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Pablo Alborán on tour with Robe
29/01/2019
Damien Escobar on tour with Chauvet fixtures
28/01/2019
Miss South Africa show illuminated by Robe
28/01/2019
Chauvet fixtures selected for ‘Ensálsate’
28/01/2019
Litec überdacht Stadionkonzert
09/01/2019
Eric Cathcart selects Chauvet for Greta Van Fleet tour
On Michigan-based rockers Greta Van Fleet’s current tour lighting designer Eric Cathcart, owner of Bigtime Lighting Design, uses a lighting rig featuring 25 Colorado 2-Quad Zoom Tour fixtures from Chauvet Professional. Cathcart selected the RGBW wash fixtures with an eye toward creating retro looks to match the band’s 1970s classic rock-influenced sound.
“My design concept involves creating a lot of old school par can-style looks, and the Colorados are essential to making this happen,” Cathcart explains. “They are the main workhorse of the floor package that we are currently touring with. We have five pipe and base towers, each with five Colorados on them. It’s very similar to having a par can six-bar hanging vertically back in the day.”
Cathcart keeps his color palette bold and bright, emphasizing reds, ambers, and yellows. When the band moves into mellower songs, he turns to a lot of blues and magentas. New color combinations or other twizzles are added to just about every show. “Every day the guys are tweaking one song or another, or working on something completely new during sound check,” says Cathcart. “This pushes me to update and polish my programming for each song.”
“For the first leg (of the tour), the design was based around space,” Cathcart continues. “Backline, audio consoles, and the lighting rig needed to be able to fit in a trailer behind the bus. Now that we’re doing more substantial venues, I have added video, but overall I am keeping the same design concept. From the very beginning, this design was intended to expand to larger venues.”
(Photos: Eric Cathcart)
Robe RoboSpots debut at Golden Melody Awards show
The 29th edition of the Golden Melody Awards (GMAs), staged in the 15,000 seat Taipei Arena last year, marked the first time Robe’s RoboSpot remote follow spotting system has been used in Taiwan. Organized by Taiwan’s Ministry of Culture, the GMAs recognises outstanding singing achievements in Mandarin, Taiwanese, Hakka and Formosan languages in both the popular and traditional music industries, attracting artists and audience from all over Asia. Moderated by Jam Hsiao, the 2018 show was broadcast live by Taiwan national TV throughout South-East Asia.
Hong Kong based LD Stanley Szeto lit the show, working for the Artesian Engineering Co Ltd. The RoboSpots were an investment by locally based company Aurora Lighting from Taipei. The three near-stage RoboSpots were individual BMFL FollowSpots with integral cameras, and they were used as back - for the forestage - and side key lights throughout the show.
“There was really nowhere on the rig for near-stage follow spots and operators to go, especially in the positions where they were needed,” Scotty Chen from Aurora explains. “With all the flying video panels making up the set it would have also been dangerous to have people in the roof in these positions”. With support from the Robe AP office and Jackson Yu from technical partner DLHG, Scotty Chen trained the GMA operators.
(Photos: Jens Poehlker)
Jacob Sartorius on tour with Chauvet fixtures
For Jacob Sartorius’ 2018 tour, Lenny Sasso - who lit Sartorius’ first headlining shows two years ago - created a futuristic concept, using a collection of Chauvet Professional Épix Strip Tour and Rogue R1 FX-B fixtures, supplied by Squeek Lights.
Sasso arranged the linear fixtures in a matrix-like formation, filling the upstage area with light while creating a high-tech look. “I wanted to wrap the band in Épix Strips,” he says.“It all revolved around the placement of the risers in that diamond style, which was something that we had done on Jacob’s original tours. Wrapping the fixtures around the upstage side of the risers pulled it all together.”
A total of 32 Épix Strip Tour fixtures was used in the wrap-around design. Hung on eight 10’ vertical pipes and 12 8’ horizontal pipes, the Épix units displayed light as well as video content run from a laptop with Resolume software.
Also arranged on the pipe structure were eight Rogue R1 FX-B fixtures, each with five individually controlled moving heads. Adding extra color and depth to Sasso’s lightshow, as well as aerial effects, were six Rogue R1 Wash fixtures arranged across the deck near the risers.
Sasso credits his lighting director Sam Parker with adjusting his rig for different venues so it retained its look and feel.
(Photos: Dallas Bowshier)
Christie unterstützt Showkonzept aus VR, AR und Robotik
Anlässlich seines 125-jährigen Jubiläums hat der Technologiekonzern ABB im vergangenen Jahr im schweizerischen Wettingen zu einer zweitägigen Veranstaltung mit jeweils rund 550 Gästen geladen. Im Mittelpunkt des von der Event-Agentur Standing Ovation AG unter dem Motto „Rückblick in die Zukunft“ entwickelten Show-Konzepts stand YuMi, der erste kollaborierende Zweiarm-Roboter der Welt für die Kleinteilmontage und Eigenentwicklung von ABB. Zusätzlich kamen zwei Roboterarme mit Leinwandelementen zum Einsatz, die das Bühnenbild vervollständigten.
