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Mike Grabowski enhances backdrop for Times Square NYE broadcast with Chauvet's Colorado Solo Battens
Alcons Audio LR28 beschallt Lichtfest in Leipzig
Seit 2009 erinnert die Stadt Leipzig mit dem Lichtfest alljährlich am 9. November an das Wunder der Friedlichen Revolution, die von der sächsischen Metropole ausging und einen wesentlichen Beitrag zum Mauerfall am 9. November 1989 leistete. Wie in den Jahren zuvor, versammelten sich am 9. November 2018 erneut über 15.000 Menschen auf dem Augustplatz zwischen Gewandhaus und Oper.
Im Auftrag der Leipzig Tourismus und Marketing GmbH (LTM) übernahm die ILS Medientechnik GmbH zum wiederholten Male die Gesamtverantwortung für alle technischen Gewerke. Nachdem ILS im Herbst erstmalig eine Großveranstaltung mit dem großformatigen LR28-Line-Array des niederländischen Herstellers Alcons Audio umgesetzt hatte, entschied sich Geschäftsführer Thomas Ils beim Lichtfest erneut für dieses Modell.
Beschallt wurde von der vor der Oper platzierten Hauptbühne, auf der eine Synthese aus Klang, Sprechtheater und Redebeiträgen künstlerisch umgesetzt wurde. Die Performance baute überwiegend auf klassische Live-Musik, die mit verschiedenen Sprachbeiträgen verwoben wurde.
Daneben wurde zugespielte Musik und vorproduzierter Video-Content integriert. ILS übernahm die gesamte technische Umsetzung und lieferte alles erforderliche Material an. Daneben übernahm das Team um die Geschäftsführer Thomas und Mario Ils auch die technische Beratung für die Künstler.
Beim Lichtfest kamen für die Main-PA Hangs aus 2x 12 Alcons LR28 zum Einsatz. Zwanzig Alcons BC543-Subwoofer sorgten für die Bassunterstützung. Darüber hinaus setzte ILS 12x VR8 für das Monitoring und 8x LR14-Pro-Ribbon-Line-Array-Systeme für das Nahfeld ein. 18x Alcons LR18 kamen für das Delay zum Einsatz, welches seitlich mit 4x Alcons QR24/110-Line-Source-Systemen erweitert wurde.
Für den FoH-Mix zeichnete Uwe Biesgen von Creativsound aus Berlin verantwortlich. Das LR28-System wurde von ILS Medientechnik aus dem Alcons-Rental-Netzwerk „The Ribbon Network“ zugemietet.
Chauvet fixtures illuminate Tumba Festival
At this year’s Tumba Festival, a four-night event in Curaçao, Jimmy Lo-A-Njoe and the Massive Productions N.V. team created a dynamic lightshow, using a collection of 98 Chauvet Professional Rogue and Colorado fixtures.
Massive Productions used 32 Rogue R2 Spot fixtures, 16 Rogue R2 Beam units, 14 Rogue R2 Washes and 36 Colorado 1-Tri IP units in its design for the festival. Blending old and new, the stage’s country house prop featured a large LED panel in its center, which was used to display live videos of the tumba singers performing in the contest that was at the heart of the festival.
“We need to maintain a balance during the festival,” says Lo-A-Njoe. “This is a competition with live bands, as well as a TV production, and a concert. So we needed to address all of these elements. The Rogue R2 Spots were our workhorse. While they gave us the looks we wanted on stage, the R2 Beams were used for aerial effects, specials and a lot of eye candy for the live audience as well as for the people watching on television.”
Every song in the competition started with a blackout of the stage. Then for the first four bars, the country house décor was accented with focused light. This was followed by an explosion of light as the entire lighting rig went into full on mode.
Don Broco auf Tour mit GLP X4 Bars
Bei den diesjährigen Liveshows der britischen Rockband Don Broco spielen Impression-X4-Bar-20-LED-Bars von GLP eine tragende Rolle, spezifiziert und programmiert von Lichtdesigner Ben Inskip.
In Anlehnung an den Album-Namen "Technology" schickte sich der Lichtdesigner an, den Shows durch den Einsatz vieler gerader Linien einen futuristischen Look zu verleihen. Vom Album-Artwork ausgehend, entwickelte er die Idee eines Portals in eine andere Dimension. „Die X4-Bars standen ganz oben auf meiner Wunschliste bei der Auswahl der Geräte“, so Inskip. Letztlich standen ihm 76 der LED-Bars zur Verfügung, geliefert von Siyan.
