Rental News Schlagzeilen
Avraham Tal plays Robe on tour
For Israeli singer/songwriter Avraham Tal’s 2019 tour, lighting design includes Robe MegaPointes, Spiiders and BMFL Spots. Tal wanted to be able to ‘play’ the lighting concurrently to his instruments onstage, and he wanted this to be achieved without the mechanical precision of timecode but with a more organic process.
Co-designers Eran Klein and Omer Israeli of Cochavi & Klein Light Architects proposed a scheme - including Robe moving lights - which was chosen to help explore and develop this idea. A major part of the creative process was focussed on finding a new way of synching lighting and video with elements of the music, utilising MIDI over Ethernet into the GrandMA2 lighting console via a ‘boom box’ device that Madrix programmer and tour LD/operator Naor Bonomo spec’d and programmed.
Different lights can be ‘played’ per song, and instruments triggering the action can be assigned via the lighting console. This setup allows the artist to improvise whenever he feels like it, without timecode dictating the schedule. The lighting console also triggers the Madrix controller running the mapping on the LED tubes.
This way, when Avraham Tal plays his Ableton MIDI Push ‘piano’ for example, different notes can be paired with different lighting effects, allowing him to literally ‘play’ the lights and to flip dynamically from doing so on one set of lights to another.
The overall look of the show was inspired by multiple aspects including vintage 1980s style DJ light boxes, and the lighting rig is designed with six distinctive and different layers or levels, all of which can work together or individually. They can also be combined or stripped back as the set unfolds.
This includes the 18 x Spiiders rigged above the main section of the stage and a layer of BMFL spots stationed upstage denoting the back of the set. On other levels are a row of Sunstrips along the front of the stage in the footlights position; a wall of LED tubes immediately behind the band; a layer of strobes and some modern versions of classic 1980s multi-light balls on moving head yolks, as well as some Jorgos RGBW triangular tiles.
The artist wanted a bit of a studio/jam session vibe, so the four backing musicians are all positioned on an upstage riser with the LED tube wall behind them and the Spiiders up on the rig above. The Spiiders are linked to the lighting MIDI control.
Seven Robe MegaPointes are positioned directly above the band for individual key lighting, and three for back-lighting Avraham Tal. Another five BMFL Spots on the front truss provide the main front key lighting - as the artist prefers to work without follow spots in order to have a better connection to the people and the immediate environment.
Four BMFL Spots on the floor at the back shoot through the band, the LED tube wall and the rest of the set. These amplify lighting instruments like the LED wall that are acting as physical set pieces. Another two MegaPointes are positioned on each side of the stage to make the stage space appear a bit wider and to backlight guest musicians positioned on either side of the stage.
Cochavi & Klein designed the set. The production manager is Lihi Gindin, the lighting director is Ziv Holtzman and the project manager is Dor Aichner. Sound is designed by FOH engineer Amotz Nachmany.
Lighting and sound equipment is being supplied by Hakol Bakol, with some of the Robe and the Jorgos fixtures supplied by Danor Theatre & Studio Systems and the LED tubes and Madrix from KO. Pixel Studio created the video content.
(Photos: Lior Keter/Riki Kendel)
Green Hippo media servers selected for ‘7 Days Live’ special
When New Zealand TV comedy show ‘7 Days Live’ visited the Queenstown Winter Festival, the festival’s production supplier, TomTom Productions, was on hand with their Hippotizer Karst media servers from Green Hippo.
“The brief was fairly simple,” says Hamish Edh, director of TomTom and designer of the Festival’s live stage video elements, “background eye candy that looks great on camera, as well as for the live audience, and having the ‘7 Days’ logo on the screens for the wide shots.”
“The design concept was based around mis-matching elements with different LED pixel pitches,” explains Edh. “To create contrast between the different pixel pitches, I used Martin Sceptron 20 battens in an array to complement the 6 mm LED panels and to add horizontal lines to the overall look.”
Edh used TomTom’s go-to media server system, Hippotizer Karst, running two outputs, one to the 6 mm LED panels and the other to the Sceptron via the Hippotizer’s Martin P3 System Controller integration.
The textures played out on the low-resolution Sceptron were from stock content, while the 6 mm panels showed custom content, created by Tim Goddard of TomTom, as well as the ‘7 Days Live’ logo where required. The operator was TomTom’s Matt Cooper.
Edh’s design included four horizontal LED ‘banners’ rigged at staggered heights, from the lower upstage to the highest above mid-stage, each with the ‘mis-matched’ pixel pitches of 6 mm panels and 20 mm Martin Sceptron. Visuals were controlled from a Hog 4 console.
Following the comedy performances, the stage design and the use of Hippotizer changed again. “For the music night we dropped the 6 mm screen and used the Hippo as a VJ machine,” says Edh.
(Photos: TomTom Productions/Still Vision/Hoiho Media)
Sam Tozer setzt Swedish House Mafia mit GLP in Szene
Bereits bei der Show von Axwell & Ingrosso im Bill Graham Civic Auditorium im September 2018 in San Francisco, hatte Sam Tozer, Produktionsdesigner von Vision Factory, GLPs Impression X4 Bar 20 und das JDC1 Hybrid-Strobe eingesetzt.