Die Roboter waren vollständig in eine Choreographie mit 3D-Projektionen in Echtzeit eingebunden und fungierten als Bühnenportale sowie flexible Medienflächen, auf die zwei Christie Mirage 304K projizieren konnten. Die Roboterarme wurden mittels Echtzeit-Tracking gesteuert. Hierfür setzten die Verantwortlichen auf ein Setup aus Christie-Pandoras-Box-Medienserver und Christie-Widget-Designer-Framework. Die beiden Mirage-304K-Projektoren lieferte Smartec, Christies Vertriebspartner in der Schweiz. Für die Umsetzung der Bühnenshow holte man sich Unterstützung von Loop Light.
„Technisch war das Projekt eine große Herausforderung, da die Roboter für die Industrie und nicht für Shows konzipiert wurden“, sagt Michael Dancsesc, Geschäftsführer von Standing Ovation. Eine genaue Abstimmung der Kommunikationsprotokolle zwischen den beteiligten Systemen sei daher erforderlich gewesen. Um eine latenzfreie Mitführung der Projektoren auf den von Robotern getragenen Elementen zu erreichen, nutzten Loop-Light-Geschäftsführer Matt Finke und Michael Hantelmann teilweise eigens programmierte Software.
Die Projektoren waren am gegenüberliegenden Ende des Festzelts aufgestellt, um eine größtmögliche Tiefenschärfe zu gewährleisten. Die Inhalte selbst waren eine Mischung aus Realbild sowie Animation. Die Animation hatte zudem einen 3D-Effekt, der aus der Mitte des Raumes erzeugt wurde. „So sah es für den Betrachter so aus, dass die Panels, die von den Robotern getragen wurden, nicht flach sind, sondern eine Tiefe besitzen“, erklärt Finke.
Pablo Alborán on tour with Robe
The lighting and visual design for Spanish singer and musician Pablo Alborán’s ‘Prometo’ tour has been created by LD Chus Fernandez working closely with artistic director Salva Alborán. It was a fusion of lighting, video and automation.
Fernandez chose to work with Robe moving lights, picking 40 x MegaPointes, 48 x Spiiders and 32 x BMFL WashBeams as the work-horses of the rig, all supplied by rental company Fluge. He and Salva Alborán - who also created the video content - worked out numerous multi-level ideas and looks, including an upstage 4.8 mm LED screen measuring 16 metres wide by 7 high and a moving ceiling of 72 x 5x5 matrix LED fixtures as a special feature.
The upstage truss above the screen contained 16 x MegaPointes, and four diamond orientated trusses around the 5x5 ceiling feature were rigged with 24 x MegaPointes - six per section of truss. Thirty-six of the Spiiders were positioned on both sides of the stage in diamond shaped frames, with the other 12 Spiiders and 12 of the BMFL WashBeams on the floor, dotted around the risers and stage set. The final 20 x BMFL WashBeams were positioned round the sides of the screen.
Video included an IMAG mix cut by Iván García and David Hidalgo. Chus Fernandez programmed the show. During production rehearsals at Fluges Studios in Arganda del Rey, Madrid, he worked with two assistant programmers, Juan Manuel Lazaro and Javier ‘Rubito’ Lapuerta, and on tour, Lapuerta was his lighting design assistant.
The Fluge lighting crew chief was Bochi Piaggio. Miguel Angel Almagro was the video crew chief, Iñaki De La Vega operated the automation and Nacho Jipi was the stage manager. Gorka Mondragón was the production manager. Ricardo Badal was the tour manager.
(Photos: Juan Fajardo/The Fly Factory)
Damien Escobar on tour with Chauvet fixtures
On his latest tour, Damien Escobar’s hip-hop/classical blend was supported by a Jack Thomas-designed lightshow anchored by Chauvet Professional Rogue RH1 Hybrid and Nexus Aw 7x7 fixtures.
“To add depth to my design, I stagger the RH1s, going from the floor, to cases, to truss towers,” Thomas explains. “Typically, I use 8 to 10 RH1s, depending on the venue. I also enjoy using an odd number of units for an asymmetrical, edgier look.”
In addition to the Rogue RH1 Hybrid, Thomas used the Nexus Aw 7x7 on tour. He varied the position of these warm white fixtures (and the number he uses) to accommodate the needs of different venues. Typically, he places them on risers.
Miss South Africa show illuminated by Robe
2018 was the fourth time Joshua Cutts has lit the Miss South Africa beauty pageant event. The show was staged for the first time at the new Sun Arena venue at Times Square in Pretoria, and Cutts chose to illuminate the show - produced by SIC Entertainment and directed by Gavin Wratten for live broadcast on M-Net (DSTV channel 101) and Mzansi Magic (DSTV channel 161) - with a Robe moving light rig of 170 fixtures. This was the first time Cutts used Robe MegaPointes on a live show.
The event’s overall lighting and technical vendor was Dream Sets, with production manager Eben Peltz on site. The production also used elements of the Sun Arena’s house lighting system, which also includes a large Robe rig and is facilitated by MGG.
