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Corona: Electro-Voice und Dynacord beschallen „Edeka Einkaufswagen-Festival“
Mit einem innovativen Veranstaltungskonzept hat Badensound Veranstaltungstechnik ein Festival ins Leben gerufen, das die vorhandene Infrastruktur nutzt und zugleich den regionalen Covid-19-Bestimmungen gerecht wird.
Das Konzept resultierte aus einer Kooperation mit der Edeka Südwest Supermarktkette und ermöglichte die Realisierung des „Edeka Einkaufswagen-Festivals“. Bei der mehrtägigen Veranstaltung, die vom 31. August bis zum 5. September 2020 in Offenburg stattfand, traten Künstler wie Michael Schulte, Christina Stürmer, Glasperlenspiel oder Laith Al-Deen auf dem Parkplatz eines Edeka-Supermarkts vor 500 Personen auf - der Höchstzahl, die für große Versammlungen zulässig war.
Zur Einhaltung der Covid-19-Bestimmungen wurden unter anderem Einkaufswägen als Hilfsmittel zur Einhaltung der Abstandsregeln verwendet. Auf der technischen Seite nutzte Badensound die Veranstaltung für die Premiere der neuen MXE5 Matrix Mix Engine von Dynacord.
Für den Festivalsound setzte Badensound ein Electro-Voice-X2-Line-Array als Main-PA ein. Das System bestand aus zwei Hangs mit jeweils zwölf X2-212-Elementen pro Seite und wurde im Tieftonbereich von sechzehn X12-128-Subwoofern unterstützt. Zwölf Electro-Voice-MFX-Multifunktionslautsprecher wurden als Stage-Fills und Bühnenmonitore eingesetzt, ergänzt durch Dynacord-V17-Subwoofer und Cobra-Lautsprecher als Drum-Fills. Near- und Out-Fills bestanden aus weiteren 24 Electro-Voice-XLE-Kompakt-Line-Array-Elementen.
Ein Dutzend Dynacord-TGX-20-Vierkanal- und drei IPX-10:8-Achtkanal-Verstärker lieferten insgesamt 270 kW an Leistung. Als Systemkopf fungierte die neue Matrix-Mix-Engine MXE5 von Dynacord. Die gesamte Elektronik hat die Omneo-IP-Architektur integriert, die Dante Audio ermöglicht. Systemeinrichtung, -Tuning und -Überwachung wurden mit Hilfe der Sonicue-Sound-System-Software von Dynacord übernommen.
Corona: Satis&fy setzt digitale Landesmitgliederversammlung von Bündnis 90/Die Grünen um
Erstmalig wurde eine Landesmitgliederversammlung (LMV) der hessischen Grünen digital ausgerichtet. Diese fand am 24. Oktober 2020 im Livestreaming-Studio beim Karbener Event-Dienstleister Satis&fy statt. Vierzehn Mitarbeiter von Satis&fy richteten auf der Dögelmühle, dem Firmensitz des Unternehmens, zwei temporäre Studios für die LMV her und bauten im Lager eine Senderegie auf. Mehr als 700 Parteimitglieder verfolgten über sieben Stunden die Veranstaltung.
„Die Geschäftsstelle der Grünen in Wiesbaden ist vor circa sechs Monaten mit der Aufgabenstellung der Konzeptionierung einer voll-digitalisierten Landesmitgliederveranstaltung an uns herangetreten“, berichtet Satis&fy-Projektleiter Niklas Hommel. Man habe ein Veranstaltungskonzept entworfen, das auf Zustimmung stieß. „Für uns war ausschlaggebend, dass wir die Veranstaltung regional in Hessen und möglichst klimaneutral umsetzen konnten. Diese Anforderungen wurden in Karben gut erfüllt“, sagt Bärbel Hartmann, Geschäftsführerin der Hessischen Grünen. „Die Räumlichkeiten, das technische Equipment sowie das Mietmobiliar lagern vor Ort. So entstanden keine Transportfahrten. Der Energiebezug war hier bereits bei 100% Ökostrom, und das Catering wurde regional von Satis&fy organisiert.“
Techniker für Ton, Grafik, Bildmischung und das Livestreaming arbeiteten aus dem Lager heraus. Bereits im Vorfeld mussten diverse Abläufe geklärt werden, „beispielsweise, wie die Mitglieder Fragen ans Präsidium stellen können und wie die Live-Zuschaltungen erfolgen“, so Hommel. „Bei einer Präsenzveranstaltung steht das Mitglied einfach auf und wird per Handzeichen aufgefordert, zu sprechen. Diese Möglichkeit muss bei einer digitalen Lösung über das verwendete Konferenztool abgebildet werden.“
Man habe im Fall der Grünen mit der Webplattform der ebenfalls in Karben ansässigen Firma Go.Control gearbeitet und diese an die Ansprüche der Partei angepasst. So konnten die Parteimitglieder vor den heimischen Bildschirmen über einen Video-Chat mit Mitarbeitern vor Ort Einwände kommunizieren oder Fragen zu den Tagungsordnungspunkten stellen. Nach inhaltlicher Prüfung wurden die Fragestellenden durch die Regie nacheinander live ins Studio geschaltet. Insgesamt dreißig Live-Schaltungen wurden so über den Tag realisiert. Ähnlich komplex gestaltete sich für die Karbener Technik-Crew auch die Vorbereitung der verschiedenen rechtssicheren Abstimmungen der Hauptanträge, die dem Präsidium vorgelegt wurden.
Für die virtuelle Alternative des LVM wurden zwei Inhouse-Studiosettings aufgebaut. Im größeren Studio tagte das Präsidium, im kleineren sprachen die Akteure vor einer Kamerakulisse. Insgesamt kamen drei Live-Kameras und ein Kamerakran mit Face-Tracking-Funktion zum Einsatz. Um alle Beteiligten sicher durch die digitale LVM zu führen, wurde am Vorabend eine Generalprobe durchgeführt. „Wir haben den Referenten den korrekten und sicheren Umgang vor der Kamera gezeigt“, so der Karbener Projektleiter.
(Fotos: Anna Imm Photography)
311-Jubiläum mit Bars und Hybrid-Strobes von GLP
Anstelle des traditionell eintägigen „311 Day“, der jedes Jahr am 11. März im Park Theatre in Las Vegas (Park MGM) stattfindet, feierte die Rockband 311 in diesem Jahr an drei aufeinanderfolgenden Abenden ihr dreißigjähriges Bestehen. Hierfür entwarf der in Kentucky ansässige Produktionsdesigner Bobby Grey ein Rigg unter Verwendung einer Fülle von GLP X4 Bar 10 und 20 sowie JDC1-Hybrid-Strobes, die im Full-Pixel-Mode liefen.
