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Elation supports Insomniac dance events
Elation and SJ Lighting’s relationship continued last fall on a number of dance events produced by Insomniac Events, including Dreamstate, Escape Psycho Circus and EDC Orlando. Lighting was designed by Steve Lieberman.
Held at the NOS Events Center in San Bernardino, California, Insomniac’s Dreamstate expanded to four stages with new stage designs and enhanced production. SJ Lighting brought the festival’s Dream stage structure to life using 76 Platinum Spot 35 Pro moving heads, eight Colour Chorus 72 LED battens, and 120 Opti Tri 30 compact LED Par lights. On the festival’s Sequence stage, Platinum FLX hybrid moving heads provided beam and spot looks while 24 Opti Tri 30 Par lights kept the truss colored.
Insomniac’s Halloween EDM festival, Escape Psycho Circus, returned for its fifth year at the NOS Events Center and included multiple stages, amusement rides and a UV/black light theme. On the festival’s Slaughterhouse stage, 184 Colour Chorus 72 LED battens were used to line the set’s horizontal LED screens top and bottom.
68 ELED TW Strips and 172 Opti Tri PAR lights provided color for the structure at the Ghoul's Graveyard stage while 40 Platinum Beam 5R moving heads, 24 Protron 3K strobes, 14 SixPar 300 Par color changers, and 60 EPAR Tri Par lights worked the Cannibal's Tea Party stage.
The sixth incarnation of EDC Orlando took place at Tinker Field with Nero, Bassnectar and RL Grime playing the Circuits Ground stage and Jamie Jones and Markus Schulz headlining the Neon Garden stage, both dressed for the occasion with Elation lighting.
The same 360-degree immersive design that was used for the 2016 EDC Vegas Circuit Grounds stage was used at EDC Orlando with 102 Elation Colour Chorus 72 LED battens and 90 Opti Tri PAR color changing Par lights used to highlight the truss design. Over on the Neon Garden stage, the vibes of trance, house and techno were enhanced with color from 61 Elar PAR 108 lights.
(Photos: Adam Kaplan/ASK Media Productions Inc.)
‘Phantom of the Opera’ in Stockholm lit by Robe
The new ‘Phantom of the Opera’ production in Stockholm, Sweden, is utilizing various Robe fixtures, including DL7S and DL4S Profiles and DL4F washes plus Pointes and ColorStrobes (over 50 fixtures in total). The Really Useful Group (RUG) licensed production of the Andrew Lloyd-Webber musical is scheduled to play the 1650 capacity Cirkusteatern arena for a year, for which the Robe lights were specified by associate lighting designer Mike Odam.
Apart from one front truss which accommodates all their general front washes, all the other FOH positions are Robe moving lights that replace multiple booms rigged with standard profiles and an assortment of lenses. Working on Stockholm lighting team with Mike Odam were Andrew Bridge who oversaw the operation, taking it through the previews; assistant LD/production LX Andy Bird and programmer Dave Totaro. The production’s main lighting contractor is Netherlands based Flashlight, with the Robe DL4S Profiles supplied via Copenhagen based rental company Litecom.
(Photos: Matthew Murphy)
Valerio Tiberi chooses Claypaky for ‘West Side Story’ in Milan
The ‘West Side Story’ musical returned to the stage at the Teatro Manzoni in Milan, Italy, utilizing various Claypaky fixtures. The scenery was designed by Cristiano Colombi. Federico Bellone was asked to direct the show: "To set the scene, I decided to focus on two elements: the theme of fear, a feeling shared by all the characters in the two rival groups, the Jets and the Puerto Rican Sharks, and red, the colour that has become a trademark of the musical, along with the five iron fire escape staircases which link the various levels of the scenery." Valerio Tiberi was asked to design the show lighting.
Did the presence of the fire escape staircases and their movements on stage make the lighting design very difficult? There are shadows everywhere.
VALERIO TIBERI: Yes. So I decided to use them. At different times during the show, there are scenes with shadows projected onto the backdrop. In the last scene, one of the most emotionally difficult moments in the show, we decided to turn off the video projection, as it seemed too invasive, too beautiful and too well defined. At that moment, I was able to project the long shadow of the towers onto the black backcloth.
Did you achieve the lighting you were hoping for?
