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Robe fixtures used at Zagreb Festival
31/08/2018
Robe illuminates SpaceXperience
23/08/2018
„Dein Song“-Finale mit Ayrton Ghibli
17/08/2018
3c konzipiert Messestand für DIN
15/08/2018
Robe fixtures used at Zagreb Festival
The Zagreb Festival is the oldest entertainment music festival in Croatia and has been running annually since 1953. Lighting, set and visuals were designed this year by Miro Hrg, with the full production technical package - including a complete Robe moving light rig - supplied by Croatian rental company Promo Logistika.
The show was broadcast live on Croatia’s National TV station HRT (Hrvatska Radiotelevizija). Miro Hrg worked closely with their lighting director/designer Vesna Gregurević to create the show for a live audience in the Conference Hall at the Plaza Event Centre, Zagreb.
Promo Logistika, also based in the Croatian capital, has provided technical production for the last three festivals. Two years ago Miro Hrg operated the lights, last year he was the set designer and this year he co-ordinated the team and delivered the visual package.
Hrg drew the stage design in a WYSIWYG visualiser together with all lights, video elements and scenography. His colleague Sven Grbec undertook all the lighting programming in conjunction with Vesna Gregurević, who gave instructions of what she wanted to see for each song. She also worked alongside Promo Logistika’s video department led by Kristina Bengez and Viktor Krasnić to decide on the video look and content for each song.
Twenty-six MegaPointes and 24 x LEDBeam 150s graced the lighting plot, together with 24 x BMFL Spots, 12 x LEDWash 600s, 18 x MMX WashBeams, 8 x Vivas and 18 x CycFX 8s. The BMFL Spots were mainly rigged above the stage and used for base looks including backlighting the performers and projecting gobo effects onto the stage and bouncing these out around the audience. The MegaPointes were also above the stage, where they were used for aerial looks, gobos and other effects.
Miro Hrg chose the LEDBeam 150s to accentuate the set arches by having the fixtures attached on some of them. The LEDWash 600s were used as a base orchestra wash and for the main central performance space, while the MMX Spots were the main stage key lighting units and also augmented the audience washes.
The Vivas patterned the venue walls with gobo looks and texturing which produced depth and backgrounds for different camera angles as well as the Steadicam shots. Either side of the stage, the CycFX 8s were arranged in two columns of nine fixtures each, attached to the scenery. They were run in 14-channel mode. The show was programmed and run on a grandMA2 console.
(Photos: Samir Cerić Kovačević)
Painting with Light produces visual solution for “Zoo of Life”
Painting with Light has produced a visual solution for “Zoo of Life”, a production directed by Luc Stevens to celebrate 175 years of Antwerp Zoo, being staged at the new Queen Elizabeth Hall venue in Antwerp, Belgium. The team from the Genk based creative practice was led by Luc Peumans. The set is composed largely of digital scenic elements and was designed in conjunction with Carla Janssen Hofelt.
The Painting with Light brief also included editing special video material shot by Mathieu Marck of Arendsoog (Eagle Eye) from around the Zoo, and combining this with new graphical content produced by Painting with Light’s Sina Sohn, Jos Claesen and Arthur Claesen. This was all compiled and programmed onto a disguise server.
Luc Peumans designed the lighting and the company also provided lighting and video control for the show. Painting with Light harnessed the power of the disguise 4x4 server’s 3D and VR visualisation facilities. These have been developed especially for pre-production scenarios using the ‘designer’ dongle. This enabled Luc Stevens to view life-like VR visualisations representing the complete digital scenery set-ups for the entire performance in the run up to getting on site.
The digital scenery features a large 8 mm LED screen upstage, two long side screens 4 metres high and running the depth of the stage, two sets of LED-clad stairs and a quantity of video panels fitted to three structural arches above the stage of the theatre’s main auditorium. A Pepper’s Ghost effect was set up for one scene, utilising a 30 K Panasonic laser projector shooting onto a special scrim, to create ephemeral holographic images of a gorilla and an okapi. All the video content was programmed onto the disguise by Painting with Light’s Katleen Selleslagh.
The lighting rig comprises around 130 fixtures including 24 x Martin MAC Viper Performances, 36 x Viper Profiles, 64 of Phlippo’s URC 210 LED washes and 12 x URC zoom LED battens, all controlled via a GrandMA2 console programmed and operated by Ivar van Dijk from Painting with Light. There are also hundreds of decor LEDs ensconced in the arches over the stage which are controlled via the lighting console.