Musikalisch und visuell entschied sich die Band für ein Weltraum-/UFO-Thema. „Beim Walk-In hatten wir das gesamte Rigg verborgen und absolut keine Backline auf der Bühne“, erklärt Bobby Grey, der zunächst als Associate Designer bei der Sightline Design Group tätig war, bevor er im Januar 2020 seine eigene Firma Notan Creative gründete. „Wir versteckten sogar die seitlichen Traversen hinter Vorhängen. Es fühlte sich an, als würde man ein leeres Venue betreten.“
Das Hauslicht wurde ausgeschaltet und die Bühne mit Bodennebel geflutet. Über die ganze Show hinweg kamen psychedelische Effekte und Weltraum-Visualisierungen zum Einsatz. Mit einzelnen Cryo-Blasts wurden schließlich Schritt für Schritt die Pods enthüllt. „Als ich diese Pods erstmalig konzipierte, war sofort klar, dass sie mit X4 Bar 10 und 20 ausgekleidet werden mussten“, sagt Grey. „Die Bars konnten mit ganz engem Zoom gerade nach unten zeigen, sodass wir reine Lichtvorhänge erhielten. Oder ich konnte sie weit aufzoomen und in der Kamera ein Strahlen erzeugen, das die Pods so aussehen ließ, als ginge von ihnen ein Warp-Antrieb oder Energiefeld aus. Das war ein Schlüsselelement des Designs.“
Die JDC1-Hybrid-Strobes unterstützten ebenfalls das übergreifende Weltraum-Thema. „Nur wenige Songs eignen sich für Stroboskope. Aber hätten sie gänzlich gefehlt, wäre das definitiv aufgefallen“, so Grey. „Wenn die JDC1 gerade nicht benutzt wurden, um Augäpfel zu verbrennen, funktionierten sie als LED-Wash-Effekte. Der Tilt erlaubt es zudem, sie gerade nach unten zu richten. Oder ich richtete sie auf das Publikum und spielte mit den Pixeln, um die Form der Pods aufzubrechen.“
Neben Bobby Grey und seinem Team sowie der Hauscrew und Regisseur/Operator Alex Parayuelos waren unter anderem auch die Firmen PRG und Strictly Effects in die 311-Jubiläumsshows involviert. Das Material wurde von Felix Lighting aus Los Angeles geliefert.
New York City Lites turns to Elation for “Illuminance” on Bannerman Island
Some of the only ticketed live concerts in New York State in recent months took place September 30-October 4 on Bannerman Island, a seven-acre isle that lies in the middle of the Hudson River fifty miles north of New York City. “Illuminance”, a fundraising concert by the Daisy Jopling Band, received special permission from the State of New York to hold five nights of open-air concerts amid the natural surroundings and the ruins of Bannerman Castle.
“Illuminance”featured performances by the Daisy Jopling Band, Michael Feigenbaum, Sal Lagonia, and local youth musicians with proceeds benefiting the Daisy Jopling Music Mentorship Foundation and the Bannerman Castle Trust. Five days of sold out shows, two shows per day with twenty guests per show, were lit by New York City Lites using a lighting package of Elation Professional IP-rated luminaires.
Deke Hazirjian and Jimmy Lawlor of New York City Lites served as lighting designer and associate lighting designer respectively on the project. Hazirjian, President and Senior Lighting Designer at the company, was approached by the Bannerman Castle Trust to light the concert series.
Proteus series luminaires chosen for the project included Proteus Hybrid, Proteus Beam and Proteus Rayzor 760 moving heads, along with IP65-rated Fuze PAR Z120 IP LED Par lights. All of the Elation gear was provided by BML-Blackbird except the Rayzor 760s, which came direct from Elation.
The lighting system was used to illuminate three areas: the Bannerman Castle, a ruin on the north side of the island that once served as a military surplus warehouse; the castle residence (now a museum) that lies higher up on the island; and the performance stage itself with five-piece band and lead violinist. The original thought was to hold the concerts at the Bannerman Castle but after a site survey, the decision was made to move the event closer to the residence and use it as a backdrop.
All gear was transported by barge, unloaded and hauled to the castle and residence sites through a forest and up a crumbling stone staircase. The power issue was solved by crane-loading a generator onto the barge and tugging it down the Hudson to the island. After lights, trussing and cabling were unloaded, the barge with generator sailed to a different part of the island and could only dock at high tide.
The castle ruins, because of the distance away from the stage, was its own autonomous system of lights completely separate from the residence and stage system. Here, working with LED strobe wash units and LED pars, Proteus Hybrid IP-rated arc source fixtures textured the broken down facade while highlighting the “Bannerman's Island Arsenal” legend on one side of the ruin.
Up at the residence site that played backdrop to the shows, Proteus Hybrids were used as followspots and key light for the performances with several units positioned behind the stage for air effects behind the band. “Behind the stage where it falls off into a multistep garden we placed a truss on the ground that held Proteus Hybrids”, Lawlor says. “We lit some of the trees with static pars and then added some movement with the Hybrids.”
Lawlor says that the original idea was to do more air architecture with Proteus Hybrids but as they adapted to conditions at the site they realized they needed to use them to light performers so they became their followspots and main backlight idea behind the stage. IP-rated Proteus Beam arc source fixtures handled those air architecture looks.
With nine cameras on Bannerman Island, two of which were drones, filming the Daisy Jopling shows for a later film release, the video audience was just as important as the live event. Proteus Rayzor 760s, a compact IP65-rated LED wash luminaire, played a key role in both the live and on-camera looks. Used for side and front washes onto the band, they also bathed the residence in complementary color, the main backdrop for the band.
Fuze PAR Z120 IP fixtures, single source LED wash lights mounted on the residence roof, provided backlight for each individual musician. Lawlor says, “That way we could do something over the stage with the Proteus Hybrid and then pop the musicians with the Fuze Pars.”
Assistant LD on site was Christopher Annas-Lee. Brad Kaplan was the Production Electrician/Gaffer, Ryan Phillips was the Moving Light Programmer. The Daisy Jopling Band “Illuminance” film from Bannerman Island will premiere November 13-15.
Corona: Chauvet fixtures used for “Firehouse Ignites” fundraising livestream
Normally, the intimate theatre at the Firehouse Center in Derry, New Hampshire, hosts a wide variety of performances. Sometimes, stars like Howie Day and Tom Rush drop in to support the nonprofit with benefit shows.
Since the arrival of Covid-19, however, the stage at this 191-seat venue has fallen largely silent. The absence of shows has not only cut off a vital source of funds for the center’s programs, it‘s also deprived the talented young people that Firehouse Center supports with an opportunity to perform in public.
This October, the center’s organizers did something about both issues, when they journeyed 37 miles from their coastal Massachusetts town to Studio Lab in New Hampshire where Events United produced “Firehouse Ignites”, a fundraising livestream that required a donation (suggested at $75) to access online.