VALERIO TIBERI: I am happy with the overall set-up I gave the lighting design. I preferred to use incandescent lamps and especially side-lighting in the wings. I pointed the whole sequence of lights in various directions with various incident angles, from the ground up to 13 feet up, along the side towers, or vertical trusses. There are eight in total: a sequence of two beam shapers, a B.Eye K10, 4 PAR lamps, another 2 beam shapers, an Alpha Profile 700, and lastly another B.Eye K10 on the top of the truss.
Is there any room in the wings at the Teatro Manzoni?
VALERIO TIBERI: Not a lot, but we placed upright trusses on the right and left of the stage without any problems, in compliance with the distances needed by the moving heads and for the entrances and exits of the actors, dance troupe and props.
Did you need compact lighting fixtures?
VALERIO TIBERI: I managed to install exactly the number of lights I had envisaged in my design. The body of an Alpha Profile 700 is incredibly compact (head length = 455 mm/18 inches). It is about as big as a theatrical PAR lamp.
Valerio, what were you saying about your rig?
VALERIO TIBERI: Because I wanted to pursue my initial idea of communicating through side lighting, which is a useful tool for loading a scene with dramatic tension, like during the clashes between the two opposing gangs, I put very few lights in the overhead rig. Their colour, where they come from, and their angles - mostly on the proscenium and further down the stage - help recount the story through the direction of the light. I used lights that could fill the scene, like the B.Eye K10s: basically lights that could back-light at least three levels, the whole floor and the stage.
How did you deploy the B-Eye K10s in your lighting design?
VALERIO TIBERI: I arranged them symmetrically. Four on the first batten, four on the second, four on the third, and only two B.Eye K10s on the fourth batten. There are also other beam shapers on the overhead rig: a total of six, two on the first batten, two on the second and another two on the fourth. They work as special lighting units during Tony's first meeting with Maria, during the dance scene that follows, when all the couples are on stage, when they project windows inside the bridal shop, on the bed in Maria's room, and when they light the grocery store from the side. There are lights with LED sources above the stage. The side-lighting instead consists of incandescent lamps: PAR lamps, beam shapers and Alpha Profile 700s. The lighting programmer used a GrandMa 2 light desk. Marco Moccia's Leader Sound provided both the sound and lighting systems, and - above all - Marco helped reproduce everything that was part of the original design.
Audified releases TNT Voice Executor
Audified announces availability of one-click processing plug-in for vocals and spoken word: the TNT Voice Executor. “In some situations you have to mix vocals or spoken word very quickly - typically in broadcast operations or video productions. We couldn’t find any plug-in that suited this purpose perfectly, so I had to write one myself,” TNT Recording and Postproduction Studios owner Tomáš Trkal explains. TNT Voice Executor is available to purchase as an iLok-protected plug-in, running as an AAX, VST3, and VST2 plug-in on Mac (OS X 10.9-10.12) and PC (Windows 7, 8, and 10) and AU on Mac.
Singapore Chingay Parade with Robe fixtures
Over 400 Robe moving lights were used for the 45th Singapore Chingay Parade to celebrate Chinese New Year - The Year of the Rooster. Javier Tan designed the lighting for this public event, featuring a cast of 8000, directed by Fan Dong Kai and staged at the F1 Pit Building in the city centre.
The show was organized by the People’s Association (PA). It celebrated the diversity and multi-cultural nature of the nation’s population and was watched live by President Dr. Tony Tan, Prime Minister Lee Hsien Loong, plus assorted political, dignitaries and VIPs together with approximately 200,000 members of the public over two nights. It was also recorded for broadcast.
To help wash the parade route and the six massive grandstands which accommodated 30,000 spectators, Javier Tan specified 216 x BMFL Blades, 56 x BMFL WashBeams and 112 x Robe ColorStrobes. The ColorStrobes were used as wash lights to cover the show and audience areas. Additional wash lighting was provided by 56 x Robe LEDWash 600s, with all the event’s lighting and audio kit supplied by Singapore rental company, CSP Productions Pte Ltd.
The lights were rigged on a series of gantries and towers erected along the backs of the seating grandstands on both sides, arranged in layers. The BMFL Blades were on the middle levels with the WashBeams on the tops of the towers. The BMFL Blades created some aerial and beam effects. They textured the floor, a raised runway along one side and a waterway running the full 360 metres down the other.