Josh Cutts received an initial brief from Gavin Wratten. They already knew they would have access to all the Sun Arena house lights plus specials and extras as needed from Dream Sets’ stock, all of which was necessary as the Sun Arena is a larger space than the Sun City and Carnival City arenas where Cutts had previously lit Miss South Africa.
It was the event’s diamond jubilee year, so Wratten and Cutts hit on the idea of basing the show environment on diamond shapes. They went for an extensive LED set but not a massive slab-like TV screen at the back. This allowed for the set to change and morph into different environmental looks as the show progressed.
Instead, the back wall comprised of LED columns, a combination of 2.9 mm and 4.8 mm surfaces, with 16 x 7-metre high sections spread out over a width span of 28 metres. The centre featured a 5 metre wide LED surface, also 7 metres high.
The main stage was 28 metres wide by 8 deep with a 14 metre ramp extending to the front and a 9 x 6 metre presentation stage at the end of that. Special effects included a kabuki drop at the top of the show to reveal the 12 finalists, and six water features which were integral to the set and also had to be lit.
Cutts used 18 x Robe BMFL Blades for all his key lighting across the main and thrust stages with the fixtures rigged on FOH trusses for maximum reach. Twelve BMFL Spots were used for producing breakup and other effects down the ramp from the stage to the presenter stage at the end of the thrust.
Four V-shaped trusses were installed above the stage for the overhead lighting positions, and 18 x BMFL WashBeams were rigged on these and used for beam work and texturing the stage and set. On these same LX trusses were 28 x Spiider LED wash beams which bathed the stage and set in a rich array of colours and the individual LEDs were mapped for back-of-camera looks and for varying the beam shapes during the aerial scenes.
The 24 x MegaPointes were positioned on a truss running across the back of the stage just above the LED columns. On the floor Cutts deployed 8 x Pointes, with another 16 on the downstage truss to create a crown of beam lights around the stage, while the audience was lit with 18 x LEDWash 800s.
Forty-eight LEDBeam 100s were rigged on ladders between the LED columns and also along the bottom of these for camera filler and additional sparkle. Sixteen Robe ColorWash 2500E ATs were handy for performer specials.
The primary moving light rig was supported with more LED strobes, six other profile moving lights and 152 x LED PARs dotted around the rig and the auditorium, plus 12 beam lights for the audience. Seventy-two conventional profiles were used to light the contestants when on the ramp, and 24 x LED battens framed along the tops of the screens. The house’s two Robert Juliat follow spots were used for the show.
The video playback content - including VT play ins and sponsor logos, graphics and stings - were stored on three Green Hippo servers, and all the lighting was run from two GrandMA Light consoles with an Ultra Light as a technical desk backstage. The show was fully manually operated. Josh Cutts and his assistant LD and associate Andre Siebrits had five days of programming and three days of rehearsals.
(Photos: Duncan Riley)
Chauvet fixtures selected for ‘Ensálsate’
Jamundí, Colombia-based lighting designer Milton de la Cruz worked the annual main show of ‘Ensálsate’, a Salsa Caleña cabaret with over 80 artists on stage, a live orchestra, 500 costume changes, and a nonstop flow of dance moves.
Helping de la Cruz reflect this choreographed panorama in light at Bogota’s Teatro Colsubsidio was a collection of Chauvet Professional Rogue R2 Spot and Colordash Par-Quad 18 fixtures. Flying six Rogue R2 Spot fixtures on midstage truss, de la Cruz used them for downlighting dancers and creating a sense of space on stage.
The color-rendering capabilities of the Rogue R2 Spot, which has two color wheels, split color capabilities and continuous variable speed scrolling, helped de la Cruz reflect different peaks in the cabaret’s performance. Working in conjunction with washes in the rig, the Rogue fixtures helped transform the entire mood of the stage with color changes.
Also key to colorizing the stage were the 22 Colordash Par-Quad 18 fixtures in the rig. Flown on midstage and downstage truss, these fixtures were used to set moods and coordinate the stage lighting with the dancers’ costumes. Blue, cyan and orange were the dominant colors used during the performance.
Jerry Appelt setzt Wiener Philharmoniker mit Elation Proteus Hybrid in Szene
Seit 2014 laden die Wiener Philharmoniker alljährlich zu einem Open-Air-Konzert in den Schlosspark von Schönbrunn. Jerry Appelt zeichnete im vergangenen Jahr erstmalig für das Lichtdesign des Konzertes verantwortlich, das in erster Linie klassische Lichtbilder erzeugen sollte, die die Musik unterstützen und die Philharmoniker im Zentrum der Aufmerksamkeit halten. Dabei setzte er unter anderem 48 wetterfeste Proteus-Hybrid-Movinglights von Elation Professional ein.
Appelt platzierte einige der Geräte an der Fassade des Schlosses sowie auf Balkonen an der Dachkante. In zwei Vierergruppen wurden weitere Proteus Hybrid auf den PA-Wings aufgesetzt. „Ich habe die Proteus Hybrid in erster Linie für die Schaffung einer Lichtarchitektur genutzt“, beschreibt Appelt sein Design. „Die Scheinwerfer waren also eher für ‚stille’ Bilder und Beamwork zuständig.“
Die Planung des Events lag in den Händen von Redline Enterprise aus dem österreichischen Wulkapropdersdorf. Redline lieferte auch die Tontechnik. Die Lichttechnik wurde von PRG bereitgestellt.