Reflecting the diverse range of the center’s programs, the 95-minute livestream featured twenty different performers. The Events United team used a lighting and video rig that featured sixty Chauvet Professional fixtures and a 52.5‘ by 13‘ curved LED wall made of F2 LED panels.
Providing a background for the Firehouse Ignites performers was the set’s video wall, which featured a series of circles in amber tones. “Our creative process began with sourcing an image for the video wall“, says Jon Martell, who served as the Technical Director for the livestream. “After that we built our lighting around the wall. Our color scheme was loosely based on the client’s colors.“
The Events United design team, which included Producer Chase Clark, L1 Ryan Lane, A1 Kevin Smith and Playback Trifon Athnos, arranged fifteen Colorado Solo Batten fixtures at the base of the curved video wall. “We recently added a high-shine Marley floor to increase the production value of our livestreams”, says Martell. “The reflection of the light from the battens and the circular patterns from the video wall on the floor gave the stage a nice textured dimension.”
A collection of twenty-four Maverick MK2 Spot fixtures flown on U-shaped upstage truss as well as on two rows of mid-stage truss provided downlighting and specials. To provide added color, nineteen Rogue R1 Wash fixtures were flown over the entire stage, making it possible to set different emotional tones by changing palettes. A group of three Ovation Cyc 1 FC fixtures delivered the front lighting.
Corona: D-Dream creates community drive-in shows with Chauvet
Instead of creating a single drive-in movie site for people to visit, the government of Wichelen in East Flanders, Belgium, brought the concept to its citizens. Under the leadership of mayor Kenneth Taylor, a Flemish TV and film director, it organized drive-in events at different locations throughout the community.
The Lokeren, Belgium-based event company D-Dream set up the drive-in sites for the Wichelen municipal government. “We were directly contacted by the city”, says Elke Scheirs of D-Dream. “They told us they wanted to bring a new live event to entertain their citizens in a safe way during the Corona pandemic. Since the shows were to be held at different locations, we wanted a system that was easy to transport and set up.”
D-Dream built this drive-in system around an 8 x 4-meter LED video wall made up of 64 Chauvet Professional F4IP panels. When the drive-in shows started, it was still daylight. The Wichelen drive-in shows were held in a variety of locations, from farms and fields, to town squares.
Regardless of where they took place, all shows followed strict safety protocols. Facemasks and hand sanitizing were required, seats for those not in cars were placed 1.5 meters apart and all tickets had to be purchased in advance with attendance limited to 200 people.
Ballet Preljocaj’s “Swan Lake” supported by Chauvet’s Maverick Silens 2 Profile
The Ballet Preljocaj production of Tchaikovsky’s “Swan Lake”, which debuted before a socially distanced audience at the Grand Théâtre de Provence in France and is currently touring Europe, blends dance with narration in a contemporary arrangement of the classic work.
Supporting the performance by the program’s 27 dancers is an Eric Soyer lighting design that features Silens 2 Profile fixtures from Chauvet Professional. These are spread over two poles, each with seven fixtures. One of the poles is at mid-stage, and the other rather in the distance.
Eric Soyer works closely with Boris Labbé, who is in charge of the video, and Angelin Preljocaj, who created and choreographed the “Swan Lake” production.
Julien Reux lights Tori Kelly’s James Corden appearance with Chauvet
Cut off from her normal routine by the lockdown, Tori Kelly retreated to her home studio, resulting in her new “Solitude“ EP. When Kelly appeared ‘virtually’ on “The Late Show with James Corden” late this summer to support its release, Julien Reux chose eighteen Chauvet Professional Strike 1 fixtures, supplied by PRG, for his lighting design.
Kelly’s performance was videoed at The Beehive Studios in Los Angeles and livestreamed to Corden’s set at the CBS network facility. The Strike 1 fixtures were arranged in a 22-foot semi-circle behind the guitar-toting star.
Vinnie Ferra directed the video shoot with a camera team of Michael Newman, Alexander Federic, and Alex Hall. It was all videoed with Sony A7S bodies. “I’m grateful to Wesley Switzer for recommending me to Tori’s team”, says Julien Reux.
Corona: Gwar drive-in show lit with Chauvet
To accentuate the band’s music and costumes with a dramatic flair, Ryan Pervola chose Chauvet Professional Rogue fixtures for Gwar’s gig at the Diamond Drive-In in Richmond, Virginia. The LD used twenty R2 Wash fixtures and six R1 Spot units in his rig.
To keep up with the continuous flow of the band, Pervola maintained a consistent intensity level on stage. “There’s so much movement and action between the killings and fight scenes that you don’t want to have too much darkness or shadows”, he explains. “So, creating sharp, contrasting colors allowed me to give the stage a supernatural and haunted appearance. Since so much of the attention is on the action, I didn’t have to go over the top with look designs. I did however add some lasers to the set behind the drum riser to give the stage an extra bit of dimension.”
The Rogue R2 Washes were flown evenly spaced on downstage and upstage truss. “The band tends to leave a wet bloody mess onstage with all the foam they use”, Pervola continues. “I had twelve of the R2s upstage and eight downstage. Together they were able to handle the insanity without sacrificing good solid beam punch. After the show they were still in working order and fully ready for the next show even though a bloody massacre happened right in front of them.”
Also contributing were the rig’s R1 Spot units, four of which were positioned directly in front of the amp racks, while two were placed on raise cases behind the drummer. Positioned waist-high, the 140-watt LED spot fixtures had to punch through the clear body of the drumkit and create back and side light angles on the band’s members.
(Photos: Andy Jones)
Corona: Elation helps fill void on new season of “Dancing with the Stars”
Tom Sutherland was back on the set of “Dancing with the Stars” recently, lighting his second season of the American reality dance competition for the ABC network. Lead designer at DX7 Design, Sutherland, who used Elation lighting on last season’s show, again turned to Elation fixtures to light the myriad of dances while finding a visual solution to fill empty audience space.
“There were some challenges this year as there was no audience, which usually plays a big role in the show. Nobody, especially in television, likes black holes”, says Sutherland. “So we added more lighting and extra video screens.”
Filmed at CBS Television City in Los Angeles, this year’s Season 29 premiered on September 14th with Elation fixtures again a key component, including Dartz 360 LED moving heads and - new to this year’s set - ZCL 360i and SixBar 1000 luminaires. Lighting vendor for “Dancing with the Stars” is Felix Lighting.
Sutherland looked at filling all of the floor seating space with the ZCL 360i, a single beam RGBW moving effect with zoom and continuous 360° rotation. He lined three rows of fixtures along the dancefloor, 90 fixtures total, to create a runway of lights left and right of the stage.