The ColorStrobes were positioned on the upper gantry rail, where they could immerse the entire crowd and performance area with colours and effects. On Tan’s recommendation, CSP Productions purchased another 80 ColorStrobes which joined the 40 already in their inventory, especially for this project.
Four lighting consoles were used to run the show lighting, which also included some other moving and LED lights plus 40 fog machines. Tan worked with his regular team of programmers, Clement Cheong and Joyce Goh. Chingay 2017 Singapore’s technical director was Yong Fa. CSP's lighting crew chief on site was Colin Foo, supported by technical managers Alan Lee and Pete Win Tin.
With the creation of a new division dedicated to the Deva multimedia system, Powersoft has replaced Karl Kahlau with Håkan Sjöö. Swedish-born Sjöö takes on the role of Regional Sales Account Manager, EMENA - including India, the Nordic countries and German speaking territories - with special focus on rack-mount amplification. Håkan Sjöö brings industry knowledge from the extensive time spent in different roles with Renkus Heinz, for whom he was latterly EMEA Regional Sales Manager.
Elation fixtures installed at Camberley Theatre
Camberley Theatre, a performance venue in Camberley Surrey southwest of London, has undergone extensive refurbishment, including significant additions to its in-house lighting. A new installation of Elation Professional fixtures, supplied by Yes Events Ltd, provides flexibility for this multipurpose community space.
The 408-seat theatre has replaced its house lights with the Colour Pendant LED downlight. Also, sixteen SixPar 200 LED Par units were installed as part of the standard venue rig. Platinum Spot 5R Pro fixtures fulfil moving spot duties at Camberley.
Yes Events Ltd also supplied a significant amount of Elation fixtures for Camberley Theatre’s 2016 pantomime “Cinderella” in December, which featured Platinum Spot 15R Pro and SixPar 200 fixtures along with the Fuze Wash Z350.
Claypaky equips AIDA Prima
The AIDA Prima, the latest addition to the AIDA Cruises fleet, was christened in Hamburg on 7 May 2016. The ship has many attractions, like the Beach Club with Caribbean feel for 365 days a year, and the Four Elements area with water slides and climbing walls. The choice of lights on board the AIDA Prima fell on Claypaky and Lightpower.
The lighting rig includes Claypaky Alpha Profile 800 STs, as well as other MA Lighting products: a GrandMA2 full-size desk, two GrandMA2 light consoles, two GrandMA2 replay units, and one MA Network Processing Unit (NPU).
(Photos: AIDA Cruises)
Frank Schotman (also known as “The Tank”) has joined Elation Professional’s European sales team as a technical sales representative and product specialist. He is a well-known face in the lighting industry with over 25 years of experience under his belt. He came to Elation from a position as Senior Product Specialist at the AED Group, where he supported High End Systems Inc.’s Hog4 family.
Schotman also worked for Eclipse Staging Services in Dubai as Head of Lighting and is a specialist in automated fixtures. He brings with him a wealth of front line experience from major tours and productions of all types. Highlights include support for the 2006 Winter Olympics in Turin, as well as support work on tours by Prodigy, Eric Clapton, Faithless, Iron Maiden and One Direction, as well as Coldplay’s “A Head Full of Dreams” tour.
Frank Schotman started with Elation’s European sales team on December 1st and is based at the Elation European headquarter office in Kerkrade, The Netherlands.
Maestra Dubai supplies technical production to ‘Groove on The Grass’
Maestra Dubai supplied technical production - lighting, audio, video, staging, rigging, special FX and power distribution - to the 2016-17 series of ‘Groove on The Grass’ dance events. Now in its fifth edition, the five events for this season were produced by the Artists Network and staged at the Emirates Golf Club, Dubai, each enjoyed by around 5000 dance music fans.
Maestra’s crew had to be quick on both the in and the out for the ‘Groove’ events - a process that started a day in advance of the show with the erection of a 20 metre wide ground supported stage and decking system to which lighting, video, PA towers and a complete sound system were added. This was set up below a saddlespan tent structure from Wicked. This was completed in 24 hours, and lighting and video was programmed and ready to go for sound-checks the next day and then kick-off at sundown.
