-stage trussing. The 24 x LEDWash 1200s were also dotted around on the overhead trusses, while the older ColorSpot 700E ATs - among the theatre’s original purchase of Robe fixtures - were hanging in side-stage positions.
For the first act with Rydman and the Robot all the Robe units were used sparsely, primarily one BMFL Blade at a time for back-light, catching Rydman and the Robot in the path of the cross beam, fading in and out in rhythmic harmony with the music and the movement.
For the second act more lighting came into play, and Palle Palme had to be strategic in where these sources were positioned because anything overhead reflected and refracted off the mirror above the ‘pool’ of water. He utilized the lighting budget to have 20 special low-rise side-lighting towers built, accommodating a total of 120 x static profiles which allowed him to hit the dancers in the pool in a variety of different coloured whites without catching the water in the light.
Palle Palme utilised the theatre's own ETC Cobalt lighting console, worked alongside house programmer Pekka Hellsten, and was also assisted by the venue’s head of lighting Anders Tuvesson.
(Photos: Håkan Larsson)
Work Pro’s LightShark lighting console on tour with 'Someone Like You - The Adele Songbook'
PA and lighting company Black Cat Audio is currently deploying Work Pro’s LightShark DMX-based hardware lighting console on the international theatre show 'Someone Like You - The Adele Songbook'. Conceived and produced by Chameleon Music Marketing, the show features Katie Markham leading a six-piece band through Adele’s hits plus more.
Northamptonshire-based Black Cat Audio has been providing lighting and sound services to the show since its inception. “At the end of last year, we redesigned the show and decided to invest in some new equipment including the LightShark,” says Black Cat Audio’s Technical Director Adey Osbourne.
Although some of the venues the show is visiting have their own lighting rigs, Osbourne decided to tour with a dedicated rig that consists of four Chauvet 375 moving heads, four 4 Uking 105W LED washers, eight QTX LED par cans, two moving head UKing 100 moving head spots, four Evolution par bars, eight other LED slimline par cans and 10 generic par cans.
“The LightShark controls everything, from the position and movement of the lights to the colour changes and Gobo’s,” he explains. "All this can be done from either the console or from a tablet or iPhone, which means our lighting engineer Karl Thompson is free to walk around the theatre and actually see what is happening rather than being stuck in one position.”
Grammy-Debüts mit Sennheiser und Neumann
Bei der Live-Übertragung der 61. Grammy-Verleihung in Los Angeles feierten Travis Scott, Brandi Carlile und Shawn Mendes ihre Grammy-Debüts mit Mikrofontechnik von Sennheiser und Neumann.
Travis Scott rappte seine Songs mit einem Sennheiser-Handsender der Serie Digital 6000 mit Mikrofonkapsel MD 9235. Shawn Mendes nutzte bei seinen Performances einen Sennheiser-Handsender SKM 2000 mit dynamischer Supernierenkapsel MMD 945.
Brandi Carlile trat gegen Ende der Preisverleihung mit einem goldfarbenen Kondensatormikrofon KMS 105 von Neumann auf. Ein Vintage-Modell von Sennheiser, das MD 409, nahm den Gitarrenverstärker ab. Carliles Bandkollegen Phil und Tim Hanseroth sangen mit Evolution-E-935-Mikrofonen von Sennheiser.
(Fotos: Kevin Winter/Getty Images)
Chauvet fixtures used at launch of BMW Mini dealership
When the new BMW Mini Dejonckheere opened its doors, it called on Belgian design firm Présence to help it treat customers to an event that included an EDM afterparty. Along with enjoying the evening’s festivities, the 1,700 guests in attendance saw the permanent features of the showroom itself, which like the party, were accented by a lighting design.
Created by Présence, working with designer Dieter Ducoulombier and project manager Ozzy Vandevoorde from its technical partner Solico, the lighting design was anchored by a collection of Chauvet Professional Well Fit, Rogue and Épix fixtures.
The Well Fit uplighting fixture was a key part of the lighting design. Approximately 300 of the battery-powered RGBA fixtures were positioned at points throughout the showroom, at a see-though party tent, and on the patio roof, where they uplighted concrete pillars.
The 12 Rogue RH1 Hybrid fixtures were positioned in the facility’s outdoor domes. Pointed upward, they created aerial effects, their columns of light forming a “corridor” that led up to the reception tent.