(Foto: René Langer Photography)
MSL lights gala at The Louvre with Chauvet fixtures
Martin Symul and his team at MSL (Sprimont, Belgium) elected to light a gala at the Musée du Louvre (aka The Louvre) in Paris with Chauvet Professional Well Fit uplighting fixtures. Guests who arrived at the event (a 60th anniversary celebration for the DEF Network group of fire prevention companies) entered the reception area via a spiral staircase and encountered a vista of richly saturated blue light from 90 Well Fit fixtures.
“We positioned the Well Fit uplights in the mezzanine and in the reception area to set an elegant mood with uplighting,” Symul explains. “The fixtures were static. They did not change colors. We went with a single shade of blue that matched the client’s logo, and used it to colorize columns and walls throughout the room.”
Brand.L begleitet Markteinführung der Marke Pieroth
Im Zuge eines veränderten Konsumverhaltens verfolgt der frühere Wein-Direktvertrieb Bacchus GmbH unter der neuen Dachmarke Pieroth ein Omni-Channel-Geschäftsmodell mit eigenem Weinberater als Markenbotschafter, Stores in frequentierten Innenstadtlagen und Events rund um das Thema Wein.
Ein wichtiger Bestandteil des neuen Geschäftsmodells wurde als erstes in München umgesetzt - in Form eines exklusiven Wine Lofts am Viktualienmarkt. Die Münchener Agentur Brand.L entwickelte zur Markeneinführung eine begleitende Kampagne mit besonderem Fokus auf das erste eigene Pieroth-Geschäft in München und dem Ziel, allgemeine Markenbekanntheit zu schaffen bzw. zu steigern und gleichzeitig Publikumsverkehr im Store zu generieren.
Die wichtigsten Ansatzpunkte, um weitreichende Aufmerksamkeit zu erzielen, waren dabei ein Opening-Event des Pieroth Wine Loft, eine begleitende Medienkampagne inklusive Anzeigen, Radiospots, Plakate und Banner sowie die Entwicklung von Eventreihen, die neue Zielgruppen für die Marke ansprechen sollen.
Darüber hinaus gestaltete Brand.L eine Reihe von Marketing-Materialien, angefangen von verschiedenen Flyern bis hin zu optisch auffälligen Verkostungsständen. Ein Schwerpunkt lag dabei auf der neuen Pieroth-Linie „Blueline“. Dabei handelt es sich um sieben exklusive Weine aus verschiedenen deutschen Anbaugebieten, die in auffälligen blauen Flaschen in den Handel kommen.
Eyecatcher im Rahmen der Kampagne für die neue Reihe ist auf Anraten der Agentur eine „Blue Lady“. Auch in die Zielgruppenanalyse, das Locationscouting sowie Konzept und Gestaltung des neuen Wine Lofts in München war die ortsansässige Agentur involviert.
Anders Matthesen on tour with Robe moving lights
For his 25th anniversary tour, Danish comedian Anders ‘Anden’ (the Duck) Matthesen used eleven trucks of production equipment. Seven shows were played in Denmark’s two largest arenas - five the Royal Arena in Copenhagen and two in the Jyske Bank Boxen Arena in Herning.
Peter Fisker, Matthesen’s lighting designer since 2006, chose Robe moving lights, specifying 26 x MegaPointes, 33 x BMFL Spots and another three BMFL Spots utilized as a RoboSpot follow spotting system complete with one MotionCamera and one BaseStation. These were delivered, together with rest of the lighting equipment, by Copenhagen based rental specialist Comtech.
Set designer Palle Christensen produced a design based on a clean modern look, with two large IMAG screens left and right, a series of multi-level risers, a semi-transparent cloth backdrop which included a massive scenic duck set flat outlined in LED to reinforce the nick-name. There was a long winding runway out into the audience which enabled him to get in amongst a vast amount of the audience.
Before the start of the tour, there was a month-long rehearsal period, and this is where most of the lighting cues evolved, just as the show, the material, the sketches and several songs developed. It included one side-splitting skit where Matthesen is ‘controlling’ the lighting rig from his cell phone.
Peter Fisker needed a load of LED wash light for the base colours, and BMFL Spots were selected as the show’s profile fixture. While there was haze and smoke at strategic moments, for most of the show he needed the beams to be potent enough without any atmospheric enhancement.
Having already seen the RoboSpot in action on some touring productions, Fisker decided to use it on this tour, adding three more BMFL Spots as his back-follow spots, which were operated via one RoboSpot BaseStation positioned backstage.
This gave him the option of picking any of the three BMFL RoboSpots best positioned to highlight Matthesen according to where he was on the stage or runway. They worked in conjunction with two manually operated Robert Juliat Lancelot 4Ks in the FOH positions.