The lighting design was based on an overall generic event production design which could then be modified and adapted to suit any specials and specifics as required by headlining artists. The standard design incorporated 40 moving lights - a mix of Claypaky and Martin - plus 20 x Showtec Sunstrips, 24 x Atomic strobes and 12 x 4 and 8-lite blinders. All of these were run through a ChamSys MQ100 lighting console, operated by Geno Welburn.
For the third event, seven separate LED screen surfaces - all made up from Maestra’s 10 mm outdoor LED - were arranged in a semi-circle of columns upstage which was a break from the ‘traditional’ slab of LED at the back. The curvature also added an architectural aspect to the performance space.
The visual content was supplied by the artists and DJs and their VJs who hooked into the Maestra system via their own playback control or media servers, a method that enabled everyone to run their own bespoke content. When it came to specifying audio, an L-Acoustics Kara system, complete with SB28 subs, was installed in co-operation with Andy Jackson and his crew from Delta Sound. This was supplied together with a Yamaha LS9 console, plus all the various DJ kit specified on the individual artist riders.
For the second stage, which is a tented arena, lighting comprised 12 moving heads and a collection of DMX-controllable mock-neon LED tubes, which were installed as a kinetic light backdrop, along with a smaller Kara sound system. Maestra had about 30 crew on site including Delta engineers and locals.
Ayrton NandoBeam-S3 fixtures used for panto show in Welwyn
A traditional Christmas pantomime is a staple of the British festive period. “Over the Christmas period we were hired to manage and provide the lighting for a production of Dick Whittington at the Hawthorne Theatre in Welwyn,” says Leigh Mulpeter, owner of the lighting design company Little Leigh.
Mulpeter decided to use his new Ayrton NandoBeam-S3 fixtures for the show. “The venue was quite small in relation to the size of the set, which made the setup a rather time-consuming affair,” he explains. “During the show I used the NandoBeams for a variety of purposes. Primarily, we used them to light set pieces as well as adding colour to scenes and to highlight actors.”
(Photos: Mark Bryan/A2Zoom Photography/Little Leigh Lighting)
Pro3 invests in Robe
Pro3, a lighting design collective based in Mexico City, invested in a quantity of lighting equipment, including 36 x Robe Pointes together with some other fixtures and effects, all stored in a warehouse in Iztapalapa. Their Robe fixtures are out constantly on their own projects, including a recent tour with OV7 y Kabah, two youth groups who joined forces to complete a 24-date tour of Mexican auditoriums, followed by shows in the US. They also specified Pointes for Mexican rockers Molotov who have been in Europe with a Pro3 stage and lighting design, and their own fixtures have also recently been out with girlband Jeans back in Mexico.
Photos show Osvaldo “Chicho” Giuliano, one of three partners in Pro3.
ALD bestows Showlight bursaries
Showlight 2017, the quadrennial lighting symposium, this year hosted in Florence, Italy, is approaching. To ensure plenty of time for bookings to be made, the ALD has bestowed bursaries upon three of its professional members. The bursaries, awarded to Ric Mountjoy, Sherry Coenen and Sandy McRobbie, contribute to the costs of attending the event, such as registration, travel and accommodation and encourage those lighting practitioners to attend, who may not otherwise be able to take time out from a busy schedule.
Supporting its members for the fourth time in this way, entries for the Showlight Bursary Scheme were judged by members of the executive committee and assessed on the applicants’ reasons for attendance as well as how they intend to report on the event for ‘Focus’, the ALD membership magazine.
Collective Works launched
Collective Works is a new creative visual design practice launched by three live event production industry professionals - Christopher Bolton, Joshua Cutts and Bradley Hilton. All are known for their work in South Africa and across the African continent.
Bringing the energy and vibrancy of the region to an international marketplace, the trio specialise in the disciplines of lighting, video and set/scenic design and digital content production. They have known one another and worked together in different capacities for some time, designing and delivering a variety of music shows, live events, theatrical and TV productions.
Collective Works offers clients an approach to live show and event design - whatever the genre, scenario, size and budget of the project. From the raw material of fresh ideas, to the complex modelling of 3D and virtual simulations, to the equipment specification and co-ordination, client liaison, lighting and video programming delivery and execution on site, Collective Works will provide a complete creative service.