Aufgrund der unterschiedlichen Größen der Veranstaltungsorte musste das Lichtequipment skalierbar sein. „Allerdings hat der Tourplan in dieser Hinsicht ganz gut funktioniert, da wir mit dem kleinsten Veranstaltungsort der Tour gestartet sind und uns jeden Tag ein wenig vergrößert haben“, erklärt Inskip. „Das Design wuchs vertikal und horizontal mit, während der Gesamteindruck erhalten blieb.“
Der Lichtdesigner ließ alle Impression X4 Bars im Single Pixel Mode laufen. Anstatt ein Pixelmapping über einen Medienserver zu realisieren, benutzte er die FX-Engine und die Timeline auf seinem Vista-L5-Pult, um die gewünschten Looks zu kreieren.
Was das Rigg selbst betrifft, so nutzte er oberhalb vier Traversen in 45-Grad-Chevronform und einige Ableger in der Backtruss im gleichen Winkel, was insgesamt drei verschiedene Chevrons ergab, die alle mit X4-Bars nachgezogen wurden. „Die Riser-Anordnung auf der Bühne spiegelte die obige Form wider, sodass ich X4 Bars entlang jeder Rampe und den Podium-Risern laufen ließ.“
Megaforce baut Bühnen für Phil-Collins-Tour
Megaforce hat den Bühnenbau für die fünf Shows von Phil Collins übernommen, die im Rahmen der Welttournee „Still Not Dead Yet Live“ in Deutschland stattfinden.
Das erste Konzert findet am 5. Juni 2019 in der Mercedes-Benz Arena Stuttgart statt, anschließend folgen am 7. Juni das Olympiastadion Berlin, am 14./15. Juni die HDI Arena Hannover und am 21./22. Juni das Rhein-Energie-Stadion Köln, ehe die letzte Show am 24. Juni 2019 im Olympiastadion München stattfindet. Auftraggeber für Megaforce ist die Peter Rieger Konzertagentur.
Megaforce setzt für die Produktion zwei Bühnen vom Typ TVG R28 ein, die zu den größten Bühnensystemen in Europa zählen. Die Tower-Bühne ist eine Eigenentwicklung aus dem Hause Megaforce und bietet eine Spielbreite von knapp 27 Metern sowie mögliche Dachlasten von bis zu 65 Tonnen.
Ayrton Mistral-S and Bora-S for The Rubens in Australia
Australian band The Rubens from Menangle, New South Wales, performed for audiences across the country last November and December. Lighting designer Tim Beeston of Melbourne-based Flash Bang Productions had Ayrton’s new Mistral-S spot luminaires on the tour, which were supplied by South West Solutions (SWS) of Yarraville, Victoria.
“I designed a ladder system incorporating mirror balls and small spot beams,” explains Beeston. He used eight Mistral-S fixtures, hung on four ladders along with eight mirror balls beneath each one, and used them either for beam looks, projecting onto the mirror balls to create big mirror ball bounces, or as the back spot for the show. However, for the first half of the show these were all hidden by a large Rubens silk backdrop to be revealed by a kabuki drop in song 10.
When the tour reached The Forum in Melbourne, Beeston used SWS’ new Ayrton Bora-S wash luminaire with three located on the downstage truss to be used for backdrop framing during the second set and backdrop wash for the first set.
The Rubens new album cover features three flags, so for the second part of the set, three mesh drops measuring 2.4 m x 6 m were revealed between the ladders and the three Bora-S on the front truss were used to light them in colours matching the album cover. “We used the Bora-S units to frame out onto the drops and then dropped in a gobo to do some textured breakups,” says Beeston.
(Photos: Mia McKenzie)
Astera fixtures illuminate ‘The Heart of Manchester’
Alex Webb, brand manager for Allied London, used 28 x Astera AX1 PixelTubes to create ‘The Heart of Manchester’, a 20-metre high heart shaped light sculpture on the Quay Street façade of the No. 1 Spinningfields building in central Manchester.
In celebration of Valentine’s Day, Spinningfields commissioned various public art displays around town to explore love and heartbreak in the city. The pulsing Astera AX1 heart was visible across the evening skyline and from key vantage points like the Deansgate-Castlefield Metrolink station and as far away as Old Trafford.
The tubes weigh only 1 kg each, and Alex Webb found some industrial strength suction pads which he used to fix them to the inside of the windows along floors 12 to 17 of the building. Black cloth was used as a mask behind the lights and the heart measured approximately 20 metres top to bottom, with its lowest point around 40 metres up the building.