Also involved in the technical and creative part of the production were Painting with Light’s project managers Wouter Verhulst and Jeroen Vinck, and Zoo of Life’s stage manager Koen Beliën. The show’s lighting equipment is being supplied by Belgian rental company Phlippo Productions and the video by Pixelscreen.
(Photos: Elkie Briers)
Gahrens + Battermann unterstützt Verleihung des „Ordens wider den tierischen Ernst“
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Am 27. Januar 2018 wurde im Eurogress Aachen der „Orden wider den tierischen Ernst“ des Aachener Karnevalsvereins verliehen. Preisträger in diesem Jahr war der Baden-Württembergische Ministerpräsident Winfried Kretschmann.
Im Auftrag des WDR unterstützte Gahrens + Battermann (G+B) erstmalig die Veranstaltung samt TV-Aufzeichnung als technischer Dienstleister im Bereich der Audiotechnik. Das G+B-Team um Projektleiter Tobias Wendeler entwickelte eigens ein neues Beschallungskonzept für den Eurogress.
(Fotos: Aachener Karnevalsverein/Christopher Adolph/eventfotograf.de)
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Martin Kames designs lighting for his own art project’s debut music videos
Half of the two-member electronic/metal/pop art-project CueStack, who got together earlier this year to produce a string of debut music videos, is made up of Martin Kames, lighting designer and owner of Austrian-based rental and production company MartinKames.com. Kames worked double duty on the video shoots, operating behind the camera on lighting and set design then moving round front of the camera as vocalist and synth player.
The set-up featured the art project’s logo built as a gigantic stage made out of risers, trussing, set parts, and lots of lighting and effects. Used as the main visuals in all five music videos, Kames used a large number of intelligent lighting fixtures on the project. The set-up comprised several groups of fixtures including some 170 Elation Professional luminaires: 36 Sniper 2R multi-effect lights, 40 Lumina Matrix LED matrix panels, 16 Dartz 360 LED beam/spot luminaires, 48 Chorus Line 8 and 10 Chorus Line 16 pixel bar wash luminaires, and 20 Paladin hybrid effects. The Elation gear worked with other LED lights, as well as discharge moving heads, other effect lights and LED video displays.
The set-up’s main visual component was made up of Chorus Line LED pixel bars. “We used a lot of backlight in the venue in order to make the room look huge and had many of the lights illuminating the logo itself in a theatrical way,” Kames explains. The CueStack logo letters were also illuminated using warm-white Lumina Matrix panels and multi-functional Paladin lights.
Used as an essential part in the design to create unique looks for each of the five songs were Elation’s new Dartz 360 LED beam/spot fixtures with narrow three-degree beam, which Kames placed on the floor on each side of both musician risers. “We used LED panels along with the Dartz on the floor for overhead shots to make us look more a part of the set rather than just standing in front of it,” says Kames.
(Photos: Tom Zonyga/Ljubo Lukic)
Robe MegaPointes selected for Alex Vargas’ Royal Arena show
Danish singer, songwriter and music producer Alex Vargas played a one-off concert at Copenhagen’s 16,000 capacity Royal Arena, with a set and lighting design by Theis Wermuth of creative visual practice Create This.
At the centre of the design 22 x Robe MegaPointes were placed. Theis originally wanted a lot more MegaPointes on the rig but a certain amount of adjustments were needed to fit the budget and he had to use a lot more stock moving lights that the rental company already had on-board, so 22 was the final figure. These were supplied, along with the rest of the lighting kit, by Nordic Rentals.
Theis wanted to integrate the geometry of Vargas’ stylised diamond logo into the trussing and structural elements of the rig. The MegaPointes were positioned on a triangular shaped truss immediately above centre stage, and they worked extensively throughout the performance. Around 150 other fixtures plus four 5 W and four 10 W RGB lasers completed the rig. Theis programmed and ran the Royal Arena show himself using a GrandMA2 console.
(Photos: Morten Rygaard)
Rigging Works Sweden supplies Kinesys Apex system to Melodifestivalen
Rigging Works Sweden (RWS), one of the country’s largest independent rigging and automation specialists, has invested in Kinesys’ Apex technology, with the purchase of eight new vari-speed Apex hoists which have been added to an already extensive Kinesys inventory.
All eight of the new motors were supplied to the 2018 Melodifestivalen tour, together with four of RWS’s existing Liftket motors running with Kinesys Elevation 1+ drives, a Kinesys Mentor 4 controller - offering SIL3 safety over Ethernet - at the hub of the system and one of RWS’s flexible Kinesys Vector control platforms. This 6 week event visited six cities to select the Swedish song and entrant for the annual Eurovision Song Contest (ESC).