On 2019’s Season 28 of Dancing with the Stars, the LD used Elation’s Dartz 360 beam/spot LED moving head as a principal luminaire in an immersive 360-degree lighting environment. This year, he upped their number, using 104 in his design for soft looks that blend with the set before coming to life for dance performances.
“Lots of the camera work on the show is done on a Steadicam and is 360 degrees around the dancers”, Sutherland explains. “Of course we’ve got nothing at one end of the room so we use the Dartz to completely fill that space. The director’s been opening a lot of the shots in a reverse look, pointing to the back of the room so you see the Dartz as a backdrop.”
“Originally we had 80 fixtures because we thought that the added video screens on the bottom of the set would extend up to the top of the lower balcony but there was a gap there and we decided to fit Dartz fixtures there”, continues Sutherland. “I talked to account manager Nicole Barnes at Felix Lighting and she was able to get us another 60. We completely filled out the lower balcony with those.” The rig also includes other LED and discharge-based moving heads.
Another Elation fixture new to this year’s show is the SixBar 1000 with 110 of the meter-long six-color LED battens used for expanded color and sparkle. The SixBars fill the void where the audience normally sits, frame the judges’ close up shot, and occupy the gaps between the added LED screens, including on the middle balcony where contestants wait. “We extend the content on the screens into the SixBars and blend everything out into the room”, says Sutherland.
Lighting was programmed by Joe Holdman and Nate Files, Hunter Selby was the Assistant Lighting Designer. AJ Taylor was the Gaffer, Best Boy was Danny Vincent.
(Photos: Hunter Selby)
Never Fear Shadows beleuchtet „The Masked Singer“ mit fast 200 Scheinwerfern von Chauvet
Für die belgische Version der TV-Show „The Masked Singer“ brauchte Lichtdesigner Michiel Milbou, Inhaber der zuständigen Firma Never Fear Shadows, ausnahmsweise keine Gesichter zu beleuchten - alle Kandidaten waren maskiert.
„Wir konnten ein Bühnendesign entwickeln, das farblich abgestimmt zur Maske des Teilnehmers war. War die Maske beispielsweise blau, so konnten wir verschiedene Blautöne einsetzen, um die Performance visuell zu unterstützen“, erklärt Milbou. „Wir nutzten dabei die Follow-Me-Software, um die maskierten Charaktere auf der Bühne zu fokussieren, damit wir unterschiedliche Effekte auf sie ausrichten konnten.“
Für die Farben rund um die maskierten Kandidaten sorgten insbesondere 27 Chauvet Professional Maverick MK3 Profile, die - wie alle dem Set entstammenden Fixtures - vom belgischen Rental-Partner Splendit zur Verfügung gestellt und als Frontlicht verwendet wurden.
Die wohl größte Auffälligkeit im Set waren zwei große Masken auf der Bühne, die das internationale TV-Franchise auch für die belgische Ausgabe vorschrieb. Diese bestückte der Lichtdesigner mit insgesamt 128 Épix Strip IP, um sie in Szene zu setzen. Mit Spiegelfolie hinterlegt, sorgten die 1 Meter langen LED-Streifen für Lichtspiele.
„Wir haben die Épix-Strips hinter den Masken verlegt und sie gegen die Spiegelfolie strahlen lassen“, sagt Milbou. „Das weiße Licht der Strips wurde gegen LED-Screens gestrahlt, die ebenso verbaut wurden. Über DMX gesteuert erhielten wir scharfe Effekte und konnten verschiedene Bewegungsmuster ablaufen lassen, um die Musikstile visuell zu interpretieren.“
Dramatische Overhead-Looks kreierte Milbou mit 33 Maverick-MK1-Hybrid-Scheinwerfern, die in einem Pyramidenmuster in drei Reihen über der Mitte der dreieckigen Bühne positioniert waren. Neben einem kamerafreundlichen, geometrischen Muster erlaubte die Anordnung der 440-W-Einheiten das gewünschte Spektrum an verschiedenen Looks.
Da die Hybrids sowohl als Spot- als auch als Wash fungieren konnten, konnte der Output einerseits nach außen gerichtet werden, um einen farblichen Wash-Effekt zu erzielen, während die Fixtures beim nächsten Genre als Downlights dienten.
Bei den Bewegungen wurden die Hybrids zusammen mit zehn Maverick MK3 Washes koordiniert, um hier den Zuschauern ein kontinuierliches Bild zu bieten. Bühnenbildner der Show war Koen Verbrugghe, als Regisseurin fungierte Maryse van den Wyngaert.
Corona: Boxing event in Tulsa lit by Elation
In mid-August, a boxing ring was placed in the middle of the street in downtown Tulsa for a night of fighting action. Omni Lighting in Tulsa was called on to light the event for co-producers Matchroom Boxing and DAZN and chose to support the action using an adaptable rig of Elation lights. Holden Productions promoted the event locally.
DAZN and Matchroom placed the ring at the intersection of E. 5th Street and S. Boston Avenue in the heart of Tulsa, with no fans present and strict social distancing and medical protocols in place for the full night of action. Omni Lighting’s Jeff Olsen got his hands on some of the first Elation Artiste Mondrian moving heads available and used the 51,000-lumen strong LED luminaires to project logos onto the nearby 52-story BOK Tower skyscraper prior to and during the boxing matches.
“The throw is about 2 ½ city blocks which translates into a 1,018 foot projection distance up to the building”, says Olsen. Before and during the event, two different gobos were projected using two Mondrians, a DAZN logo onto the BOK Tower and the Matchroom logo onto another building. Other lights were also used to throw logos onto adjacent buildings.
For rousing fighter entrances on the red carpet, 24 Elation Dartz 360 LED beam/spot moving heads lined the runway, shooting beams and ballyhoo effects skyward while fog jets blared and background LED screens flashed. Adding to the energy from the upstage portion of the rooftop, and used for beauty shots for camera, were effects from Elation Rayzor 360Z LED beam moving heads with zoom.
Once the fights started however, the special effects stopped and the fixtures crossfaded onto the boxing ring in white light, working with rows of regular PAR lights diffused for an even white wash across the ring. Between rounds, the effect lighting again turned dynamic with moments of movement and effect. Additionally, Elation SixPar 200 6-color PAR lights were used to bathe the truss in warm color while in lieu of audience lighting a dozen Fuze Spots, positioned left and right of the ring, panned special effects onto downtown buildings.
Omni Lighting coordinated production of the event, supplied much of the lighting and built the rig. Omni also supplied and assembled a rooftop structure subcontracted through Oklahoma City-based production company Toucan Productions. AZ Sound Pro of Arizona also supplied lighting gear for the event and handled the lighting and sound design, as well as programming, for the building lighting and fighter entrance. The boxing ring lighting design was by Gatto Associates and Omni Lighting.