Smartec invests in Yamaha digital mixing system
Swiss live production company Smartec Veranstaltungstechnik AG took delivery of two Yamaha Rivage PM10 systems in late 2016. Smartec has used Yamaha digital consoles for over ten years, investing in its first M7CL-48 in 2006. Since then it has expanded its inventory over time to include more M7CLs, as well as LS9s, 01V96s, PM5Ds and multiple CL series consoles.
Gesher Theatre chooses Robe
Israel’s Gesher Theatre has recently taking delivery of new Robe BMFL Blades and LEDWash 600s to add to their existing LEDWash 1200s. The new moving lighting rig was supplied by Danor Theatre & Studio Systems, Robe’s Israeli distributor, and was specified by lighting designer Bambi (Avi Yona Bueno).
In addition to dramas, the theatre in the southern Tel Aviv suburb of Jaffa also stages concerts and music shows, so the new lights needed to be multi-functional. The purchase also included other LED lights and an L-Acoustics Kara sound system.
Photo shows Gesher technical director Maxim Rosenburg (on the left) with technical manager Sergey Novitsky.
‘Simon Boccanegra’ lit by Claypaky
The three-act melodrama ‘Simon Boccanegra’ was staged at the Bolshoi Theatre, which is fitted with a number of Claypaky lights, and broadcast live on a large screen in front of the theatre itself. This Verdi opera rounded off the La Scala summer tour in Moscow.
Marco Filibeck, lighting director and designer at La Scala in Milan, Italy, designed the lighting for the 2010 and 2016 editions of ‘Simon Boccanegra’ and chose the lighting designer Valerio Tiberi to illuminate the opera in Moscow.
What does it mean to take over a show that already has a lighting design? “It is a different job to designing the lighting from scratch,” Marco Filibeck explains. “In this case, the lighting designer has the task of reproducing a lighting design that has already been seen. With all the constraints that need complying with, this task requires great technical and other skills. This is precisely what skill and ability should be. Valerio and I held a preparatory meeting here at La Scala to get a common visual reference, so he would manage to recreate the same visual images in different circumstances, even with a different set of lights.”
Filibeck's lighting design for the opera staged in Milan was adapted technically considering the Claypaky lights found at the Bolshoi Theatre: the Alpha Wash Halo 1200s, Alpha Profile 1200s, Alpha Wash 1200s, and A.Leda Wash K20s. What freedom does the new lighting designer have away from the man who created the original design? “Whoever takes over the lighting design of a show aims to recreate the original faithfully,” says Filibeck. “Obviously, in this task, there is a whole host of adjustments you can make, as long as you do not lose the original intent and general approach. Nothing must be radically altered.”
Valerio Tiberi had to adopt the fixed rig at the Bolshoi instead of the one at La Scala, add the lights the theatre has not got, and lastly add the Claypaky lights the theatre has not got. He then had to reproduce the same lighting effects with different fixtures, check their colour parameters and correct them. He had to check the light intensity, and reproduce the beam angle of each light and the quality of the shadows.
Filibeck: “There is scope for freedom, and it lies in using great technical skills. Within this task, Valerio may make choices and decide on alternatives when a given effect cannot be reproduced in exactly the same way. However the alternatives you choose must be aimed at getting as close to achieving the original effect as possible.”
The Alpha Wash Halo 1200s were used instead of the PCs and Fresnels with L200 gels used at La Scala. They were rigged as side-lighting on the side trusses, 13 foot off the ground, and on the first lighting bridge in the choral scene. The Alpha Wash 1200s replaced the back-lighting (scenery, characters and chorus). The Alpha Profile 1200s reproduced the cool shades typical of high pressure HMI lamps. The A.leda Wash K20s did not replace lights included in the original design. They were used as accent and compensation lights in the choral scenes.
Does a person who reproduces a show have a particular visual talent? Do they have the original show documentation? “The documents contain the technical data needed for a general idea of the original lighting design. However, in this case, it was not possible to simply copy the rig design across and match the lights with each other (light number 1 in the drawing with light number 1 in the theatre, etc.). The whole show needed reprogramming from scratch because the lighting desks were different and the lights were different. The rigs were very different to each other.
“But with a different rig, it is possible to reproduce a lighting design that is identical to the original. To do it, you need a visual memory, talented operators, and the specific technical documentation. Videos of the show are equally important. Besides showing the movements and transitions, they convey impressions of the original atmospheres.”