In the Boiler Room, where the afterparty took place, 24 Rogue R1 Spot and 24 Rogue R2 Wash fixtures, as well as four risers outlined with Épix Strip IP units were deployed.
Prolyte Verto Truss used at Los Angeles Auto Show and Volvo product launch
Prolyte’s Verto Truss system was used by Creative Technologies (CT) at three separate booths during the 2018 Los Angeles Auto Show in December 2018. CT installed 3,200 linear feet of black, powder-coated Verto truss to create booths for the new Genesis, Hyundai, and Kia automobiles.
In addition to the LA Auto Show, CT also relied on Prolyte’s Verto truss for a Volvo product launch at the new U.S. plant in the Carolinas. CT built a stage inside the warehousing facilities to release a new car model for Volvo’s worldwide management team. CT purchased the trusses from A.C. Lighting, the North American distributor for Prolyte.
Ayrton MagicBlade-R key light on Haywyre tour
American musician, music producer, composer and DJ, Martin Vogt - known by his stage name of Haywyre - hit the road this February with his 'Discovery + Form' tour to mark the release of his latest series of EPs.
Kicking off at The Crocodile in Seattle on 22 February, the tour ran for 17 dates culminating on March 22 at the U Street Music Hall in Washington DC. The venues throughout the tour varied in size from the 350-capacity Catalyst Atrium in Santa Cruz to the 800-seat EchoPlex in Los Angeles.
To maintain the visual integrity of the production between venues, lighting designer, Taylor (Brotay) Copp chose Ayrton MagicBlade-R fixtures, supplied by Hivemind Lux LLC, as his key lights. "We mounted the MagicBlade-Rs on to black poles on either side of the stage," says Eric Bindman, Haywyre’s tour manager. "We could up- or down-scale this arrangement to suit each venue, and because it requires no overhead truss, we could fit into the smallest room."
Copp used the MagicBlade-Rs to frame the artist, alternating dramatic cross light with dynamic and static configurations, running chases and video content through the linear faces of the fixtures as well as mixing up the style with position and alignment.
(Photos: @tpacfilms)
TSL designs rigging and lighting solution for BAFTAS
The BAFTAS 2019 welcomed film stars and royalty to London’s Royal Albert Hall in February. The red carpet was flanked by a rigging and lighting solution designed and delivered by TSL Lighting.
TSL’s Neil Harvey worked alongside colleagues Ali Morris and Rory Mackay to realise the project, working to a brief from event designer and producer Lucy Smail of WD&P. The red-carpet arrival area required the construction of 12 TSL custom-designed truss towers, a 40m-long ground support truss structure and a four leg self-climbing structure.
Harvey’s lighting rig consisted mainly of Arri 2 kW tungsten compact fresnels, SGM P5s, Aquabeams, Martin Rush Pars and Martin VDO Sceptron 10 battens.
Robe fixtures illuminate Transmission Festival
At the 2017 Transmission Festival at the O2 Arena, Prague, Czech Republic, lighting designer Bas Kemper used 24 of Robe’s then just-launched MegaPointe multifunctional moving lights. When he returned to light the 2018 edition of the festival, 60 MegaPointes were prominent on the spec, along with 18 x BMFL Blades, and 20 x LEDBeam 150s, all delivered, together with the rest of the lighting production for this event, by Slovakian rental company Ministry Rental Services in collaboration with RentAll.
Bas Kemper also designed the set, working closely with the Dutch VJ Vision Impossible collective on the video design and content production, with additional scenic video deco banners made by Bedrich Vlach of Czech company Promo Production.
Kemper had 30 x MegaPointes rigged over the stage, divided into blocks of three, with the other 30 deployed on the deck, also grouped in threes. The lighting design involved mirroring left and right and also, the set, lasers, video, lights and SFX were mirrored 90% top and bottom, hence the 30 x MegaPointes at the top and 30 x MegaPointes lower down, with a similar set up for the 10 LEDBeam 150s top and bottom.
The 16 x BMFL Blades lit the set and stage elements, with two fixtures providing front/top key light for the DJs. The video set pieces in the room comprised five large apex-ended video screens flown above the stage and audience area, plus six columns of video hanging out of the roof down the long sides of the auditorium.