Melodifestivalen 2018’s production was managed by Tobias Åberg and Cecilia Zollitsch. The set based around structural and LED elements was designed by Victor Bratström. The lighting scheme was created by Fredrik Jönsson, and the event, broadcast live each week on Swedish national television, was directed by Robin Hofwander and Fredrik Bäcklund.
The eight Kinesys Apex motors - operated by Petter Rimfors - were used to provide a series of flown props for different competitors - anything from a pyro truss flying in to a lighting pod positioned above the stage to change the shape of the performance area.
The three Liftkets with Elevation 1+’s were used to fly a central ‘transmitter’ prop, a section of pre-rigged trussing loaded with lights that flew in and out, and interacted with the contestants while their intro videos played. To accommodate this, Fredrik Jönsson split his front lighting trusses into left and right sections.
Robe illuminates SpaceXperience
Dutch astronaut André Kuipers presented his SpaceXperience Live show as the central element of a larger conference/expo style event at Amsterdam’s Ziggo Dome. Lighting designer Henk-Jan van Beek from Dutch creative visual practice Light-H-Art was asked to light the show by production company LiveLane.
For a simulated rocket blast off right in the middle of the venue, van Beek specified 40 x Robe BMFL WashBeam moving lights and 16 x Robe Cyclones. The BMFL WashBeams were the primary lightsources for the whole presentation, with eight used as follow spots, while the Cyclones were instrumental to recreating an authentic blast off for the rocket.
Robe’s Cyclone is an LED wash light with inbuilt DMX-controlled fan and integrating lighting via a ring of individually controllable 24 RGBW multichip LEDs. Henk-Jan van Beek combined these with some Cosmopix double rotating sphere fixtures and serious amounts of haze and atmosphere.
Eight of the Cyclones were embedded in the ring of LED video screens, which dropped down to the stage level as the rocket prepared to launch, and the other eight were positioned on the stage floor. The BMFL WashBeams were rigged on a series of half-circle trusses flown above the set and stage, with the most central 16 lighting around the LED screens and helping to form the sides of the ‘rocket’ (as the screens were flown down to the stage level). They also added to the ignition sequence lighting as the ‘engines’ fired up.
Another 16 luminaires were on straight trusses above the first rows of audience, and on the ends of each truss were two BMFL WashBeams used in follow spot mode to pick up the singers and dancers when they came onstage. These eight BMFL ‘followspots’ were operated by two crew utilizing a remote floor based control system with access to the pan/tilt functionality, while all the other parameters were controlled via van Beek’s GrandMA2 lighting console. Van Beek worked with Light-H-Art programmer Joost Wijgers on the show.
(Photos: Jorrit Lousberg)
DLP Motive unterstützt Gala des Deutschen Kosmetikpreises
DLP Motive zeichnete für die Licht-, Ton- und Videotechnik bei der Gala des Deutschen Kosmetikpreises „Gloria“ in Düsseldorf verantwortlich. Das Unternehmen war dafür sowohl am Roten Teppich als auch im Saal des Hilton-Hotels im Einsatz.
(Fotos: Andrea Fabry/Kosmetik International Verlag)
LD Systems stattet RodeoHouston-Bühne mit über 300 Scheinwerfern von GLP aus
Für The Houston Livestock Show and Rodeo, kurz HLSR oder RodeoHouston, kam im 72.000 Zuschauer fassenden NRG Stadium in diesem Jahr erstmals eine für das HLSR neu gestaltete Bühne von TAIT Towers aus Lititz zum Einsatz.
Die Planungen für eine neue Bühne zum RodeoHouston starteten bereits 2015, TAIT Towers erhielten den Zuschlag für diesen Auftrag auf Vermittlung von LD Systems aus Houston, die seit 1985 jedes Jahr der Generaldienstleister für das HLSR sind.
Neben großformatigen HD-Videoscreens und der gesamten Technik für die Liveshows installierten LD Systems unter der Regie von Rob McKinley mehr als 300 Scheinwerfer von GLP - darunter 140 Impression X4, mehr als einhundert Impression X4 Bar 20 und sechzehn Impression X4 Bar 10 sowie insgesamt siebzig JDC1-Hybridstrobes.
Rund 1.500 Tonnen wiegt die sternförmige Konstruktion der neuen Bühne, das Portal hat eine Spannweite von über 40 Metern und beherbergt eine drehbare Bühne mit rund 15 Metern Durchmesser. Rund 200 Quadratmeter beweglicher HD-LED-Screen bilden den Hintergrund der Konstruktion.