Five of the MegaPointes were rigged on vertical trusses just behind each of the screens, so they appeared from behind, blasting across the stage creating structural patterns. At times they moved out and skimmed across the audience. Another four were under each screen, creating ACL style looks with six on the floor upstage and two at the centre entranceway mid-way along the onstage staircase.
Also on the rig were 48 x 2-lite blinders dotted around and on top of the drapes. Three Swobodas were used for the opening sequence. The Duck’s LED outline added another 487 x 4-channel RGBW LED fixtures and 1948 DMX channels to the MQ500 lighting desk. Fisker operated the show from his ChamSys lighting control console while the RoboSpot operator took care of the pan/tilt, zoom and focus.
(Photos: Louise Stickland)
Aventem stellt technischen Support für ZDF-Sendung „Sportler des Jahres“ bereit
Die Aventem GmbH, Anbieter für Veranstaltungstechnik mit Sitz in Hilden, hat in Kooperation mit dem ZDF den technischen Support für die Sendung „Sportler des Jahres 2018“ am 16. Dezember 2018 im Bénazet-Saal des Kurhauses in Baden-Baden bereitgestellt. Aventem stellte für die ZDF-Produktion das Show- und Effektlicht und das Zusatz-Rigging für Bühne und Saal zur Verfügung.
„Beim Zusatz-Aufhängen von schweren Lasten wurden für die unterschiedlichen Gebäudeteile - Publikumsbereich mit Rang, Bühnenhaus - eine große Anzahl an speziellen Lösungen eingesetzt, um Rohre und Traversen möglichst unauffällig in das Gebäude zu integrieren“, so Aventem-Geschäftsführer Holger Niewind. Aventem zeichnete für die professionelle Durchführung bei Auf- und Abbau, Betrieb und Betreuung in Koordination mit dem ZDF verantwortlich.
Erwin van Lokeren uses ChamSys console on Racoon tour
Erwin van Lokeren used a ChamSys MagicQ MQ80 console on Dutch alt rock quartet Racoon’s ‘Fall ‘18’ tour. “I have been Racoon’s designer since 2006, and it is always exciting and challenging working for them because their music is so diverse,” says van Lokeren.
“Racoon music ranges from up-tempo pop to really fragile small songs. This means that I have to go from making the show look big, to creating something very small and intimate. On this tour, I tried to create a show that was a bit industrial. I had lights moving up and down in different positions, so they worked as scenic pieces as well as sources of illumination.”
Limiting his three-universe show to 62 fixtures, van Lokeren was keeping his rig uncluttered to evoke an intimate hardcore basic mood on stage. This sense was reinforced by his use of retro theatrical fixtures that were hung at varying heights over the band. Changing the position of these fixtures created a sense of movement on stage, in addition to leading audiences through the different emotions evoked by the music.
In addition to his MagicQ MQ80, van Lokeren used an extra PC Wing to control front lights and hazers. “The Wing allowed me to adjust smoke at any time during the show,” he says. Systems techs for this tour - which marked van Lokeren’s 1000th show using a ChamSys console - were Bertje Ploegh and Marcel Koeter.
(Photos: Picturesk)
Chauvet fixtures illuminate Rio carnival Christmas party
Two million people travel to the Rio de Janeiro carnival in Brazil each year, and the team at Vivid Experience decided upon this exotic South American festival atmosphere as the theme for the Athena Christmas party in the East Midlands region of the UK.
Production Manager Jake Moore and Production Engineer Chris T-Smith devised a plan to support Vivid’s creative concept of a carnival-like atmosphere at the Athena event, complete with a makeshift street filled with various pop-up bars, Brazilian artifacts and Samba dancers on stage. Contributing to this environment were colorful lighting displays from 12 Chauvet Professional Maverick MK1 Spot and 12 Maverick MK2 Wash fixtures.
Central to awarding a more theatrical element to the evening was the wash unit’s 7° - 49° zoom feature, which enabled Moore to provide dynamic front light for the artists on stage during the dance performances. Punching through the colors were the targeted throws of the spot fixtures, which were mostly positioned in the wings of the venue to provide a contrasting set of effects.
(Photos: On Event Production Co.)
Avolites Tiger Touch II used for V&A Dundee opening ceremony
Dundee’s new V&A museum opened in September 2018 with a light, sound and pyrotechnics-focused ceremony. Lighting was designed by John Rogers who used two Avolites Tiger Touch II consoles. Rogers was commissioned for the project by Jon Pugh of JMP Productions.
The pair employed 30 Robe BMFL WashBeams in weatherproof domes and eight Prolights SunBlast IP rated LED strobes to achieve their design. These were rigged at ground level around the exterior of the V&A, pointed directly at the building’s architecture.
More than 10,000 people gathered at the city’s docks to experience the launch, with thousands more watching it live on the BBC and later on catch-up. The entire show was synced to music composed especially for the occasion, triggered by MIDI from Logic on a laptop.
One of the stand-out moments of the show was the words ‘Hello World’, beamed onto the external slats of the museum in Morse code. But the visual highlight came as each section of the angular structure was washed in markedly different, bright colours.