The AX1s were programmed by Pete Deacon productions and Alex Webb, using the Astera App. The original idea was that the tubes could be removed and charged up during the day and then clipped into place ready for the evening’s lighting display, but with mains power available and the fact they can also run as wired fixtures, they were going for 24 hours. With the black cloth masking behind the luminaires and the brightness of the output, they could be clearly seen in daylight as well.
Alex Webb also used the AX1s for another installation on Hardman Square - a 2-metre-high heart shaped floral arrangement of cineraria eucalyptus, asparagus fern and salal, created by local florists at David Wayman Flowers, who are located in Spinningfields. This sat in a specially fabricated metal structure that helped keep it upright, and the AX1s, which were charged up during the day and set up at dusk, were cable-tied to the insides of the metal legs.
(Photos: Allied London)
Five Finger Death Punch on tour with Chauvet fixtures
Metal band Five Finger Death Punch's latest arena/amphitheater tour with Breaking Benjamin featured sing-alongs accented by audience lighting from Chauvet Professional Strike 4 fixtures, supplied by Christie Lites.
John Santos, the lighting designer for Five Finger Death Punch, had 10 of the LED Strike 4 fixtures spread out evenly on downstage truss during the tour. “They were my primary source of audience lighting and my blinders,” says Santos. “The show was designed around the skull over the drum kit and the two bats crossed in the back.”
“My Crew Chief, Marc Durning, and L2, Axel Noel, who focused the lights every day, did a great job working the Strike fixtures as well as the rest of the rig,” Santos continues. “We liked the way that each cell of the Strike 4’s cells could be focused individually. This gave us the ability to light both arenas and amphitheaters equally.”
Robe lights 2019 TPI Awards
Robe was again part of delivering a production design for the 2019 Total Production International (TPI) Awards, produced by TPI Magazine, part of Mondiale Media, and staged at the Evolution venue in Battersea, central London.
The event honours some of the best creative and technical achievements in the world of entertainment technology, and was this year hosted by stand-up comedian and actor Romesh Ranganathan.
Over 300 Robe fixtures were used by lighting designer Nathan Wan and associate LD Andy Webb to ensure that the 1600 plus attendees and award winners were treated to a visual extravaganza, a task for which they worked closely with the video team from Visual Edge.
The Main Room theme for this year featured a 1980s rock show, including glitzy neon, skulls and fast motorbikes. This was Nathan Wan’s creative starting point. Two other areas were also lit for the occasion - the Reception/Foyer and Robe’s own VIP room.
Robe used the opportunity to give some of their NRG (Next Robe Generation) initiative students the chance to work hands-on on the gig. Nathan Wan was joined by Alex Merrett from the University of South Wales in Glamorgan as assistant lighting designer, and Owen Yelland from Kent-based Rose Bruford College again worked as lighting systems tech.
The main bar area was designed, programmed and operated by Espen Karlsen, also from Rose Bruford, assisted by Ben Linwood from Guildford School of Acting. The Robe VIP lounge lighting design was a collaboration between Jasmine Williams from the Royal Welsh College of Music & Drama in Cardiff and Georgia Wren from LIPA (Liverpool Institute of Performing Arts).
Four long diagonally flown lighting trusses were installed in the roof, following the contours of the ‘winged’ video screen design, meeting up in the centre of the room, and Nathan Wan approached it as a multi-zoned space, with a nucleus of fixtures in the middle area that were available to pull the visual focus to the stage at any time.
Sixty MegaPointes and 50 x Spiiders were right at the heart of the rig. Fifty of Robe’s new SuperSpikies were also key lightsources on the rig, and these were used for making beamy contrasts and accents cutting across the washes together with 64 x LEDBeam 150s. Key lighting was provided by 20 of Robe’s new T1 Profiles.
For the Awards section, four Robe BMFL Blades running as a RoboSpot remote controlled follow spot system were positioned around the room, each optimised for pick-ups in their particular quarters of the room, so those accepting Awards could be picked up as soon as they stood up from their tables, and followed on and offstage.
In the reception area, the Robe crew worked with Arkaos who provided the dynamic video mapped central screens forming a large box above the bar. This also dictated the positioning of the lighting trusses and the fixture choice by Espen Karlsen and Ben Linwood, who deployed a combination of Pointes, MegaPointes and Tarrantulas, Robe’s biggest LED wash beam.