While the MegaPointes were at the core of the lightshow for this one, Bas Kemper also had a bunch of other lights including beamers and other hybrid fixtures, all pulled from Ministry’s rental stock. Lighting was operated by Zis Ankone and Martijn Deenen utilizing a GrandMA2 platform.
The lasers were delivered by Rudo Tucek and his team from Ministry. Ministry also supplied most of the event’s LED screen. The overall technical production was coordinated by United Music Productions.
(Photos: Petr Klapper/Pavel Kral)
David Byrne und Clockenflap Festival verwenden Impression X4 Bars von GLP
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Jährlich lockt das Clockenflap Festival bis zu 60.000 Besucher ins Zentrum der Metropole Hong Kong. Bereits seit Jahren ist das ortsansässige Unternehmen A-Team Plus als Techniklieferant für die Hauptbühne zuständig und sorgt zudem für die komplette technische Ausstattung des Festivals. In diesem Jahr übernahm erstmals die deutsche Firma Megaforce den gesamten Bühnenbau. Das hierfür notwendige Material wurde in fünfzehn Überseecontainern angeliefert.
Zum Festivalstart lieferte GLP seine Impression X4 Bars an A-Team Plus aus. Sechzehn Impression X4 Bar 20 und weitere acht Impression X4 Bar 10 kamen im Festivalsetup sowie nach einem Nachtumbau auch für die Show von David Byrne - die Lichtdesigner Rob Sinclair für den ehemaligen Talking Head entworfen hatte - zum Einsatz.
(Fotos: Kitmin Lee)
Christie Lites UK supplies full lighting solution for Cisco Live
The Cisco Live EMEA tech conference landed in Barcelona in January 2019 for a week of digital-future discussion, education and debate. Every year, 16,000 people attend. Highlights of the event included keynote speeches from IT pioneers.
Global event and experience marketing agency George P. Johnson (GPJ) once again organised the delivery for this year’s conference, in conjunction with the Cisco Live team. Among the many elements of the event were the lighting solutions for the Keynote space and the Customer Appreciation Event (CAE) area.
Christie Lites UK was chosen to deliver a full lighting solution, including fixtures and crew for both the Keynote space and the CAE area, which took place in the Gran Via Convention Centre in Barcelona. GPJ’s Technical Director Mark Bannister oversaw the realisation of the project, along with GPJ Production Managers John Carrs for the Keynote area, and Emma Reynolds for the CAE area.
“This project involved the specification, delivery and operation of more than 800 lighting fixtures spread over the two areas,” says Christie Lites’ UK Account Rep Andy Strachan. “It’s the second year that Christie Lites UK has delivered this project.”
The majority of the supplied lights were the latest models from Martin Professional and GLP. Designer Paul Cook delivered lighting for the Keynote area, with Francis Clegg drafted in by Emma Reynolds to design the lighting for the CAE area.
The Keynote area saw speeches from David Goeckeler, Executive Vice President at Cisco, and Tech Innovator Larry Brilliant. Later, more than 700 technical sessions took place. The week of events culminated in an end-of-show party within the CAE area, where more Christie Lites fixtures helped work up the finale.
(Photos: Ebsworth Photo)
Sound Space Vision unveils new and completed projects
Theatre planners and acousticians Sound Space Vision (SSV) unveils its finished projects and reveals future plans for a variety of spaces in around the world. SSV’s newly completed projects include one of several buildings for Hong Kong’s extensive West Kowloon Cultural District (WKCD), the Xiqu Centre, which serves as the gateway to the district and is dedicated to the performance of Chinese Opera (Xiqu).
SSV was responsible for the acoustics and audio systems in all of the Centre’s spaces, including both natural and amplified performances in the 1073-seat Grand Theatre, and the 150-200-seat Tea House space for smaller-scale Xiqu performances; the Seminar Hall, large and small rehearsal facilities; a recording/broadcast suite; and all of the retail/food and beverage areas inside the Centre’s public ground-level Atrium. The Xiqu Centre’s grand opening was on January 20, 2019.
SSV also acquired the theatre planning position for Valetta’s Teatru Manoel. As Europe’s oldest working theatre, the Manoel has been renovated and refurbished many times over its almost 300-year history, with SSV providing expert theatre planning consultation for its most recent adjustments to coincide with Valetta’s European City of Culture events and its International Baroque Festival.