“What we were aiming for pushed the boundaries of what’s possible using fixtures instead of projection mapping,” says Rogers. “I was backed up by some of Titan’s signature features, including Key Frame Shapes. This made it simpler to create an animation of the BMFL’s shutter blades, for a start, meaning that the Morse code was clear and crisp. It also helped me programme position and rotation; layered, kaleidoscopic colours and trapezoidal shapes.” Off-site, Rogers used his own Titan Mobile to pre-programme, transferring the showfile to the Tiger Touch IIs in the run-up to the event.
(Photos: PK Perspective)
Thomas Gerdon inszeniert Mayday mit über 250 GLP-Scheinwerfern
Lichtdesigner Thomas Gerdon zeichnete im vergangenen Jahr zum fünften Mal für das Production-Design des Techno-Events Mayday verantwortlich. Erstmals seit Beginn der Mayday in Dortmund befand sich 2018 die 24 Meter breite Bühne in der Westfalenhalle 1 nicht mehr am Kopfende, sondern an der Längsseite der Halle.
Allein in der Arena verbaute Gerdon knapp 250 Schweinwerfer von GLP, zumeist GT-1 und JDC1, aber auch 36 Impression X4 XL. Technikdienstleister war, wie schon in der Vergangenheit, die Schoko-Pro GmbH aus Wiesbaden, die große Teile des Equipments zur Verfügung stellte. Gleichzeitig übernahm Gerdon auch das Design für den zweiten der drei Floors, das „Empire“.
Auf der Materialliste für die Arena finden sich neben 116 GT-1-Hybrid-Movinglights zusätzlich fast 100 JDC1-Strobes. Die tragenden Säulen der Halle wurden mit Impression X4-XL-Movingheads in Szene gesetzt. „Wir wollten jedem Künstler seinen eigenen, individuellen Look geben“, erklärt Gerdon. „Neelix zum Beispiel bekam zu seinen treibenden, aggressiven Beats ein entsprechend kühles, stakkatohaftes Licht, die DJanes Juliette Sikora und Danielle Diaz inszenierten wir hingegen weicher und mit wärmeren Lichtfarben.“
Rando Lorenz und Christopher Rostalski übernahmen in Thomas Gerdons Preproductionstudio die Vorproduktion und wurden dabei von GLP mit den nötigen Lampen unterstützt. Marek Papke und Markus Neubauer übernahmen parallel das Operating der Medienserver.
(Fotos: Ralph Larmann)
Josef Zenisek selects Robe for Colours of Ostrava
With 20 performance stages offering over 350 live music acts and plenty of other creative engagement across four days, Colours of Ostrava (COO/Colours) 2018, the largest music festival in the Czech Republic, attracted a population of 50,000 fans.
Site-wide technical production was co-ordinated and delivered by Josef ‘Pepa’ Zenisek and his team from Smart Production, a massive logistical exercise which involved several rental partners for sound, lighting and video, more for rigging and staging, plus numerous dry hires, many from other countries. Smart also provided site management and stage management for all the main performance spaces.
The main stage for Robe this time - in terms of numbers and concentration of fixtures - was the ArcelorMittal Stage, where the production lighting design was completed by Kamil Kruzik. The lights were supplied by Rental Pro, part of the OneAVteam group which also includes Yventech, the LED screen provider for Colours.
Around 160 Robe fixtures were incorporated into the design, which broke down to 24 x BMFL Blades, 12 x MegaPointes, 24 x Pointes, 62 x Spiiders, 32 x LEDBeam 150s and three BMFL WashBeams which were on the FOH tower.
The Spiiders were spread out all over the overhead trusses with 12 on the floor. The back truss was also loaded with LEDBeam 150s and BMFL Blades; the two mid trusses were rigged with MegaPointes and BMFL Blades, while the front truss featured 13 of the Pointes in addition to 16 x Spiiders.
The floor package included LEDBeam 150s, Spiiders, MegaPointes and BMFL Blades which could be re-positioned for each act. Kamil Kruzik and his FOH colleague Jan Suskleb lit all the bands who didn’t have an operator. Lighting on ArcelorMittal was controlled via a Road Hog 4 run by Kruzik and a GrandMA2 light run by Suskleb. These consoles were available for guests.
While ArcelorMittal was the main showcase for Robe products this time, there were lights in plenty more areas. The Main Stage featured 11 x MegaPointes on the rig, together with seven BMFL WashBeams and 22 x ColorStrobes LED/wash strobes. The Electro stage lighting crew used 16 x Pointes, 16 x LEDWash 600s, 24 x LEDBeam 100s and 42 x PixelPatts, while the Fresh Stage was lit by 16 Spiiders, among other fixtures.
In addition to all the stages, the overall environment and industrial relics of Ostrava’s Dolní Vítkovice ironworks at night were also illuminated by Josef Zenisek and his team who used more Robe in the form of 8 x Pointes rigged on top of the Bolt Tower and above the entrance structure, plus 38 x CitySkape Xtremes and four CitySource 96s LED floods.
The CitySkape Xtremes and CitySource 96s were dotted around in safe places and used to imaginatively highlight vast silos, long runs of pipework, blast furnaces, ore chambers and other features from the plant’s former life.