Omni Lighting was a supporter of September 1’s #WeMakeEvents #RedAlertRestart event in support of entertainment technology professionals and used the Artiste Mondrians on that event as well. While the Omni facility in Tulsa glowed red from SixPar 200 IP luminaires, lined along their loading dock were Dartz 360 fixtures as well as the two Mondrians, which projected high into the night as sky tracker effects.
Corona: Chris Hathaway chooses Chauvet for Blackberry Smoke drive-in show
Chris “Thumper” Hathaway made the backdrop created for Blackberry Smoke’s “Leave A Scar” LP an integral part of his design for the band’s performance at the Starlight Drive-in in Butler, Pennsylvania.
Aside from that, the colorful backdrop also helped him create a look for the show, despite the small size of the drive-in stage. Hathaway chose eight Chauvet Professional Maverick Storm 1 Wash fixtures for his rig.
To bring out the full power of the backdrop, the LD adopted what he calls a “no-color approach” toward lighting this show. Aside from directing hints of color at truss and posts, he mostly relied on white light to highlight the backdrop.
Flown on the upstage truss, the Maverick Storm 1 Wash fixtures were supplied by Star Design Event Services. “Working with the side light from my floor strips, which were supplied by ASL in Atlanta, they made the backdrop pop.” Hathaway used cue stacks for the band’s standard songs, but busked the rest of the show. For those numbers, he just “went with the flow of the band to create a natural feeling”.
Corona: Southard Audio deploys Martin Audio rigs for college events
When they invested in Martin Audio’s Wavefront Precision Longbow (WPL) early last year, Virginia-based Southard Audio became the first of two co-operative live event production companies in the U.S. to acquire this line array.
Servicing a wide range of events in the mid-Atlantic region, Southard found much of their workload in the surrounding East Coast states cut off after Covid-19 struck, even in the academic sector - a market segment in which they are usually particularly active - the normally busy Orientation Events week was virtually wiped out.
One that did go ahead, albeit under heavily moderated conditions, was Bridgewater College. The presence of Covid-19 meant an enlarged role for Southard at this Liberal Arts institution, as the students were divided into pods and the classrooms were moved outside onto two large grassy spaces providing plenty of room for social distancing.
Each of the two back-to-back main stages contained a pod for 250 students, with a road running between, respectively serviced by Martin Audio WPL and WPS rigs. Southard Audio managing partner and operations manager Jason Misterka notes that the College wanted to avoid either of the stages feeling like a ‘second stage’.
“We used a wireless HD video stream to cross the street, and a wireless audio stream as a redundant, allowing announcements to be made locally from either stage,” he explains. “The internet hit the WPL stage and multiparty Zoom calls were shown on both large LED walls, with our video team mixing between local IMAG and the Zoom calls. Our video team also sent out a live stream of the event to the students who were attending virtually.”
Each hang contained eight WPL and WPS line array elements respectively. Each stage also contained a single array of three SXH218 subwoofers, while a CDD-Live 15 on each stage acted as a monitor, and two CDD-Live 8 in the back of the box trucks served as near-field monitors. Positioned on the stage itself (to keep dry and safe for the week), the subs were set up cardioid to minimise bleed.
The primary consideration had been isolating each stage. “We set the subwoofers up as a centre cardioid cluster to reduce bleed on the stage itself,” Misterka explains. “The WPL and WPS systems were set to ‘hard avoid’ (in the dedicated Display software) for the stage and behind, to prevent bleed between the stages. When standing in front of the PA on one side of the field, it was possible to tell that the other PA was active only by the slightest of reflections coming back at you, which was not a problem.” The signal source itself was largely spoken word with occasional music playback.
The WPL system was run in 2-box resolution from two iK42 amp racks. The WPS system was also initially run in 2-box resolution using a single iK42 amp rack (three amplifiers, including the subwoofer amplifiers). “But we ended up adding an amplifier and changing the WPS over to 1-box resolution to assist in limiting the reflections off a building at the edge of the coverage area. We also changed the ‘hard avoid’ location in Display to be that building, and that adjustment certainly improved the situation.”
In addition to the outdoor locations, Southard Audio were also tasked with equipping the Gymnasium - used as a rain location - installing a stereo pair of CDD-Live 15s and two SXH218 subwoofers. “We own four Martin CSX118B powered subwoofers but decided to use our bigger SXH218 subwoofers as it was a large room.”
All the prescribed precautions were taken against Covid-19 and the number of presenters permitted on stage was limited. “We had multiple wireless microphones sync on the same frequency, so presenters did not share individual microphones without a day or two between use. After each use, the mic was wiped down and the windscreen placed in quarantine.”
In addition, Southard’s LED wall tech had a control position at the back of the stage, behind the video wall and their audio tech was stationed in the back of the truck, using Martin CDD-Live 8 as reference monitors. The audio techs for each site also used consoles with wireless tablet control to be able to listen from in front of the PA as they wished.
Southard Audio techs on duty at Bridgewater College included Chris Davis, Matt Hudson, Chad Wyatt, and Cameron Triplett. Davis and Hudson were leads on their respective stages, and were also responsible for the Display predictions and deployment.
Andris Kasparovics selects Elation for Pat McGann special
Pat McGann’s first Comedy Dynamics original special, “Sebastian Maniscalco Presents Pat McGann: When’s Mom Gonna Be Home?”, premiered on streaming services July 28th, 2020. Shot last September at the 1000-seat Vic Theatre in Chicago, Andris Kasparovics lit two sold-out evenings using a combination of Elation Artiste Van Gogh and Elation Dartz 360 LED luminaires.
Head of creative and principal designer for Sight Unseen Studios, Kasparovics has been doing shows with Comedy Dynamics since 2012. For the Pat McGann special, he worked with Chicago-based production company JRLX to secure the Elation fixtures and was one of the first to get his hands on the Artiste Van Gogh.
Kasparovics explains that he has been aiming to get away from the traditional practice of using followspots as key lighting on stand-up comedy specials, a method that goes way back to the early days of stand-up. “It’s a good traditional look for live shows but TV is much less forgiving, and you need a precision that takes extra time we often do not have”, he says. “Frequently we shoot in venues that do not have ideal spot positions, stage depth, or other physical constraints that make it difficult to implement a followspot correctly. What I like to do then is to use a static key lighting position that allows for the most flexibility.”
Working with lighting programmer Robb Jibson, Kasparovics used the Artiste Van Gogh wash luminaires to get an even wash across the stage. “We had a 40-foot throw and dialed them down to 30%”, he says. Using the fixture’s shutters, frost, and CTO corrected to 3400k, eight units provided key lighting covering the 20-foot wide stage from their FOH position. With a choice of PC or Fresnel lens (both included with the fixture), Kasparovics chose the PC lens. “I did a shootout with both lenses and the PC lens won, giving me the best quality of light on camera”, he explains.