SSV was asked to improve and enhance the stalls-level sightlines, and collaborate with the architects to create a new stalls form and configuration. SSV designed bespoke seats. The floor was re-raked for better visibility to the historic stage, and new specialised seats were designed to allow for both flexibility as well as design coordination.
In addition to that, SSV was also brought on board by Spiritland to assist with the refurbishment and fit-out of its new restaurant located within the Royal Festival Hall in London’s Southbank Centre. Described as a “dining room of sonic architecture,” Spiritland Royal Festival Hall tasked SSV with specifying and recommending finishes, materials, enhancements and corrections sympathetic with the company’s ethos and design.
These included sound absorbing curtains and an array of ceiling-hung baffles, sound absorbing spray applied across the restaurant’s ceiling, perforated timber panelling, and ceiling tiles and wall panels incorporated in the kitchen.
One of SSV’s latest projects is a new Creative Centre - including a three-storey teaching block and 250-seat auditorium, linked by an atrium - at York St John University. The development’s aim is to help the university’s ambitious growth in art and design, computer science, performance and media production. SSV will consult on the planning for the auditorium and teaching spaces and serve as the acoustics consultant for the entire block. The new 4,000 square-metre centre is due to be completed in spring 2021, subject to planning approval.
Also in 2019, SSV will assist Adjaye Associates as theatre planning and acoustics consultant for Sir David’s National Cathedral of Ghana in Accra. Situated within 14 acres of landscaped gardens the cathedral will serve all the Christian denominations and major public functions. SSV will provide guidance and consultation on the planning, design and acoustics for the Cathedral’s interior spaces, including the 5000-seat, two-level auditorium.
In 2018, SSV completed four major new UK venues: Storey’s Field Centre, the Stirling Award-shortlisted community centre in Cambridge; the Benjamin West Lecture Theatre as part of the Royal Academy of Arts 250th anniversary transformation; the revitalised Garden Quad Auditorium for St. John’s College at Oxford University; and the UK’s newest opera house for Nevill Holt Opera in Leicestershire.
Limelight betreut Digital Insurance Agenda
Für die Agentur Iventions Event Architects hat der Veranstaltungsdienstleister Limelight aus Gilching bei München das Kongressformat Digital Insurance Agenda 2018 (DIA) betreut. Bei der DIA kamen Spitzenvertreter der Versicherungswirtschaft und von Start-ups auf dem gesamten Gelände der Münchener Eisbach-Studios zusammen. Limelight plante und arrangierte die Technikinstallationen für diese weltweit größte Konferenz aus dem Bereich InsurTech.
Als Herausforderung erweisen sich vor allem die Vorbereitungen für die zahlreichen Präsentationen der Referenten und die Implementierung einer IT-Infrastruktur. Dabei war es wichtig, den Ablauf minutiös zu kalkulieren, um reibungslose Übergänge zu gewährleisten.
52 Präsentationen von je acht Minuten Dauer waren angesetzt, der Limelight-Servicecrew kam hier neben der Betreuung von Bild und Ton die Rolle zu, zwischen den Beiträgen Technikinstallationen an den Rednerpulten zu wechseln und auf den Bedarf der Referenten hin anzupassen.
Im Zuge der Bereitstellung einer temporären IT-Infrastruktur wurde ein System implementiert, das neben der Verarbeitung vieler Zugriffe auch die großen Download-Pakete der Referenten realisieren konnte. Für die Veranstaltung hatte Limelight ein stabiles Netz aufgesetzt, das den rund 1.000 Gästen einen Online-Zugang bot.
An zwei Tagen mussten zudem die audiovisuellen Inhalte der Vorträge live via Kamera oder per Stream auf die zahlreichen Displays des Kongressbereichs übertragen werden. Limelight hatte das gesamte Equipment für die Veranstaltung innerhalb eines Tages aufgebaut und nach dem Event des Nachts zurückgebaut. 48 Techniker waren für Limelight eine Woche in den Eisbach-Studios im Einsatz.
www.limelight-veranstaltungstechnik.de
Chauvet fixtures used for The Oh!’s anniversary party
To celebrate 25 years of Belgian dance music club The Oh!, both old and new generations of dance music lovers were united in an anniversary party at the Waregem Expo hall. Tasked with providing visuals for The Oh! once again was Belgium design house CRS Rental Solutions, which designed a stage set-up with a Chauvet Professional rig that included 32 Strike P38, 12 Maverick MK2 Spot, 19 Rogue R2 Wash, 46 Colordash PAR H12IP and 24 Rogue RH1 Hybrid fixtures.