(Photos: Brescia e Amisano)
Arkaos MediaMaster Pro supports Green Day’s ‘American Idiot’
The University of Cincinnati’s College-Conservatory of Music (CCM) chose Arkaos MediaMaster Pro to drive the visual content for its production of Green Day's ‘American Idiot’. The Arkaos software was supplied by IED, whose Principal Partner, Jeffrey Brown, is also adjunct instructor for Theater/Event Media and Video at CCM.
Brown built three media servers specifically to take advantage of the MediaMaster software. “Aubrey Berg, the director for Green Day's ‘American Idiot’, had certain desires for this production, most notably using a large number of outputs,” he says.
The three custom-built media servers were placed inside on-stage scenic pieces and at front-of-house to send visuals to twenty televisions on stage and to projectors rigged over the audience. The servers had a total of fourteen outputs, and the media management was handled by networking a laptop into the servers using the same Ethernet system that carried ArtNet control signals. The whole media setup was programmed and operated on a Chamsys MQ60 control console.
The visual elements were programmed and operated by Pauline Humbert who used the Video Mapper application as a software matrix switch. Humbert used MediaMaster's Fixture mode to deal with sending video and images to numerous different destinations in rapid succession. The media was a collection of stock imagery and bespoke content which was edited by a team that included CCM Stage Design students Aaron Bridgman, Katelyn Budke, Whitney Glover, Matthew Hamel, and Olivia Leigh.
MediaMaster's ability to send out audio signal proved a time saver. Cues that needed audio to run in sync with the visuals on stage did not need numerous rehearsals to ensure timing. The audio played from the media servers and was mixed as another source by the audio engineer.
(Photo: Sam Igel II)
Painting with Light design lighting for Belgian theme park’s latest attraction
‘Heidi The Ride’ is a new 71 km/h wooden roller coaster due to open April 1st 2017 in Heidiland, a new area at the Plopsaland De Panne theme park in Belgium. ‘Heidi The Ride’ - themed after the ‘Heidi’ TV show produced by Studio 100, who own the park - is a new 6 million euro investment built by Great Coasters International. She soars up to 22 metres high with a track of 618 metres.
Painting with Light was invited to light this structure. The concept involved highlighting the detail of the structure as well as giving Heidi an iconic overall appearance. “The shape immediately evoked a range of different lighting treatments,” says Painting with Light’s Luc Peumans.
The fixtures needed to be IP rated for outdoor use and accessible for maintenance. After research and testing, Peumans created a lighting scheme which involves three layers - internal (inside), external with a selection of fixtures grazing up the sides of the structure, and thirdly some oblique lights to illuminate the drama of the ramps.
Heidi’s commanding position at the end of the park also demanded that she had a beacon-like appearance for all - both park visitors and passers-by - to see at night. Peumans and the team decided on Chauvet’s Iluminarc architectural range.
The 74 x fixtures are a combination of the Colorist Pod 7QAs, Colorist Panel 8QAs and 36QAs and Colorist Line 12QAs and 6QAs. Most of the lights are positioned on the ground, embedded into or rigged on concrete blocks. The lighting installation was completed by electrical contractors Delimo and the exact positioning was overseen by Painting with Light’s crew who then focused, fine-tuned, commissioned and programmed an initial series of looks and effects. They received support from Chauvet’s Benelux operation in Ghent.
‘Blankety Blank’ features LED Starcloth from S+H
S+H Technical Support supplied a large quantity of its LED Starcloth to be used as a complete wrap around the stage and audience seating for a one-off Christmas Special of the 1980’s comedy games show ‘Blankety Blank’, which was hosted by David Walliams and broadcast by ITV on Christmas Eve.
The show was recorded in Studio 1 of London Studios in Waterloo, central London in front of a live audience of 400, with a set design by Joshua Grace who specified the starcloth. The starcloth was controlled via the lighting console under the direction of LD Chris Kempton. S+H sent a crew to rig the cloth.
Over 600 Robe fixtures supplied for RAI Amsterdam event
Seven halls of Amsterdam’s RAI expo centre hosted an annual two day event for a brand. The technical production - lighting, audio, video, rigging and special FX - for all areas was delivered by Breda-based Unlimited Productions B.V., who sourced over 600 Robe moving lights for the occasion. Several lighting designers were involved, working under the supervision of Unlimited Productions across the different areas with their own Bert Kelchtermans designing the general plenary session in Hall 8 for 7000 people.