Unter der Regie von Lichtdesigner Nathan Brittain, der zugleich auch die Programmierung und das Operating übernahm, installierte LD Systems zusätzlich zu einer Hi-Res-Videoinstallation mit 5 und 7 mm Pixelpitch über 400 Scheinwerfer in der gesamten Arena, allein mehr als 300 davon von GLP.
Das neue Design umfasst bekannte Looks und neue Ideen. So gab es bereits bei der alten Bühne einen Backdrop mit Impression X4. Insgesamt installierte die Crew von LD Systems vierzehn senkrechte Reihen mit jeweils zehn Impression X4 untereinander.
Die Impression-X4-Bars kamen als Outlines entlang der sternförmigen Bühnenkante zum Einsatz (nahtlos). Die siebzig JDC1-Hybridstrobes setzten Brittain und seine Crew in den Towern rechts und links des Bühnenhintergrunds ein, angeordnet in sieben vertikalen Reihen zu je zehn Strobes.
(Fotos: Ryan Paulin/RobertGrice/GLP)
Fineline supplies LED screen for Teenage Cancer Trust shows
Bristol UK based lighting and video rental specialist Fineline was the LED screen supplier for the 2018 Teenage Cancer Trust (TCT) shows at London’s Royal Albert Hall. Fineline supplied 153 panels of their Martin VDO Face 5, a 5.2 mm pitch LED screen surface which was configured throughout the week as a flown upstage surface measuring 8.5 metres wide with a drop of 5.1 metres. It was used to deliver the Teenage Cancer Trust films and messages as well as by all the artists who played.
Fineline was asked to supply the screen as part of Harman Professional Solutions’ decision to support the Teenage Cancer Trust shows. The event’s lighting and video was designed by Gordon Torrington of PRG who has been involved in TCT at the RAH for many years.
Video content was co-ordinated by Chris Farrants who was located in ‘video world’ under the stage, and he managed all the various sources via his Grass Valley Karrera PPU, including cutting the 3-camera mix and receiving feeds of all the playback and ambient footage from a Catalyst media server. Some individual artists also brought their own content which was integrated into the ‘house’ system and output to the screen.
Avolites supports Billboard Latin Music Conference
The annual Billboard Latin Music Conference landed in Las Vegas in April 2018 with a series of events featuring Avolites-controlled lighting supplied by Miami-based production specialist 3G Productions. The four-day conference was held at The Venetian hotel’s Marcello Ballroom and hosted a series of performances and talks from Latin music stars.
The conference’s audio, lighting and video were provided by 3G, who this year introduced Avolites consoles for the first time following the company’s recent investment in the brand’s Titan and Ai ranges. The 3G team headed by Lighting Sales Manager Juan Ugas opted for the Avolites Arena and Tiger Touch II consoles, both loaded with Avolites’ Titan software.
For performances at the conference using larger rigs, 3G’s Lighting Engineer Samuel Deshauteurs took control with the Arena console. The conference’s lighting system was networked with Avolites ART2000 dimmer racks.
„Dein Song“-Finale mit Ayrton Ghibli
Am 16. März 2018 fand die große Live-Final-Show der Jubiläumsstaffel von „Dein Song“ im KiKA statt. Acht Finalisten präsentierten ihren Song live auf der Bühne. Lichtdesigner Manfred „Ollie“ Olma von der Mo2 Design GmbH setzte sechzehn Ayrton Ghibli aus der seitlichen Deckung als Beamlight ein und baute zudem während der Showacts auf Gobo-Projektionen über das gesamte Bühnenbild.
(Fotos: André Ludwig)
Roe Visual introduces Air Frames at Pinkpop 2018
Roe Visual LED screens were part of the two main stages of this year’s Pinkpop, the oldest running festival in the Netherlands. Using a combination of Carbon CB5 panels and an Air Frame support system, Faber Audiovisuals premiered this product on the European market. Faber Audiovisuals, commissioned by the Production Factory, was responsible for the supply of all LED screens, camera work and live streaming from the festival.
Framing both the Main (South) Stage and 3FM Stage, Roe Visual LED screens were used to capture the on-stage action and live performances. “For the 3FM stage we used two side screens of both 74 m², the LED display we used there was the MC7”, explains Steven Embregts from Faber Audiovisuals, “while for the Main Stage we used two screens of 104 m² each, consisting of the Carbon series CB5 panels.”