Kasparovics also chose Elation’s Dartz 360 LED beam/spot moving head for McGann’s Comedy Dynamics special. “As a visual effect, I like using multiples of the same fixture type in an array or grouping to get a fuller aerial look,” the designer shares, noting that in the past he has often used Sharpys or Platinum Beams to achieve that look. Kasparovics placed 18 Dartz lined against the upstage scenic wall to project aerial beams over the comedian. The fixtures executed a fly out and coordinated chase for both the opening and exit cues while staying static in white with a linear dots gobo during the show.
(Photos: Andris Kasparovics)
Rafael Mendoza and Elation light ballet’s premiere dancers
Mexican ballerina Elisa Carrillo, principal dancer at the Staatsballett Berlin, traveled to her country of origin to present a series of ballet performances called “Gala of Stars, Elisa and Friends”.
The special shows, which took place last year in some of the most renowned venues in Mexico, including the Auditorio Nacional in Mexico City, were lit by Rafael Mendoza using Elation Artiste Picasso LED profile luminaires for the first time.
“Gala of Stars, Elisa and Friends” featured performances by figures in classical and contemporary dance from some of the most important ballet companies in the world such as the American Ballet Theatre, the Mariinsky Theatre, the Berlin State Ballet, and the Mikhailovsky Theatre. Mendoza has served as lighting designer for the “Elisa and Friends” ballet gala for years, effectively from the beginning of the project.
(Photos: “Teatro Morelos”, Toluca, Mexico)
Corona: Martin Audio WPC deployed at Bendorf’s summer long festival
The German town of Bendorf, on the outskirts of Koblenz, has been staging its Summer In The City festival for many years, and even the Covid-19 pandemic was not going to stop proceedings this year.
Operating as a weekend-only event for its first decade - in the Kirchplatz, a square in the centre of town - this year it got permission to run through until the end of August. This was on the proviso that the event was restricted to 300 seated and socially distanced seated guests, part of a maximum capacity of 350 (including artists, technical crews and staff).
The sound system they chose is a Martin Audio WPC, acquired by Michael Enchelmaier’s rental company Event & Veranstaltungstechnik Enchelmaier (EVE). This is the centrepiece of a complete technical infrastructure provided by the company. Enchelmaier is also the president of Working Group Bendorf Rockfestival, who stage the event, and who have been promoting rock events and festivals in the town for the past 35 years.
“We actually stopped promoting this festival in 2018 due to work pressure, but Covid-19 has brought us all back together with the goal of promoting this extra-long festival to show that culture and music is still possible in these times,” he states. As to how they gained permission, he says, “We received a detailed hygiene concept from the government, and the local regulatory office gave permission to go ahead providing we managed to implement it.”
The town itself is situated on the Rhine and the location of the festival, which is this year dubbed The Corona Concerts, has two churches as a backdrop. In front there is a 10 m x 5 m plateau that was constructed on Michael Enchelmaier’s advice in 2007, so that a stage can be erected on top of it. At the same time a multicore system was installed underground, providing. analogue and digital (BNC and CAT5e) feeds.
Fielding eight-element WPC hangs per side, with a broadside cardioid array of 10 WS218X subs and a pair of W8LM front-fills, the system is being driven in 2-box resolution using four Martin Audio iK42 amplifiers, and a further pair for the subs and front-fills. The quantity of subs will reduce (or vanish entirely) for the acoustic and theatre shows.
EVE’s system tech Tim Gruber programmed and optimised the system, using Hard Avoid to cut off the sound at the next building, situated 27 metres away, while the broadside cardioid set-up reduced SPL emission at the rear.
Corona: Elation lighting and Obsidian control on “American Ninja Warrior”
On March 12, Season 12 filming of NBC’s primetime series “American Ninja Warrior” was postponed in the middle of production in Los Angeles, and just one day before the reality competition was set to get underway beneath an Elation lighting rig with Obsidian control system. Delayed due to the Covid-19 pandemic, the show eventually headed into production again in July.
Lighting was under the hands of Adam Biggs (lighting design) and Ed Motts (lighting direction). “We were all ready to shoot when the producers called us in and announced they were postponing the show as a health measure so we immediately started loading out that night”, recalls Motts, now in his eighth year with the show. “Then we sat at home like everyone else in the industry until we got a call in early June about possibly coming back for one city. By our June 25th tech meeting we knew it was a go.”
Season 12 of “American Ninja Warrior” was filmed at The Dome at America’s Center in St. Louis during the middle of July and will air this fall on NBC. This was the first time a season has been shot in just one location as they usually film from three or four different cities across multiple weeks. Season 12 should have started in Los Angeles before moving to St. Louis and Washington, D.C. with the finale in Las Vegas. Instead, four preliminary rounds, two semifinals and a finale were taped at the multi-purpose Dome in St. Louis.
The eight days of broadcasts featured a nearly all Elation lighting rig, which ran on a complete Obsidian Control Systems network. An Obsidian NX4 console served as the main controller with a compact NX2 used as a tracking backup with Netron EN12 and EN4 Ethernet to DMX gateways used for data distribution. In addition, an interview area was under Onyx control using a laptop and a two-port dongle.
Aspect Lighting has supplied an Elation lighting system for “American Ninja Warrior” for years and the 2020 season was no exception. The southern California-based event lighting company provided SixPar 100 IP and SixPar 300 IP LED Par lights, SixBar 1000 IP LED battens, Cuepix 16 IP LED matrix panels, Proteus Hybrid moving heads, Paladin LED effect lights and Platinum Beam 5R Extreme movers, along with a smattering of other lighting.
Motts says the course was switched out every night, which precipitated the use of three crews. “We worked around the clock, a morning crew to remount lights back in the course for areas that had been moved, a show crew to run it, and then a night crew to pull out the lights on whatever courses were being swapped out.”
The lighting control system runs on a total of sixty Universes covering ten obstacles per course across multiple courses. “We break it up so that if we need to take a course or obstacle to a different look, a different color for example, in order to do a promo or something then the programmers can easily switch it. That’s how we identify it. We have sixty Universes but not every Universe is full.” Motts says he ran Cat5 cable out to the Netron devices that distributed the signal from multiple points along the course: start line, mid-way, between certain obstacles, and at the course’s end.
The Cuepix panels played a special role along three segments of the course. Using the NX4’s built-in Dylos pixel composer, Motts ran a number of looks across the 4x4 matrix LED panels. “We ran Dylos effects through the course at the start line, the warp wall, and the final climb which also had an LED screen”, he says, noting that he used content from Dylos itself. “We sized it, colored it and made it our own essentially.”