In order to build the visual centerpiece upon which the artists could perform, Thomas Vandekerkhove and his team at CRS peppered the rigging structure above the stage with the Strike P38 fixtures. As a result of the combination of audience blinder and strobe, the 90 W warm white LED source was on hand to elevate the EDM DJs taking to the stage. “In addition to strobing and blinding effects for visual energy, the warm white tungsten effect ensured that we could introduce a classic house vibe to the stage," comments Vandekerkhove.
While the P38s provided the familiar visuals synonymous with dance events of the previous decades, Vandekerkhove provided contrasting looks with the Maverick MK2 Spot fixtures. Complementing the Maverick fixtures, an additional collaborative effort between the Rogue R2 Wash and Rogue RH1 Hybrid ensured Creative Rental Solutions had the tools with which to create further effects on stage.
Providing further dashes and wisps of color on stage were the Colordash PAR H12IP fixtures. Due to the IP-rated RGBWAUV LED source served to create a number of effects both on stage and around the venue.
(Photos: SWD Photography)
Robe Pointes for Fey’s ‘Desnuda’ tour
Lighting designer Pablo Gutierrez utilized 52 x of Robe’s Pointe multi-functional moving lights at the core of his lighting design for the launch of Mexican singer Fey’s new ‘Desnuda’ (Nude) tour. The tour kicked off at the 18,000 capacity Arena Ciudad de México (Mexico City Arena) in 2018.
The design had to be scalable for an arena tour which followed in 2019 and for potential festival appearances. For the Arena Ciudad de México gig, audio, lighting, staging and all aspects of technical production - including video from La Catrina Films and rigging from TYM Riggers - were managed by Live Entertainment, a company Pablo Gutierrez runs together with Soho Avila, who was this show’s production manager.
The Pointes were arranged on a series of six trusses above the stage forming a trapezoidal shape - wider at the top. Each of these trusses moved in and out individually on an automation system. “Fey wanted to reflect a strong sense of female empowerment in the show and the overall production,” Gutierrez explains, which gave him the inspiration for the shape.
Its geometry contrasted with the rectangular lines of the five large LED video surfaces onstage, and when in the ‘home’ position, the lowest of the six trusses was trimmed just above the top of the central video screen, so the shape radiated out downstage from there. Naturally Gutierrez also had a bunch of other lights on the stage in multiple positions, but his Pointes were the visual centerpiece.
The video screen design ensured that Fey was right at the heart of the performance, together with the playback footage directed by Antonia Roma and the live camera direction of Jorge Olvera. Once the video screen layout was in place, the lighting positions became relatively obvious. In fact, while the overall stage design underwent some revisions, the lighting elements of it stayed the same as Gutierrez’ first drawing.
The bank of Pointes also provided essential key and front wash lighting for the acoustic section of the set which was performed on the B stage, located immediately behind the FOH riser at the back of the arena. Gutierrez used the Pointes - which were supplied by locally based rental company Pro3 to the production - as both a spot and a beam fixture and created some laser simulation looks that combined with the real lasers on the show, four Kvant Spectrum 30s.
The challenge with this first ‘Desnuda’ tour show was the programming time which was under pressure. While they had the music for some time beforehand and could program a reasonable amount of lighting in pre-vis, the video content - a major element of the show aesthetic - was only received a few days before the gig. The first song alone contained 120 cues, and the rest were similar in complexity.
(Photos: Louise Stickland)
S+H supports ‘Children in Need’ telethon
S+H Technical supplied around 350 square metres of its LED Animation cloth and 450 square metres of standard RGB starcloth drape for the BBC’s 2018 ‘Children in Need’ telethon, broadcast live on BBC One and BBC Two from Elstree’s Studio D, Hertfordshire, UK.
The telethon production design was created by Alex Craig - working on his tenth ‘Children in Need’ - and this new look for 2018 featured some threads from the previous design to keep a strand of continuity, together with some new elements including lots of LED and an upstage LED wall, 14 metres wide by 5 metres high, which split in the middle and opened for performer entrances and exits.