Michel Suk lit the three food halls and two smaller presentation spaces, while André Beekmans from The Art of Light and dance music LD Ronnie Santegoeds from 4Light worked on making the party area a visual experience. Event agency MCI Amsterdam was responsible for the concept of the food lounges and party area.
The overall show look for the general session this year was created by Bart Roelen and Mark van Loenhout from Unlimited Productions together with event and creative producers Claartje Bakker, Marcello Houtman, Fiona Konijnenburg, and Tim Agter.
A 60 metre central stage was constructed in the middle of the room with audience on all sides. The client also requested that the multi-camera live shoot should be able to get crowd shots from every angle, so in addition to the show/stage lighting, Kelchtermans made sure that the audience and the complete area were well lit.
A network of trusses was installed in the roof on which over 350 Robes were installed - a combination of Spiiders, Spikies, BMFL Spots and WashBeams, DL7S Profiles, Pointes, LED Beam 1000s and LEDWash 300s. Above the stage, nine ‘blocks’ were flown to bring some architecture into the space. Four of these were two-sided projection cubes, complemented by the other five which introduced a set/décor vibe that was also practical in that they concealed subs, PA amplifier positions and other technical infrastructure that needed to be kept out of sight.
Under each of these five ‘deco’ blocks, eight Robe Spiider LED wash-beam fixtures were rigged, selected as an LED wash with a small footprint, needed due to the limited height and space available for rigging any lights. They also worked as extra front key lighting on presenters. A total of 48 Spiiders were used, 40 on the deco cubes and eight more for backlight on a DJ playing on day 1 and an orchestra on day 2.
The 24 x BMFL Spots were rigged on a truss in the centre of the four video screen cubes, above the stage, positioned so most of the unit was concealed, with only the lenses poking out of the bottom of the cube. Twenty-four BMFL WashBeams were hung on the main grid above the video screens/deco cubes. The 16 x LEDBeam 1000s were positioned adjacent to the BMFL WashBeams and used for augmenting the aerial effects. They were also used as LED strobes above the crowd.
Sixteen of the 28 x DL7S profiles on the rig were used as moving front lights and specials, with eight on the stage deck for floor specials. Above the audience stretching right across the arena was a matrix of 126 smaller deco cubes. Kelchtermans created a 48-Pointe matrix either side of stage (96 Pointes in total). The 96 x LEDWash 300s were dotted around the ceiling above the audience to add a general colour fill.
All of the lights in the general session were controlled by 2 GrandMA2 consoles which were programmed and operated by Serge Patist (Lighting Director) and Thomas de Vries (Operator) from Live Legends. For the Party Area in Hall 12 André Beekmans and Ronnie Santegoeds specified 198 x Pointes and 20 x LEDWash 800s, which were operated by Beekmans himself and Micky Dordregter.
The three food courts and two smaller presentation areas, which both also featured small entertainment stages, were lit with 17 Pointes, 9 x LEDWash 300s, 18 x CycFX 8s and 12 DL7S Profiles. The Robe kit was supplied by a combination of two main rental companies, Ampco Flashlight Rental from Utrecht and Rent-All from Bemmel. Ampco had recently invested in Spiiders and some of these arrived on site straight from the Robe factory in the Czech Republic.
(Photos: Bart Heemskerk)
‘The Commitments’ on tour with MDG Atmosphere APS haze generators
Following a two-year run in London’s West End, ‘The Commitments’, directed by Caroline Jay Ranger, has taken to the road for the first time, carrying with it an MDG Atmosphere APS haze generator. The 8-month tour takes in 26 venues across the UK and, for the first time ever, travels to its ‘home’ town of Dublin. The haze generator was specified by lighting designer Jon Clark, and it’s controlled directly, via DMX, from the ETC Eos desk. A second Atmosphere APS is toured as a contingency.
“For our CO2 requirements we have worked closely with Gassed Up (on recommendation from MDG UK’s Matt Wiseman) who supplied us with the ideal sized bottles at all the dates and locations on our tour schedule,” says Jon Clark. The MDG Atmosphere APS and fluids were supplied by the tour’s lighting supplier, White Light.