“American Ninja Warrior” was one of the first major television shows using the NX4 with Dylos. Motts says that in a normal year with multiple tapings going on at the same time, they usually have two different control systems out on the road; one the NX4/NX2 system and the other two M6 controllers that he says will be upgraded to the new Onyx platform so they can run Dylos.
Motts says the taping was all about making a safe show and that the production company, A. Smith & Co. Productions, kept the crew’s health as a top priority. “There was a team of people who were making sure that we were safe and that everything that was being done was done correctly. We were tested often with temperature checks every morning and daily surveys to ask about our health. Everyone wore masks and social distanced and there was hand sanitizer everywhere”, he says, though he admits he was a little nervous with all the cleaning and spraying of disinfectant on the consoles. “There were quite a few people around so the consoles were getting sprayed every 10-15 minutes all day long, plus at night they did an electrostatic cleaning. At one point, I was a bit worried that the buttons were going to fade but they held up great.”
Astera supports Anzac Day commemorations
Lighting designer Brenton Slattery from Scene Change Brisbane chose Astera AX1 and Titan Tube wireless battery-powered LED fixtures to create a light sculpture and messaging for the 2020 Anzac Day commemorations. The sign spelt out “LEST WE FORGET” in bold, bright, positive letters and was highly visible on the waterside lawn at Howard Smith Wharfs in the Queensland state capital.
Scene Change has an in-house inventory of sound, lighting and audio kit including the 48 x Astera AX1s which were used for this installation. The additional seven Astera LED fixtures needed to make up the lettering were Titan Tubes supplied by Astera’s Australian distributor, the ULA Group.
For this installation, the Astera fixtures were rigged to a metal frame which was built from a combination of trussing pieces, scaffolding elements, custom stands, and cross pipes plus some ratchet strap technology. Seven beam type moving lights were positioned behind the completed Astera sign to provide effects and background lighting.
All the AX1s and Titan Tubes were run wirelessly, and Slattery programmed all the lights including the Astera sign via a GrandMA2 light console. A 2-minute pre-programmed show ran every half hour between 9 p.m. and midnight the evening before 25th April which is officially Anzac Day. In between each show, the Tubes returned to a static amber colour and stayed that way until 6.30 a.m. on Anzac Day itself.
The sign could be seen from vantage points all over the city and along the river. To ensure the Astera installation kept running through the night, Slattery pre-set the fixtures to the 20-hour battery period. The end of the installation coincided with ‘Light Up The Dawn’ - an initiative started by the Australian veterans organisation RSL - which saw hundreds of thousands of Australians nationwide joining together and lighting candles at 6 a.m. on Anzac Day in a show of solidarity. This year, in the wake of the coronavirus pandemic, this had additional resonance.
Slattery worked closely with Adam Tetro, Scene Change’s operations manager on the event planning and logistics, which included designing the sign framework and working out the hanging angles and techniques for the 55 tubes.
(Photos: Matt Van Dalen)
Marc Janowitz chooses Elation for Jimmy O. Yang stand-up comedy special
Lighting designer Marc Janowitz has lit comedian Jimmy O. Yang’s debut stand-up comedy special on Amazon Prime - ‘Jimmy O. Yang: Good Deal’ - using Elation Rayzor 760 and Fuze Z350 LED wash lights. The special was recorded last fall at the Neptune Theatre in Seattle and aired in early May 2020 on Amazon’s paid subscription service.
“When lighting a comedy special, there is typically an intro look with a bit of fanfare as the comedian walks on stage,” says Janowitz, “but then that settles into a look that stays for the rest of the show. It’s a different way of thinking about lights. You study a bunch of different features of a light simply so you can find the one feature that makes it on camera as opposed to finding a light that has a lot of features because you need a multitude of flexibility.”
Janowitz, chief designer at lighting and production design firm E26Design, worked closely with the Jimmy O. Yang creative team that included producers Comedy Dynamics, director Marcus Raboy, production designer Tom Lenz and director of photography Dylan Sanford. Design for the special had started last August with the comedian heavily involved in establishing what kind of aesthetic he wanted.
Already in the house rig at the Neptune Theatre as part of the overhead lighting package were Elation Fuze Wash Z350 single source par moving heads. Janowitz had ten of the units on two overhead electrics at his disposal. Featuring prominently in the many camera angles were 24 Rayzor 760 LED washes, placed on the deck and on booms both downstage and upstage. In keeping with the linear theme, each boom-positioned Rayzor had a single line of pixels running across its face.
Corona: Showtime lights livestream with Chauvet
The two-day livestream “Let There Be Rock” featured a dozen bands from Maryland’s Frederick Rock School. Videoed at the improvised production studio in the Showtime Sound LLC warehouse, the event, which was streamed on Facebook and YouTube, featured a light show created by Aaron Kovelman, Showtime’s Director of Design & Production.
Kovelman used 13 Maverick MK3 Profile and 10 Rogue R2 Wash fixtures from Chauvet Professional. Taken from Showtime Sound’s own inventory, the moving LED fixtures were used to coordinate colors and patterns with the images displayed on a 10’ by 30’ horizontal video wall. The Rogue R2 Wash fixtures were positioned on 1.5-meter ground support pipes, while the MK3 Profiles were positioned upstage (six units) and downstage (seven).
BG Event selects Martin Audio MLA for arena shows in Budapest
Magdolna Ruzsa Band recently played two concerts at the 12,500-capacity Papp László Budapest Sportarena through a Martin Audio MLA PA, supplied by their Hungarian partner BG Event.
BG Event used a total of 46 MLA cabinets, and four MLD Downfill enclosures as main PA and side hangs. They also provided monitors. “This is a difficult venue compared to an average arena in Europe due to its larger size,” says BG Event’s Balázs Szentiványi. “It measures 120 meters across by just around 80 meters deep.”
“Moreover it ends in smooth flat vertical concrete surface and a huge glass sided room for the follow spots,” Szentiványi continues. “There is a significant slap back with delay coming from there - and there is also a VIP section at the end of the venue high up above last seats.” BG Event’s FOH engineer Gabor Bacskay-Mazsi and system engineer Marci Mezei jointly evolved the set-up for this particular arena show.
Behind the main left PA there was an MLX sub array rigged as well. Contrary to the electronically delayed sub layouts it was in phase in the full venue and also delivered sufficient volume. In addition to the MLA consignment, the 22 x MLX subwoofers were designed to provide the LF presence, with 10 boxes rigged on the left flank and the remainder on the ground in 2 x 3 end-fire setup.
A further 36 MLA Compact cabinets were deployed as two delay lines, and near fills. For control they used Martin Audio’s proprietary Merlin processors and new DX 4.0, as well as a Lake LM44 to optimise the system.