(Photos: Steven Embregts/Faber Audiovisuals/Pinkpop)
Robe DL7S beleuchten „Fack Ju Göhte - Se Mjusicäl“
„Fack Ju Göhte - Se Mjusicäl“, eine Eigenproduktion von Stage Entertainment in Zusammenarbeit mit Constantin Film, ist Anfang 2018 nach knapp zweijähriger Entwicklungszeit und fünf Probenwochen in München angelaufen.
Die Premierenaufführung am 21. Januar 2018 war gleichzeitig die Eröffnungsproduktion des für gut fünf Millionen Euro umgebauten Werk7-Theaters mit 698 Plätzen, die das Spielfeld von drei Seiten umrahmen. Bei der Installation entschied sich Stage Entertainment erstmals für Robe-Geräte: Insgesamt zwölf Robe DL7S kamen im Werk7 zum Einsatz.
(Fotos: Stage Entertainment GmbH)
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Brings May Day Polka Party with Elation lighting
On this year’s May Day in Germany, Cologne based band Brings rocked Lanxess Arena with a Polka Party. TSL Production of Cologne supported the event as the technical provider and used a full complement of Elation lighting gear to support the show.
Some 13,000 guests attended the 4 ½ hour concert, which took place in combination with an after-show party. Lighting design was by Dominik Schmid, head of lighting for Brings, along with Frank Schmitz, technical supervisor and owner of TSL Production.
TSL Production supports Brings as technical provider at all their concerts and developed the entire technical concept (lighting, video and sound) for the May Day Polka Party show. The lighting rig included some of Elation’s newest stage lighting luminaires, namely 20 Artiste DaVinci LED moving spots and 16 Dartz 360 narrow-beam LED beam/spot moving heads, as well as 30 Platinum HFX moving heads, 24 ACL 360 Bar LED moving battens and 16 ACL 360 Matrix moving head effect panels.
“We used pixelmapping between the large LED screen strips and the ACL 360 Matrix and ACL 360 Bar fixtures,” Frank Schmitz explains. “We then interspersed effects from the Platinum HFX fixtures.” From an upstage position came color and visual effects from Artiste DaVincis, as well as beam looks from more Platinum HFXs.
Additional DaVinci fixtures worked from the B-stage to surround and highlight performers in color and effect. The Dartz 360 LED fixtures provided backlight effects from an upstage position and were also used to provide dynamic lighting from the DJ Booth B-stage at the after-show party.
(Photos: Jan Voth)
Trafalgar Releasing bringt Muse-Konzertfilm ins Kino
Die Rockband Muse hat ihre „Drones World Tour“ durch den Verleih Trafalgar Releasing für einen Abend weltweit ins Kino gebracht: Exklusive Vorführungen am 12. Juli 2018 zeigten die Band und ihre Drohnen auf der runden Bühne auf ausgewählten Leinwänden.
Gefilmt und aufgezeichnet während mehrerer Konzerte 2016, enthält der „Drones World Tour“-Film nie zuvor gesehene Spezialeffekte. Zu den Highlights der Show zählen autonome Drohnen, die über das Publikum fliegen, großformatige Projektionen und LED-Laserarbeiten.
Optimahl Catering bei mehreren Poloturnieren im Einsatz
Mit einem Besucherrekord endete der diesjährige Julius Bär Beach Polo World Cup in Hörnum auf Sylt. Das Beach Poloturnier findet jährlich über Pfingsten in Hörnum statt.Wie bereits in den Vorjahren sorgte das Team von Optimahl aus Berlin mit Live-Cooking und frisch zubereiteten kalten und warmen Speisen für das Catering im VIP-Zelt.
Am Turnier-Samstag wurden den rund 250 Gästen fünf Buffetstationen zur Verfügung gestellt. Am Turnier-Sonntag wurden zum Finale des Beach-Poloturniers 400 Gäste im VIP-Bereich von Optimahl-Küchenchef Adriano Wiese und seinem Team becatert.
Auch beim Beach Polo World Masters 2018, das Ende Mai in Warnemünde stattfand, zeichnete Optimahl für die Hospitality im VIP-Bereich mit 100 Gästen am ersten Wettkampftag und 300 Gästen zum Finale verantwortlich und servierte zusätzlich Spezialitäten für die Players Night.