Lighting control for the main room was an Avolites Arena console running with a TigerTouch II as backup, with TigerTouch’s in both the Bar/Reception area and Robe VIP. The Bar/Reception console was running Arkaos Kling-Net protocol to pixel map the Tarrantulas and other pixel-fixtures.
Robe again sponsored the ‘Lighting Designer of the Year’ Award, which was presented by CEO Josef Valchar and won by Tim Routledge, whose recent credits include Sam Smith, Rita Ora and Stormzy as well as ‘X Factor UK’.
Other winners of the night include LCR for the first time, picking up ‘Favourite Lighting Rental Company’ and Universal Pixels who walked away with the ‘Favourite Video Rental Company’ also for the first time. Roger Waters’ ‘Us + Them’ tour (Lighting designer: Pryderi Baskerville) won the ‘Live Production of the Year’ and Richard Turner took the ‘Des Fallon Video Visionary of the Year’ title.
Pictured (left to right): TPI Awards Presenter Romesh Ranganathan, LD of the Year Award Winner Tim Routledge and Josef Valchar, CEO of Robe Lighting. (Photos: Lindsay Cave)
August Burns Red on tour with Elation Dartz fixtures
For metalcore band August Burns Red's 2019 'Dangerous' tour, which kicked off January 24th in Lexington, Kentucky, lighting designer David Summers chose 12 Elation Dartz 360 fixtures, supplied by Squeek Lights.
The 3-degree RGB Dartz fixtures were grouped across four towers of 5-foot pipe in a straight line upstage. From these positions, two each side of the drum riser, Summers split the visual plane in two, allowing for a variety of design possibilities. "I’m a big fan of symmetrical looks and movements so anything with big sweeping 'XX's and 'VV's I love," he says. "I had an 'XVXVX' cue that I used frequently on the tour."
The band also carried six Elation SixBar 1000 six-color LED battens as side light along with six Proton 3K Color LED strobes positioned on the upstage deck. Antari Z-350 Fazers provided a canopy of dry haze for mid-air beams while lighting control came via an M2GO console with an M-Touch used as a wing.
Lighting vendor for the "Dangerous" tour was New York-based rental company Squeek Lights, headed by Victor Zeiser.
(Photos: Rob Wallace)
Qvest Media plant und baut Medienzentrale von Asharq in Dubai
Qvest Media wurde von der Asharq News Services Limited beauftragt, eine Multi-Plattform-News- und Medienzentrale im Finanzzentrum von Dubai zu errichten. „Bloomberg Asharq“ wird damit künftig auf Online-, Social Media-, TV- und Radiokanälen die arabischsprachige Bevölkerung weltweit rund um die Uhr mit Nachrichten aus Wirtschaft und Finanzen versorgen.
Dieses Projekt ist das erste in der MENA-Region, bei dem die Medien-Infrastruktur durchgängig auf IP-Technologie basiert. Eine zentrale Rolle spielt zudem die Nutzung von virtualisierten On-Premise-Systemen und Cloud-Applikationen als Hybrid-Architektur für Content-Aggregation, -Produktion sowie -Distribution.
Bereits beim Designkonzept und der Raumplanung für die Medienzentrale setzte Asharq auf ein Spezialisten-Team bestehend aus einem internationalen Architektenbüro, lokalen Baufirmen sowie dem Generalunternehmer Qvest Media für alle Technologiethemen.
Gemeinsam wurde eine Symbiose aus modernem Interior- und Arbeitsplatz-Design sowie funktionaler Raumarcharchitektur entwickelt, die die redaktionellen, kreativen und technologischen Arbeiten in das Set- und Studiodesign einbettet.
Nach der abgeschlossenen Technologieanalyse und der Abstimmung des Systemdesigns startet Qvest Media mit der Integration der Medien- und IT-Systeme. Das technologische Design basiert auf einer fortschrittlichen Architektur.
Ein Full-IP-Netzwerk nach SMPTE ST 2110 sorgt für die Standardisierung und Konnektivität der Systeme und macht infrastrukturelle Technologieveränderungen, wie etwa den Umstieg von einer Full-HD- auf eine 4K-Produktion und -Distribution, jederzeit möglich.
Neben der Full-IP-fähigen Architektur hat sich Asharq für den Aufbau eines Hybrid-Netzwerks, bestehend aus virtualisierten Systemen im lokalen Rechenzentrum sowie Anwendungen in der Cloud, entschieden.