(Photos: Armin Toth & Bence Szentivanyi)
Corona: Andrew Cass lights virtual Spaga stage with Chauvet
Philadelphia-based trio Spaga played a virtual set on a 3D stage at “Quarantine Comes Alive”, a one-day fundraising festival, presented by Live For Live Music, the Covid-19 Relief Fund, and Nugs.tv. Andrew Cass of C2 Design & Drafting created the virtual show that featured a collection of 75 Chauvet Professional fixtures.
The creative process behind the virtual production began in April 2020 when each band member took 16 photos of himself from different angles while in quarantine. Working with animator Arielle D’Ornellas, Cass used these photos to create 3D renderings of the musicians.
“I have been struggling with realistic looking humans in 3D for some time now,” says Cass. “This led to us having the different photos taken. Arielle used them as the basis for creating the real to life renderings that were the basis of our 3D images.”
Cass also had the band members take videos of themselves at home. This footage and the 3D images were merged together in a virtual stage set that balanced the “real” video images with the realistic renderings. The videos were displayed on vertical screens that ran across the backdrop, while the 3D “band members” played their “3D instruments” on the virtual stage.
The light show’s color and patterns were furnished by six Maverick MK2 Wash units on the overhead rig, with one being positioned directly over each musician, as well as 27 Rogue R1 FX-B fixtures arranged along the bottom of the curtain on the inside, and 27 Colorado Solo Batten units matching them outside the curtains. Also included in the rig were three Ovation E-910FC ellipsoidals (used as front lights) and 12 Maverick MK3 Spot fixtures in the air, six mid-stage and six upstage.
The virtual concert took place in a room Cass created primarily from Google 3D Warehouse, modifying it to fit the needs of the project by adding elements like an arena ticket counter, a curtain, and balcony rails. Syncing up the cameras in the 3D environment was critically important to creating the realistic show. Cass did this by putting the audio track into Ableton Live and having software output the audio along with a timecode signal. He then dropped the camera shots into Resolume and offset them to the timecode signal.
“The crucial factor in this process was to sync them after the video had been routed in the 3D environment using NDI,” says Cass. “This was important, because all of these steps add some level of latency. So, by syncing them after all that was done, we ensured that the videos stayed in time with the audio in the final product.”
SSLRent converts lighting design for BMW event with Chauvet
Frank Appeltans and his team at SSLRent lit a product introduction event for the BMW 2 Gran Coupé at the showroom of Belgian automobile dealer BMW Beliën Neerpelt. Using six Chauvet Professional Rogue R2 Wash fixtures, positioned on overhead truss, Appeltans bathed the vehicles in blues and reds.
Four Maverick MK2 Spot fixtures, hung on the same overhead truss structure as the Rogue units, was used to draw attention to the vehicle by providing special effects and gobo patterns. The 440 W moving LED fixtures created a ring of light around the BMW 2 Gran Coupé. The Mavericks worked in conjunction with a “curtain” of laser light. A small dark space between the lasers and the vehicle set the car further apart from its surroundings.
The vehicle itself was located on an elevated platform in the middle of the dealership building. To add an extra dimension to the exhibit, Appeltans positioned Chauvet DJ Freedom Par Quad4 uplights below the platform and matched this light with low lying red fog that was itself coordinated with the wash light. “Our idea was to make the car look like it was behind ‘bars’, as if it were something you can’t touch yet,” says Appeltans.
Corona: “Techs on the Decks” lit with Robe
“Techs on the Decks” saw 24 artists and 24 techs - running lighting, cameras, visuals and sound - united to present a 24-hour non-stop electronic music live stream broadcast on Facebook Live, YouTube and Twitch. It was viewed by 37,000 people.
The event - which has currently fundraised £4000 for technical entertainment charity Backup - was the brainchild of Gordon Torrington from Hampshire-based rental company Liteup. The idea was spawned from a conversation he had with Liteup’s MD Marc Callaghan and freelance LD Warren Hutchison about the great work of the charity in supporting many industry peers including a friend and colleague of all at Liteup, lighting director and programmer Jonathan Rouse who passed away recently in May.
“Techs on the Decks” was a Covid-conscious, socially distanced event staged from Liteup’s two streaming studios which have been built at their warehouse in Hampshire since the crisis began. All the lighting, LED screen and robo-cam kit was supplied by Liteup including Robe moving lights which were installed in both studios, pulled from their rental stock, among other fixtures. The cameras/PPU package for Studio 1 was from Solotech. Stage Truck parked up one of their new sleeper trailers in the car park allowing the crew working over the full duration a chance to grab a few hours’ sleep.
Creative video director Blue Leech took care of camera directing for several acts and Nick ‘NikkiNoMix’ Jevons - who started his entertainment career DJ’ing for pirate radio station Foul Mouth (FM) Radio in Sheffield in the 1990s - operated multiple lighting slots as well as playing the prime-time midnight-1 a.m. slot with his “Music the Ladies Like” collection. There was also one live band set on Saturday afternoon from Zone Fluffy in Studio 1. As well as stage managing on the day Gordon Torrington programmed himself to play the opening set.
The technical infrastructure for both studios was designed by Warren Hutchison, for this event and for general use. The pop-up venture is starting to get regular traction with local artists plus others from further afield, all keen to do professionally produced live streams.
Both studios were utilised for “Techs on the Decks” which enabled a ‘flip-flop’ operation for changeovers. Studio 1 is the larger space which can accommodate socially distanced bands. Here the lighting setup is modelled on a festival main stage, just scaled slightly smaller to fit the available physical area.
Fixtures for “Techs on the Decks” included 11 x Robe Esprites - seven in the front truss, four on the mid for both back and front key lights plus effects. Twenty-four Robe Spiiders were rigged four each on the front, mid and back trusses, with 12 on the floor upstage and along the sides, while seven LEDBeam 150s and 10 x Pointes across the back and mid trusses completed the moving light count.
Added to that were four upstage truss towers each fitted with Ten pixel-controllable LED battens - programmed and running via the lighting console - and some Flare strobes with the choice of a ChamSys MagicQ or an Avo Arena console. At the core of the video system in Studio 1 was a Grass Valley Korona mixer/switcher which received inputs from three GV LDX 86 4K cameras fitted with a variety of Fujinon lenses and from two of Liteup’s 4K Panasonic robo-cams. This was all coordinated by Paul ‘Macca’ McCauley for Solotech UK.
Studio 2 featured eight Robe MegaPointes on a goal-post truss above the DJ booth, a bunch of Magic Blades, some LED washes, and more Flare strobes, all controlled from a GrandMA2 light. A back wall of Liteup’s 5.9 mm Infiled screen was used for displaying visuals and the complete length of the front of the DJ booth was clad with the same surface. The camera system was one GV LDX 86 and four Panasonic robo-cams. Playback graphics and visuals were running on one of Liteup’s Resolume media servers, operated live by a rota of VJs together with the robo-cams.
(Photos: Louise Stickland)