(Photos: Maidwell Marketing)
Deakin University’s Rusden Theatre equipped with Powersoft X8 amplifiers
Melbourne’s Deakin University recently carried out a $250K upgrade to its busiest and largest lecture theatre, The Rusden Theatre. InSight Systems, who have provided the University with AV solutions for several years, were brought in, and working alongside Neil Clarke, the University’s AV & Networks Unit Leader, and the facility’s eSolutions team, their project team fast tracked the work through the school holidays to complete the AV integration in the 670-seat auditorium on time.
The goal was to provide an installation that could be operated by staff, and as such would require the minimum of technical support. Aside from improving the presentation space and communication with students, they provided intuitive control interface, automated camera system, video conferencing, programmable lighting and flexible connectivity.
The installation also features a sound system with a pair of Powersoft’s new X8 amplifiers driving an EAW KF720 line source, along with two SB180zP 12” subs mounted within the screen wall and delays at the rear. This was initially recommended by Ben Clarke, Technical Support Manager at equipment suppliers Production Audio Video Technology (PAVT), and adopted by staff at Deakin.
With Arup acting as acoustic consultants, once the line source option had been preferred to a point source solution, the line array hangs were suspended out wide close to the side walls and trimmed high so as not to obscure sightlines and interfere with the projection video. The placement required Arup to treat the first reflection with acoustic panelling.
“This was critical in eliminating the traditional problem with this concept - heavy comb filtering due to heavy reflections from walls right next to line arrays,” says Clarke. The addition of the JF10 delays obviated the need to throw so much energy into the room while small-format Ecler speakers helped draw the image down to the front rows.
(Photos: AV Asia Pacific)
DAS Audio sound system installed at Rumba Room Live
Located in the Gardenwalk shopping and entertainment district adjacent to the Disneyland Resort, the Rumba Room Live is one of the area’s newest nightclubs. Featuring two full bars, a coat check, a dance floor, several VIP sections, a stage for live bands, a DJ booth, and a smoking patio to name just a few of the amenities, the Rumba Room Live can host a variety of events with a capacity of 900 patrons. For the new sound reinforcement system an assortment of loudspeakers drawn from the Event, Artec, and Action Series catalogs of Valencia, Spain-based DAS Audio were deployed.
Props AV, LLC of Beaumont, CA, an AV design/build firm that also has a live events production division, was contracted to design and install the system. Using line arrays, sub bass enclosures, point source loudspeakers, plus power amplification and DSP - all from DAS Audio - the new setup was installed during the 4th quarter of 2016 and was ready for action when the club opened its doors in early December.
Suspended over the stage area, Michael Betancourt (DAS Audio’s General Manager and System Designer) and his crew flew a total of ten DAS Event 208A powered 3-way line array enclosures, with five elements each for the left and right hangs. For low frequency support, there are four Event 218A powered subwoofers, which reside under the stage. For stage monitor purposes, the setup includes eight DAS Action-12A powered loudspeakers as well as an Action-15A powered enclosure. Additionally, the setup provides an additional two Action-12A enclosures that serve as the DJ’s monitor setup.
There are eight additional zones which are outfitted with a total of fourteen DAS Artec 508 2-way, passive loudspeakers. These zones include the lobby, six VIP areas, the bar, and a walkway area. Power amplification for these loudspeakers is provided by five DAS Audio D Series amplifiers. Rounding out the setup, Betancourt and his team utilized two DAS Audio DSP-4080 stereo/mono DSP units for loudspeaker management.
Tom Kenny uses Elation ACL 360 Matrix in MTV EMA set
Tom Kenny was the lighting designer for the MTV Europe Music Awards 2016, held on November 6th at the Ahoy Rotterdam Arena in The Netherlands. Kenny had an artful set to light designed by Julio Himende. Included in the correspondingly large visual package was Elation Professional ACL 360 Matrix LED moving head panels, which Kenny employed throughout the show.
“We had 24 ACL 360 Matrix lamps and we spread them around and behind some structures within the set,” he says, for example as scenic behind the elevator for Afrojack’s performance. “I needed a very powerful fixture as a major backlight gag. The spinning/rotation with shapeshifting LED chases gave us a very futuristic look.” For this year’s MTV EMAs some effects were pixel mapped into the fixtures by programmers Alex Passmore and Jonathan Rouse. The ACL 360 Matrix panels were supplied for the show by PRG.
(Photo: Getty Images)