The stage was all on one level, punctuated with curves and spheres which defined its general shape, complete with the long multi-layered curved LED screen set piece upstage, finished in gold shimmer disc material and outlined with LED strips.
This was flanked by two smaller semi-circle curved screens, also edged with several lines of LED - like a geometric spirograph design - and clad in chrome shimmery material. Four flown skeletal globes, which also twinkled, finished the look offstage left and right.
The S+H Animation cloth was used as a 180 degree wrap around the studio and behind the set forming the cyc. The product has individually controlled LED pixels that can create low-to-medium images, video loops and flash animations, and on this occasion, it was under the control of lighting director Gurdip Mahal and run via one of the show’s lighting consoles. Due to this positioning at the back of the set and around the studio walls, the RGBA Animation cloth also created some depth to all the camera shots.
The RGB Starcloth assisted in providing a contrasting - but related - aesthetic behind the audience, again providing ‘TV twinkling’ effects, enhancing the depth of the wide audience looks and closer in-audience action shots, ensuring there were never any back-of-shot ‘black holes’ on camera.
Perpetuum Jazzile show in Ljubljana lit by Robe
Slovenian lighting designer Gregor ‘Grga’ Smrdelj used nearly 150 Robe moving lights for a show by Slovenian vocal group Perpetuum Jazzile at the Arena Stolzice in Ljubljana. The look for the sold-out performance based on a three-tiered set design.
Smrdelj works full time with Slovenian rental specialist Event Lighting, the show’s lighting equipment provider. Smrdelj integrated LED and video into his proposal for the stage and production design. It was at the first production meeting that he suggested having the singers on the three different levels, which everyone liked, so they went with it.
“The idea was that the full profile of all 44 singers could be seen rather than just the front row and everyone else squeezed in behind with only their heads showing,” he explains. Smrdelj and video designer and content producer Den Baruca worked closely to choose the style and pitch of screen, which resulted in a 20-metre-wide by 4 metre strip of 5.9 mm surface above top of the set.
Behind each of the three stepped tiers was a 2 x 2 metre semi-transparent LED net product which allowed Smrdelj to light through from behind. Up in the roof of the Arena Stolzice, the Event Lighting crew installed seven straight trusses for lighting positions - two for front lighting, two for back lighting and two for the sides. Ladders were used from the side trusses to get lights into the right low positions for beaming across the stage.
The Robe count comprised 28 x Spiiders, 16 x MegaPointes, 16 x Pointes, 12 x BMFL Blades, 48 x LEDBeam 100s and 24 x LEDBeam 150s, distributed all over the trusses. The Spiiders were used for top, back and front light. The BMFL Blades were on one of the front trusses for key lighting. The shutters enabled them to pick out singers for solos and Smrdelj programmed some blade chase resembling a barcode scanning effect for a couple of the numbers.
The Pointes were used as an effect light. Rigged in the rear trusses together with the Spiiders, these were used for silhouetting and producing beams and upstage looks. Eight MegaPointes were on the floor with the other eight on the deck of the top (third) layer of set. They were used for precision looks, some of which were time coded (to the click). “The aerial looks from the MegaPointes were what I needed for dramatic punctuations,” comments Smrdelj.
The LEDBeam 100s - used with 10-degree lenses - made solid side lighting and for ancillary aerial effects. The LEDBeam 150s were all along the floor decks behind the singers. In addition to the narrow beam effects, they were also used as wash luminaries. Other lights on the rig included 12 x LED strobes, 40 x Sunstrips and eight 4-lite blinders. Smrdelj programmed and ran the show on a Hog 4 console, provided, together with all the lighting kit, by Event Lighting.
(Photos: Sasa Huzjak)
ELS selects Elation for Dylan Scott’s ‘Bayou Stock’ charity show
Country musician Dylan Scott organized a charity concert for kids in his home town of Sterlington, Louisiana, and used an all Elation lighting rig along with ADJ video panels to light the event. Extreme Lighting & Sound (ELS) of Nashville, Tennessee, supplied the lighting and video gear for the inaugural event. ‘Bayou Stock’, held November 17th, 2018, at the Sterlington Sports Complex, raised $ 30,000 to buy presents for underprivileged kids this Christmas.