Optimahl ist bereits seit einigen Jahren bei den Poloturnieren in Kitzbühel, Berlin, Hörnum/Sylt und Warnemünde im Einsatz. „Wir kennen die Anforderungen im Detail und freuen uns auf die anstehenden Projekte im Polosport“, sagt Geschäftsführer Mirko Mann. „Dazu zählt auch ein Heimspiel in Berlin: der Engel & Völkers Berlin Polo Cup am 25. und 26. August 2018 auf dem Maifeld im Olympiapark Berlin, was für uns als Hauptstadt-Caterer natürlich eine besondere Herausforderung bedeutet.“
Jazzunique inszeniert Deutschlandpremiere des Jaguar I-Pace
Am 1. März 2018 fand im österreichischen Graz die Weltpremiere des Jaguar I-Pace statt. Per Livestream ging die 40-minütige Show im Stil einer britischen TV-Show aus den Fertigungshallen von Magna Steyr in Graz direkt nach Düsseldorf, wo ein Premieren-Event für 340 Gäste im Ausstellungsraum des K20-Museums für Moderne Kunst stattfand. Die deutsche Präsentation realisierte die Agentur Jazzunique aus Frankfurt.
Die Durchführung erfolgte in der sogenannten Grabbe-Halle im K20, die erstmals für die Veranstaltung eines Automobilherstellers genutzt wurde und nur für eine kurze Zeitspanne für diesen Anlass zur Verfügung stand.
Im K20 verknüpfte Jazzunique Infotainment mit einer Lichtinstallation. In der Inszenierung reagierten 10 x 10 Meter große, in Rastern aufgehängte Neonröhren auf die eingespielte elektronische Musik. Mit ihren pulsierenden Mustern und farbigen Flächen interpretierten sie grafisch die Eigenschaften des Jaguar I-Pace. Nach der Enthüllung konnten die Gäste das Fahrzeug persönlich kennenlernen und den Abend im K20 bei elektronischer Musik ausklingen lassen.
(Fotos: Kristof Lemp)
3c konzipiert Messestand für DIN
Das Deutsche Institut für Normung (DIN) hat sich im April 2018 auf der Hannover Messe präsentiert. Für die Umsetzung und Konzeption des Messeauftritts beauftragte das Institut die Kommunikationsagentur 3c Creative Communication Concepts aus München.
„Wir wollten die gesamte Welt von DIN in ihrer Komplexität leicht verständlich, unterhaltsam und dennoch auf dem Niveau des Fachpublikums der Hannover Messe präsentieren“, so 3c-Geschäftsführungsmitglied Matthias Gindhart (Foto). Dabei habe die Entwicklung grafischer Interfaces und die visuelle Umsetzung eine besondere Rolle gespielt.
(Foto: 3c/Barbara Jahn)
Oper „Weiße Rose“ mit Equipment von Martin und Claypaky inszeniert
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Für die Inszenierung von Udo Zimmermanns Jugendoper „Weiße Rose“ am Staatstheater am Gärtnerplatz in München hat Lichtdesigner Michael Heidinger 22 x Martin MAC Encore Performance kaltweiß und 12 x Claypaky K-Eye K20 HCR eingesetzt. Die Oper erzählt von den letzten Stunden von Hans und Sophie Scholl unmittelbar vor ihrer Hinrichtung.
„Wir haben auf eine klassische Theaterästhetik gesetzt“, erklärt Heidinger. „Auch wurde mit unterschiedlichsten Farbtemperaturen, Lichtrichtungen und zarten Farbkorrekturen die metaphorische Gedankenwelt der Geschwister Scholl kreiert. Wir haben noch nie eine solche Anzahl Scheinwerfer ohne Geräuschemission verwenden dürfen.“
Jakob Bogensperger war für die Programmierung verantwortlich. Die musikalische Leitung hatte Andreas Partilla inne, Lukas Wachernig führte Regie. Stephanie Thurmair war für Bühne und Kostüme zuständig, Daniel C. Schindler für die Dramaturgie.
(Fotos: Christian „Pogo“ Zach)
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Fassadenshow am Örebro Länsteater mit Panasonic-Projektoren
Bei seiner Errichtung 1852 war das Örebro Länsteater das größte Theater Schwedens. Ende letzten Jahres feierte das Örebro-Theater die Geschichte des Gebäudes und seiner Meriten für die Kunst mit einer Projektion auf die frisch renovierte Fassade des Theaterhauses. 2017 war bereits das dritte Jahr in Folge, in dem eine für jedermann zugängliche Fassadenshow als visuelle Kunstform genutzt wurde.
Für die Show im Jahr 2017 arbeitete das Theater mit dem ungarischen Unternehmen Limelight Projection Mappinger & Light Installation zusammen. Innerhalb von drei Nächten und vierzehn Vorstellungen schaffte „Scenkonster - eine Fassadenshow an der Wand“ einen offenen Begegnungsraum auf dem Platz vor dem Theater. Der Inhalt war eine fünfminütige Videoshow, bei der sich futuristische Strichzeichnungen zu berühmten Theaterstücken zusammensetzen.