Zum Studio-Design gehören Video-Walls und Boden-Displays mit einer Gesamtfläche von rund 300 Quadratmetern. Mehrere LED-Walls lassen sich in fünf Segmente aufteilen und verfügen über eine verfahrbare, motorisierte Deckenaufhängung, mit der sie geräuschlos im On-Air-Betrieb bewegt werden können.
Neben der Konstruktion und Installation dieser Systeme war es die Aufgabe von Qvest Media, die erforderliche Technik zur Visualisierung von Grafik- und Videomaterial zu implementieren, welches zur interaktiven Darstellung von programmbegleitendem Content auf den LED-Walls genutzt wird.
Foto: Philipp Glänzel, Principal bei Qvest Media.
Mike Grabowski enhances backdrop for Times Square NYE broadcast with Chauvet's Colorado Solo Battens
Millions of viewers welcomed 2019 by watching Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest. They saw stars like Christina Aguilera, Bastille and New Kids On The Block welcome in the New Year on the Midnight Countdown Stage, a small open structure perched over the one million celebrants who crowded Times Square. They also watched in anticipation, as they do every year, as the giant ball dropped from atop One Times Square at midnight.
What these viewers didn’t see very much of, though, were the fire egress routes located throughout Times Square. Put in place by NYPD, these passages are essential security measures, but their empty space and utilitarian guard rails don’t make for compelling television. In the past, their presence limited the number of wide camera shots taken from the Midnight Countdown Stage, but as 2018 turned to 2019, the Lighting Design Group came up with a way to block the lanes from view with the help of 12 Chauvet Professional Colorado Solo Batten fixtures, supplied by WorldStage.
“Most viewers at home don’t realize there are so many egress lanes all over Times Square,” says the Lighting Design Group’s Mike Grabowski. “The show had to be very careful about going to wide shots, since all you would see were railings and empty egress streets. This presented a challenge, because the wide shots could provide a very helpful change of scenery in a show that goes from 8 pm until after midnight.”
Being smaller than conventional strip lights, the Colorado Solo Batten fixtures fit on the Midnight Countdown Stage’s railings. This allowed Grabowski to create “a dynamic lighting element that fit the aesthetics of the broadcast while blocking out the view of the egress lanes with their light.”
Being part outdoors and part indoors, the Midnight Countdown Stage creates challenges dealing with the elements, which is something that made Grabowski appreciate the IP65 rating of the RGBAW batten.
On this project, Mike Grabowski worked closely with Wolfram Ott and Jeremy Dominik, associate designers; Ron LaValle, Inside IATSE Head; Joseph Cartagena, Outside IATSE Head; Ryan Phillips, Outside Programmer; Steve Garner, Inside Programmer; and David Cook, Lighting PM.
(Photos: Jeff Neira/ABC via Getty Images)
Mercedes-Platz in Berlin opens with Elation Proteus light show
On October 13, 2018, Mercedes-Platz in Berlin, a new mixed-use area that complements Mercedes-Benz Arena, was ceremoniously opened with a multi-media show that incorporated lighting effects from Elation’s Proteus Hybrid luminaires.
General service provider TSE AG was commissioned with implementation of the show with company specialist lighting planner Klaus Graewert using more than 30 weatherproof Proteus Hybrid fixtures to generate dynamic lighting effects.
Between noon and 6 pm, the audience was able to enjoy an extensive stage program with various live bands, but the highlight of the evening came shortly before 8 pm with a multimedia show of lighting, video and sound elements, along with water effects and a pyrotechnic finale.
Twelve Proteus lights were positioned on the roof of the Mercedes-Benz Arena. Another 20 units were distributed across the square. TSE rented the Proteus fixtures from Motion GmbH in Fürth. Sandra Boner and Adrian Carlin handled overall project management for TSE. In addition to Klaus Graewert as lighting designer, Rico Stegemann was involved as a specialist planner for video.
(Photo: TSE AG)
Dublin’s New Year Festival with Avolites Tiger Touch II
Thousands of people witnessed Dublin’s New Year Festival with a light show that illuminated the Custom House and River Liffey. Lighting designer Matthew Kilmurry, of Kilmurry Design, controlled the effects using two Avolites Tiger Touch II consoles.
“My brief for the event was to light up the sky and surrounding areas of Custom House Quay in Dublin city centre. The lighting needed to be dynamic, original and totally in-sync with the six-minute music piece that played at midnight,” says Kilmurry. “I pre-programmed to timecode, using Capture and a Tiger Touch II at home before the event - there were about 300 cues in six minutes.”