The multiple rental sound and light and video companies Josef Zenisek dealt with in 2018 included High Lite Touring who supplied technical services for Main and Drive Stages, and the ArcelorMittal Stage construction. Rental Pro took care of lighting and audio for ArcelorMittal Stage and T-Servis did the complete tech production for the Fresh and Kofola Czech stages. Edward-Sound & Light Agency from Prague ensured the Electronic and Europe stages had all the required production elements. For the second year, StageCo was contracted to build the main stage.
(Photos: Petr Klapper)
Thomas Boets creates setting for Red Bull Elektropedia Awards with Chauvet
The massive art deco building bordering the Ixelles Ponds at the edge of the Place Flagey Square has been at the heart of Belgium’s musical and cultural history since it opened in the 1930s. It was within this structure’s ocher yellow sandstone walls that the country’s national broadcast service, BRT, was born.
Originally called Maison de la Radio, but now known simply as the Flagey, the building provided the setting for the 2018 edition of the Red Bull Elektropedia Awards, an all-Belgium annual event honoring rising stars and outstanding achievements in the country’s music scene. Thomas Boets of Light Design Productions created a lighting design for the event that included 380 pixel-mapped Épix Strip IP fixtures from Chauvet Professional, supplied by L&L Stage Service.
“The Flagey is iconic, and our show took place in the building’s Studio 4 (home of the Brussels Philharmonic), which gave us a very special setting to work in,” says Boets. A dramatic part of that setting is the massive organ on the back wall. Boets wanted to accentuate this scenic element, yet at the same time endow the stage with a techy digital vibe to reflect the flavor of the event. To do this he placed a portrait LED wall along the back of the stage, and in front of it positioned a curved LED raster with the Épix Strip IP fixtures. He also accented the stairs with LED lighting.
“The whole show was on a timeline and controlled via Art-Net from our console,” says Boets. “The award show also followed a fixed order of presentation/announcing the award presenter/announcing the category/announcing the winner/speech winner. For each component, there was also a specific animation on the Épix units.
“Sometimes, it was necessary to not use the strips in the show, so we could focus all the attention from the audience on the speakers. We chose to use black face filters in front of the strips. This way, when the strips weren’t on, they disappeared completely in the underlying support frames.”
With the 380 Épix Strip IP fixtures placed horizontally and vertically, Boets found it more efficient to assign each one its own universe. This brought the total number of universes in his show to over 400 when other light fixtures are included.
On this project, Thomas Boets worked closely with Francis Weyns of Jet Imports, video specialists Jo Pauly and Sander de Schrijver, light operator Frederik Heerinckx, Bonanza director Fred Di Bono, production manager Geert Delbaere from Satisfactory, and content creators Pieter de Kegel and Filip Joos.
(Photos: Simon Leloup)
Gahrens + Battermann unterstützt Nibelungen-Festspiele mit Projektionstechnik
Die Nibelungen-Festspiele werden seit 2002 in immer neuen Interpretationen am Originalschauplatz des Nibelungenliedes vor dem historischen Wormser Kaiserdom aufgeführt. Unter der Leitung des Intendanten Nico Hofmann und dem künstlerischen Leiter Thomas Laue wurde vom 20. Juli bis zum 5. August 2018 an sechzehn Abenden „Siegfrieds Erben“ aufgeführt. Für die technische Umsetzung der Videoinstallation auf den Kaiserdom zeichnete Gahrens + Battermann verantwortlich. Die Inszenierung des Video-Mappings wurde mittels sechs Laserprojektoren der neuesten Generation durchgeführt.
(Fotos: David Baltzer/Bernward Bertram)
Kuchem realisiert Management-Team-Sitzung der Telekom
Kuchem Konferenz Technik war als Leistungspartner des World Conference Center Bonn mit der gesamten technischen Durchführung der Telekom-Management-Team-Sitzung (TMTM) 2018 beauftragt. Hierbei handelte es sich um ein Treffen der weltweiten Führungskräfte der Deutschen Telekom AG.
Für die Darstellung der Inhalte im Hauptplenum wurden drei Bildflächen mit ca. 140 m² LED-Wand installiert. Quellenseitig kamen verschiedene Zuspielsysteme zum Einsatz, um die native Bespielung aller LED-Flächen zu realisieren.
Für das Bildmanagement wurden vier Barco-E2-Prozessoren eingesetzt. Außerdem kamen 40 neue Movinglights Robe MegaPointe zum Einsatz. Auch die Sessionräume wurde durch Kuchem Konferenz Technik technisch umgesetzt.
Airbeat One mit Europas größtem transportablen Zirkuszelt
Mit insgesamt 180.000 Teilnehmern an allen vier Tagen feierte das Airbeat-One-Festival im vergangenen Jahr seine siebzehnte Ausgabe. 170 DJs und Acts aus aller Welt traten in Neustadt-Glewe auf fünf Floors mit nahezu allen Stile der elektronischen Musik auf.