Für die visuelle Show wählte Univentum gemeinsam mit dem Örebro Länsteater zwei Panasonic-PT-DZ21K-Projektoren mit 20.000 Lumen. Diese wurden aufeinander gestapelt und zur Projektion auf das Mittelteil des Gebäudes verwendet. Für die zwei kleineren Seitenbereiche des Gebäudes wurden zwei PT-RZ970 mit 9.400 Lumen verwendet.
Over 200 Robe moving lights on Indochine’s tour rig
Lighting designer Thomas Dechandon of the 4eleven collective created a show for French pop-rock band Indochine’s recent tour, including over 200 Robe moving lights on the rig - with MegaPointes, Spiiders, LEDBeam 150s - plus a 6-way RoboSpot remote follow spotting system that was run by three operators.
These were part of a kit list supplied by French rental specialist Dushow, and it was the greatest number of RoboSpots to date on a French tour. Each RoboSpot operator positioned behind the stage controlled two BMFL WashBeam moving lights running in conjunction with two RoboSpot MotionCameras. The compact moving head cameras were rigged in front of the BMFLs on a ‘magic arm’.
Three BMFL WashBeams being used as follow spots were positioned on the front truss and the other three on the central ring of a large circular video ceiling installed over the audience. The RoboSpots were instrumental in the scenography of the show. The 34 metre diameter video structure flown above the audience made it impossible to set up traditional follow spot positions at the back of the arenas.
Dushow’s team which had just purchased six RoboSpot BaseStations and MotionCameras, suggested this solution. Kevin Migeon from Robe France arranged RoboSpot demonstrations and tests for Thomas Dechandon to ensure that everything he wanted to do was viable. Throughout the tour he also communicated the operators’ feedback to Robe’s R & D team in the Czech Republic, who are constantly monitoring and developing the system software in response to the user requests.
The lighting design took Nicola Sirkis’ set - complete with wide stage, long runway into the audience and circular central projection screen flanked by four asymmetric curved screen segments - as a starting point. 48 x MegaPointes were positioned around the screens, 24 around the upstage surface and 24 on the audience circle. One hundred and twenty LEDBeam150s were positioned in and around the MegaPointes to bring extra volume to the stage.
The 40 x Spiiders were positioned in three places. Eleven upstage in the background reinforced the depth of the set, five were on the rear truss to light the stage and band. The remaining 24 were all rigged on the circular audience ceiling. Also on the circular ceiling were 12 x BMFL Blades to complete the Robe count.
Thomas Dechandon and his assistant Jean Christophe Aubrée controlled the show via two GrandMA 2 lights. Joining them on the lighting team were crew chief Patrice Giono and technicians Christophe Fosse, Florian Colin, Stéphane Duclocher and Cyrano Mougin - the latter three were also RoboSpot operators.
(Photos: Jonathan Grimaux)
All-weather Elation lighting for Alabama’s Hangout Music Festival
Alabama’s southern Gulf Coast was the scene of the Hangout Music Festival held May 18-20, where artists performed beneath a Bandit Lites-supplied lighting package that included all-weather Elation IP65-rated lighting.
Nearly 40,000 music fans gathered in Gulf Shores for Hangout 2018, an annual 3-day music festival that Bandit Lites of Nashville has provided lighting for since 2014. Both the Surf Stage and Beach Stage featured weatherproof Elation lighting with a headlining performance by The Chainsmokers on the Hangout Stage also dressed in Elation gear.
Bandit Lites’ Dizzy Gosnell designed the festival lighting packages for the Hangout Stage, Surf Stage and Beach Stage. Some headline acts brought additional lighting packages or scenic and set pieces with them.
On the Surf Stage, Gosnell created a three-truss rig that mimicked the rolling waves of the nearby surf. To emphasize the shape of the system both day and night, he outlined the truss with 26 Elation SixBar 1000 IP color-changing LED battens along with 13 LED-based Cuepix Blinder WW2 white light blinders, all aimed at the crowd and used as audience lighting.
On the Beach Stage, an all Elation lighting package consisting of 45 SixPar 100 IP LED Par lights, 8 SixPar 100 LED Pars, 8 SixBar 1000 IP LED battens and 14 IP65-rated Paladin blinder/strobe/wash lights worked from 6 eight-foot-tall ladder trusses.