ELS was brought in to turnkey the lighting portion of the show, including design and supply of all lighting, which consisted of 17 Platinum HFX hybrid moving heads, 8 Colour Chorus 48 LED battens, 8 Fuze Wash Z120 LED wash lights, 6 compact Rayzor 360Z beam moving effects, 15 Cuepix WW2 Blinders, 6 Protron 3K LED strobes, and 8 SixPar 200 LED Par lights.
ELS President Austin Grundberg designed and programmed the lighting for the ‘Bayou Stock’ event and ran the show for all of the artists. Designed as a festival rig, Grundberg says he knew he would be using it for all the bands but also took into account Dylan Scott's floor package, which he also wanted to complement.
Pivotal to the design were the Colour Chorus battens, which the designer hung vertically upstage. “They helped fill in any blank space and gave a nice eye candy look during the day when it was harder to see the movers,” he states.
When asked to describe a special look, Grundberg refers to an acoustic set that Scott performs about halfway into his show where he projects a solid red background across the video wall and then uses one cell in each Cuepix WW2 at about 50%.
Austin Grundberg’s Dad and business partner Glenn Grundberg helped fabricating the video set. Dylan Scott's Production Manager/FOH Chris ‘Booba’ Young helped design the video wall and created all the video content. Product support for ELS was provided by Elation manufacturer rep firm Freed Sales, with Chuck Dillingham being the main rep.
Robe fixtures chosen for Arsenal show in Antwerp
Lighting designer Wouter Verbeke chose Robe fixtures to be at the core of his lighting design for a gig by Belgian band Arsenal at Antwerp’s Lotto Arena. The Robe count included 28 x MegaPointes, 24 x Spikies, 28 x Spiiders, 22 x LEDBeam 150s and 8 x Pointes. Lighting equipment was supplied by rental specialist Splendit.
The starting point for the lighting was that band leader Hendrik Willemyns wanted a sun which rose at the start of the show, playing a strong visual role throughout their performance and then descending towards the end. The other element was that Willemyns loves trees, plants and greenery, so the stage set was provided by the installation of a forest of lush foliage and exotic plants.
The 4-metre diameter ‘sun’ was created using LED screen panels attached to a circular truss and artist Akiko Nakayama created all the content through “Alive Painting”, a technique she’s developed - not dissimilar to the liquid oil artists of the 1960s - which depicts the resonance between shapes and textures using different liquids and paints each with unique characteristics.
Wouter Verbeke and the band have worked with Akiko before on key gigs, and prior to this show they discussed the colour themes and lighting for different songs so she could co-ordinate. Her workspace was set up at FOH and the results were fed via an overhead camera system to the screen.
Verbeke wanted some small, beamy lights around the sun and therefore selected 24x Spikies. In addition to this, he wanted lights all around the stage from every angle. The Splendit crew installed a curved truss immediately above the tree line that formed an arch circumnavigating the band, which was rigged with 20 x MegaPointes.
These were used prominently throughout the show for effects, beams, spots and other looks. In addition to these MegaPointes on the arch, all the other major effects lighting was positioned on the floor and side-stage in front of the trees.
The front light was provided by 16 x Spiiders on the front truss and 8 x Pointes on the front truss which were used for gobo-work onto the trees and other bits, plus another 8 Spiiders on the floor. The 22 x LEDBeam 150s were behind the trees, where they worked hard to blast through the dense foliage producing decorative and atmospheric effects, especially when the sun was up.
Verbeke programmed and ran the show on a ChamSys console. He did some pre-vis, but they had only one programming day beforehand at Splendid with only part of the set - and no trees - in place. The first time he saw the stage with all the trees in situ was on the day of the show (the foliage arrived in five climate-controlled trucks). The band didn’t decide on the set list until the evening of the gig, so that meant Verbeke needed to be prepared for some improvisation. It was an “exciting but stressful” way to work he stated.
Other lighting on the rig included some other profile moving fixtures, LED blinders, LED PARs focused on the trees, and a quantity of floods. Splendit supplied all the lighting equipment, video and crew as well as - via Gravity Design - the automation which lifted the sun up and down, operated by Rik Uyttersprot.
(Photos: Louise Stickland)
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