Das Open-Air-Event stand unter dem Motto „Great Britain”, deshalb präsentierte sich die Mainstage mit 130 Metern Breite und 40 Metern Höhe in einer Collage aus House of Parliament, Westminster Abbey, Big Ben und der Tower Bridge, in deren Zentrum das DJ-Pult stand. Das London Eye ragte als Riesenrad hinter dem Tower hervor.
Mit „The Arena” feierte das mit 5.000 Quadratmetern Fläche größte transportable Zirkuszelt Europas als neuer Floor seine Premiere. Die achtzehnte Ausgabe des Festivals findet vom 10. bis 14. Juli 2019 statt.
(Fotos: Steffen Schulze/Tobias Stoffels/Airbeat One)
Litec überdacht Stadionkonzert
Tribute-Konzerte sind besonders in Italien sehr beliebt. So feierte man unlängst Leben und Lieder von Pino Daniele. Auf der technischen Seite kam u.a. ein MyT Folding Steroid Dachsystem von Litec zum Einsatz. Das Unternehmen hat den Aufbau und Einsatz in einem aktuellen Video ausführlich dargestellt.
Das Video dokumentiert den Aufbau des massiven Dachsystems inkl. der eingesetzten Spot- und Delaytürme. Diese bestanden ihrerseits aus modularen Komponenten von Litecs MyT-Folding-Steroid-Serie. Das landesweit im italienischen Fernsehen übertragene Konzert zog vor Ort mehr als 85.000 Besucher an und erreichte ein Millionenpublikum.
Das Litec MyT Folding Steroid Dachsystem ist eine komplette Lösung aus zwei Traversentypen. Das Grid besteht aus der MyT Folding Steroid Traverse, die aus der Alulegierung EN AW-7003 T6 gefertigt wird. Die 23 Meter hohen Tower im Maß 85 x 85 cm aus EN AW-6082 T6 werden ergänzt durch Komponenten aus Baustahl S355; Beispiele sind die Ballastbases, der Sleeveblock und die Verriegelungseinheit, der Safety-Block. Zum informativen und unterhaltsamen Video geht es hier entlang:
www.youtube.com/watch?time_continue=155&v=DOunPf1waHM
Weitere Informationen zu Litec und den unterschiedlichen Konstruktionsmöglichkeiten gibt es hier:
www.litectruss.com
Robert Juliat fixtures chosen for ‘Nouvelles Pièces Courtes’
‘Nouvelles Pièces Courtes’ is a collection of short contemporary dance pieces, created in May 2017 by French choreographer Philippe Decouflé and his Compagnie DCA. Lighting designer Begoña Garcia-Navas used Robert Juliat fixtures to complement each different dance piece through her use of lighting, choosing 20 Robert Juliat Dalis 860 Cyclight LED batten fixtures to light the massive cyclorama backdrop, and Robert Juliat profiles, including 613SX, 614SX, 713SX and 714SX fixtures, as conventional lighting.
Garcia-Navas also specified three RJ followspots, with the models changing according to which venues the company visits. She positioned ten Dalis 860 Cyclight LED battens in the grid and a further ten at stage level, with a minimum distance from the back wall of 40/50cm depending on available space at each venue. From these positions the Dalis covered the 6.5 m tall drop with colour.
Garcia-Navas selected her Dalis fixtures after trying out several options. “Initially we used some architectural LED fixtures, and then tried around 60 tungsten fixtures with colour gel filters, but I was not satisfied with the result,” she says. “I decided to compare some LED battens and, over several tests, was finally convinced that the Robert Juliat Dalis was the one I wanted.”
‘Nouvelles Pièces Courtes’ toured France throughout 2017 before returning to the Théâtre National de Chaillot, Paris in April 2018. The production then moved to Japan, where the Robert Juliat equipment was supplied by Robert Juliat’s distributor, Sogo Butai, overseen by Kohei Nishida. ‘Nouvelles Pièces Courtes’ also traveled to Brazil and Russia.
(Photos: Laurent Philippe)
Glassjaw plays Brixton Academy beneath Elation rig
For post-hardcore band Glassjaw’s show at London’s O2 Academy Brixton in August 2018, lighting designer Hayden Borgars had an Elation lighting rig of 12 Platinum Beam Extreme beam lights and 12 Platinum Wash ZFX Pro LED moving head washes at his disposal.
“With ‘Material Control’ being Glassjaw’s first album in 15 years I wanted my design to be fairly versatile to be able to create some classic looks for the older tracks and then some more modern and fast-paced looks for the newer material,” Borgars comments.
“Having the Platinum Wash ZFX’s in the overhead rig worked well in being able to produce some zone-based effects and more saturated colors for the tracks from (Glassjaw’s new album) ‘Material Control’ as well as some vibrant and brighter colors for the older tracks,” he says. The designer also used the multi-purpose RGBW wash lights for front color wash.
Borgars placed the Platinum Beam 5R Extremes in both the overhead rig and as part of the floor package. “They were able to create a very tight beam which is exactly what I was looking for, especially for the fast-paced songs,” he explains. “The 6 Platinum Beams in the floor package were also used for the slow-paced songs with gobos and slow movements.” The lighting rig for Glassjaw’s O2 Academy Brixton show was supplied by Ian Livie Lighting.
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