In addition to the three stages, Bandit also supplied packages for some of the artists, including Logic and The Chainsmokers. On The Chainsmokers' set, Elation Paladin hybrids were mounted onto four truss towers, two either side of the rear riser, with all the heads pointed downstage.
The hybrid fixtures were used as blinders, strobes and eye candy, and also served as safety lighting in the event of an evacuation. The Paladins were mounted inside Bandit’s GoGo truss with wheels on the back so they could be deployed and struck during changeovers.
Robe Pointes and MegaPointes for “Don’t Let Daddy Know”
The 2018 Amsterdam edition of EDM party “Don’t Let Daddy Know” (DLDK), produced by Dutch7, returned to the Ziggo Dome for two nights, for the first time with creative lighting designed by Bas Knappers from Netherlands based creative practice Live Legends.
Live Legends has previously provided programming and operating teams for the event and in the design ‘hot seat’ Knappers specified 122 x Robe Pointes and 40 x MegaPointes as part of a large lighting rig, supplied by Rent-All together with video and sound.
The fixtures were positioned on a series of trusses above and to the sides of the stage and the venue as well as on four large moving objects flown above the audience - each with 9 x Pointes on-board - plus six static structures over the audience.
The lighting control set up was GrandMA2 and Bas Knappers took on all the operating as well, apart from three guest LD slots by Rob Lister (Axwell Λ Ingrosso), Carly Eijlander (Nicky Romero) and Koen van Elderen for Steve Angello.
All the lighting elements were undertaken by Live Legends with 4Light co-ordnating the overall lighting production. KBK Video created and ran the video content, MG Services provided audio and Pixelscreen dealt with video. Lasers were provided by Laser Image and staging from Coreworks. Eventions BV supplied all the staging and automation and Pyrotech took care of the SFX.
(Photos: Eldrid de Boer, E&A Events)
Adlib supplies lighting and sound equipment for Ray LaMontagne’s acoustic tour
Liverpool UK based rental and production specialist Adlib supplied lighting and sound equipment and crew to the recent “Just Passing Through” acoustic tour by American singer/songwriter Ray LaMontagne.
The production team was led by production manager Mark Jones. Adlib provided an L-Acoustics K2 sound system with system tech Mike Thorpe and the lighting rig was looked after by Adlib’s Kevin Byatt. The K2 was driven by L-Acoustics 12XT amps.
The venues were a mix of theatres and Apollo style rooms, with some of the theatre venues having three balconies. The average setup featured 10 or 12 x K2 elements flown left and right, with two KS28 subs a side on the ground, together with some Kara and Arcs which were used as front and side fillers primarily for the stalls downstairs.
Each day they used Soundvision plus all the tools in the L-Acoustics Network Manager software to analyse and tweak the system for the space and optimise the design. Ray LaMontagne’s FOH engineer Ryan Pickett specified an Avid Profile console, while monitor engineer Rob Elliot used a DiGiCo SD12. LaMontagne was joined onstage only by Wilco bassist Jon Stirratt, and both artists utilised Sennheiser IEMs.
A couple of Summit DCL200 compressors were used as well, one across LaMontagne’s acoustic guitar and vocal and the other for Siratt’s backing vocals and fender Mustang bass guitar. He chose a Smart C2 stereo compressor for the mix bus which provided the final stage of levelling on the mix. He also used the Rupert Neve 5045 primary source enhancers on the lead and background vocals, plus a Mercury M7 reverb pedal on both of the lead vocals.
The lighting design was comprised of three layers with a downstage portal acting as a proscenium to help draw the audience in and towards the two performers in the centre, particularly when they were playing large rooms with their own large architectural prosceniums. Their own proscenium was a hand-painted muslin drop giving an illusion of depth with a cut-out portal.
Upstage of that was a hand painted cloud/sun ray scrim, and the third layer was a muslin backdrop painted with clouds giving the impression of a recent sunset over the ocean. All of this was drawn by scenic artist Valerie Light based on art direction from Jeremy and Ray LaMontagne himself. The fabrics and surfaces were sourced from Rose Brand and hand painted by Cobalt Studios and Infinite Scenic.
While the set remained physically static throughout the show, the lighting transformed the look of the space from song to song. Moving light fixtures - 4 x Robe BMFL Spots and 4 x Martin MAC Quantum Washes - were concealed behind the portal and downstage legs and used to project custom gobo patterns onto the scrim and backdrop. Other fixtures on the rig were: 8 x MAC Aura LED washes, a Claypaky Mythos2 and two GLP X4 Bar 20s.
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