Both Tiger Touch II consoles were supplied by Production Services Ireland, with Ciaran Donnelly serving as Project Manager. As the site was so large, Kilmurry positioned one Tiger Touch II on each side of the river, networked so they could both be used at the same time, editing and updating palettes.
“We also had a router on each side of the river, enabling me to use the Titan app. This meant that I could walk along the river and see positions from different angles and update the console from the app on my phone,” Kilmurry explains. Kilmurry’s rig consisted of 80 x LightSky AquaBeams, 80 x SGM P5 LED, 30 x CLF Ares, 60 x CLF Yara, 20 x Prolights PanoramaIPAB, 10 x 3k AO Searchlights, 12 x 4k AO Searchlights.
In the run up to the Midnight Moment, organisers staged a ‘Countdown Concert’ featuring Dublin-based artist Gavin James, Ireland’s own Hudson Taylor band, and rockers Inhaler. Kilmurry also designed the stage lighting for the live music elements of the show, specifying an Avolites Arena console for in-house and band operators to control a rig mainly made up of Robe BFMLs, Pointes and Spiiders, supplied by Just Lite Ireland.
Pictured: Ciaran Donnelly (left) and Matthew Kilmurry. (Photos: Emma Synott/Allen Kiely)
Présence and Chauvet light up event at Casino Knokke
Although the glamorous days of the pre-modern era have passed, the Casino Knokke still retains its style and flair, making it a tourist attraction and a site for upscale functions. At a recent private reception, the team at Présence celebrated the venue with an event design that featured Chauvet Professional Rogue and Well Fit fixtures.
“The Casino Knokke is a landmark on the Belgian coast,” says Isabel D’Hulster, Business Manager of Présence. “With its rich history, this building makes people think about the ‘grandeur of yesterday.’ We wanted to reinforce this feeling with our design for this event, yet still retain a modern touch.”
The design team created a long silver-fringed tunnel at the event entrance. Working with its technical partner Solico, Présence animated the tunnel with color-changing light from 40 Well Fit fixtures. An additional 32 Well Fit units were used to uplight the event room.
The event itself took place in The Kroonluchterzaal (Chandelier Room), so named for the 6-ton, 8.5-meter diameter chandelier made of Venetian crystal that defines its décor. Présence accentuated this design element (it’s the fourth largest chandelier in the world) by colorizing it with eight Rogue R2 Wash fixtures.
Going beyond accenting the chandelier in light, Présence wove the iconic structure into their design for the event. The designers used eight Rogue RH1 Hybrid fixtures to light the broad stairway that led to the room in colors that harmonized with the colors washing the chandelier.
“We reinforced the glam feeling of the venue by putting the RH1 Spots on the left and right side of the stairs,” says D’Hulster. “This evoked images reminiscent of old movies or TV programs that had people coming down from the stairs to enter a ballroom or at the beginning of a show.”
As the event unfolded and the dancing began, the moving fixtures morphed from being mood setters to disco lights. Turning the Rogues from the chandelier and grand stairway, the designers directed a dynamic pattern of crisscrossing colorful light onto the dancefloor.
I’m With Her on tour with Chauvet Maverick fixtures
William Succoso has lit the Americana band I’m With Her on their winter tour, which ended in Chicago in early March 2019. Using Austrian drapes as the backdrop for the group, the Long Island-based designer accented them with colors from four Chauvet Professional Maverick MK2 Spot fixtures.
“I went with a pipe and drape design, rather than flat hanging the fabric, because I wanted to create enclosed space between the folds for the light to play in,” Succoso explains. “I also went with a silvery color to better reflect the light. My Mavericks were evenly spaced behind the women in the trio to match the angle of the pipe and drape.” Succoso also used six Chauvet DJ Shocker 2 fixtures in his rig. He positioned six of these units in a semicircle behind the trio.
“I pretty much stuck between a nice warm palette of ambers/blinders, with some overhead blues to help not wash it out too much,” Succoso continues. “I also had a combo of blues, cyans and whites for the more cool numbers. I do have to point out that this was the first show that I’ve actually had a green song. This was ‘Apple Tree’. I went with a red/green look on the drop (on the nose with red and green apples) and then a nice gobo break-up from above with almost no front light to give the impression of shade.”
He ran the boards while touring with the band, cue stacking the floor package and punting with the house lights. Occasionally, his clients would play something off the set list and he would punt along. “From concept/rendering to show, this design for me came out as I had envisioned,” Succoso concludes. “A lot of credit goes to the team here: Tim Reitnouer at FOH, and Ashley ‘PK’ Mogayzel.”
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
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.
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)