Für das gleiche Konzept entschied er sich nun auch bei den Comeback-Shows der Swedish House Mafia in der Stockholmer Tele2 Arena. Tozer wurde dabei erneut von Lichtdesigner Alex Hess unterstützt. Die drei Künstler, deren Performance auf einer „schwebenden“ Plattform stattfand, waren ebenso wie Kreativdirektor Alexander Wessely stark in den gesamten Prozess eingebunden.
Die Basis des Rigs bildeten drei vier Tonnen schwere Traversenkreise mit einem Umfang von 7,2 Metern an einer Kinesys-Motorsteuerung und einem darüber liegenden Raster aus Alu-Pipes. Tozer plante hierfür eine Matrix aus Impression X4 Bars 20, wobei 82 Geräte in jedem Kreis verbaut wurden.
Dies war Teil eines Gesamtkonstruktes von 140 Scheinwerfern und mehreren Lasern pro Kreis. „Da das alles an Motorsteuerungen hing, waren wir, was den Einsatz der verschiedenen Geräte betrifft, sehr flexibel und konnten alles auch um 90° kippen“, erläutert Tozer.
„Was die 60 JDC1 angeht, so waren diese die ‘Arbeitstiere’ für die großen Blinder- und Strobe-Looks", fügt er hinzu. „Wir nutzten sowohl das Strobe-Feature als auch die umliegenden RGB-LED-Plates, um der Performance Dynamik zu verleihen. Die Plattform, auf der die Band auftrat, wurde mit weiteren 55 Impression X4 Bar 20 bestückt, die dort im Boden versenkt waren.“
Alle 361 GLP-Produkte, die während der Shows zum Einsatz kamen, wurden von Christie Lites geliefert, ebenso wie der Rest der Beleuchtung, das Rigging und die Motorsteuerung. Mehr als 100 DMX-Universen wurden für die Shows in Stockholm benötigt, gemanagt von Datentechniker Rich Shout.
Robe for Ferrugem DVD shoot
Brazilian singer-songwriter Samba Ferrugem recorded a live concert DVD in the Jeunesse Arena, Rio de Janeiro, Brazil. This show was directed by Anselmo Trancoso with lighting designed by director of photography (DOP) Carlinhos “Carlos” Nogueira, utilising 450 Robe moving lights.
This inventory of equipment plus other fixtures and the 500 plus metres of LED screens involved, was co-ordinated and delivered by Sao Paulo based rental company Wolf Produções, headed by Gabriel Pincel and João Freitas. Wolf Produções has supplied technical production to the artist on tour and was asked to co-ordinate the substantial kit needed to light this show. Gabriel Pincel was the project’s technical director.
The Robe quote broke down into 36 x Robe BMFL WashBeams, 94 x Pointes, 60 x MegaPointes, 62 x Spiiders, 56 x Spikies, 72 x LEDBeam 150s and 57 x CycFX 8 tilting LED battens. The BMFL WashBeams were positioned for upstage power looks and blasting through from the back. The MegaPointes were rigged on square trusses above the stage and above a long catwalk protruding into the audience.
The Pointes and LEDBeam 150s were rigged on the front wings of the stage and on a series of LED borders framing the over-stage trusses, while the Spiiders were on audience trusses flown above the arena, illuminating the crowd for wide shots and sweeps across the venue.
The CycFX 8s were also on the square trusses above the runway and stage along with the MegaPointes, with some on the floor below the rear LED screens. The BMFL WashBeams served as the main ‘photo’ and key light fixtures. The CycFX 8s were used to outline the geometry and shapes of the square trusses and other scenery pieces to which they were attached.
The 90 x Pointes were the workhorses of the rig and fundamental to the whole overall design. The LEDBeam 150s added lines and blocks of sharp beams along the long over-stage trusses. A combination of GrandMA3 and GrandMA2 consoles were used to run the lighting and Resolume media server running playback video, with Matheus Feitosa working as Nogueira’s main lighting programmer.
(Photos: Bruno Henrique)
Salzburger Festspiele mit Movecat-Equipment ausgestattet
Movecat hat die kinetischen Systeme für die Salzburger Festspiele 2019 geliefert. Bei dem weltweit bedeutendsten Festival der klassischen Musik und darstellenden Kunst, das am 20. Juli eröffnet wurde und am 31. August endete, kamen zwanzig Kettenzüge vom Typ VMK-S 500 sowie weitere zehn Kettenzüge D8+ 500 zum Einsatz, die Plexiglassäulen mit einem Gewicht bis zu 90 Kilogramm bewegten.
Diese wurden nach oben verwandelt und teilweise schräg gestellt. Alle aufgehängten Bühnenlasten im Rigg hatten ein Gesamtgewicht von etwa sieben Tonnen. Mit Hilfe des Movecat-Equipments wurden einzelne Verwandlungen für die Weltpremiere der Oper „Oedipe“ programmiert. Die insgesamt vier Aufführungen dieser Oper fanden zwischen dem 11. und 24. August statt.
(Fotos: Monika Rittershaus)
Elation Paladin illuminates Toce Falls
The elements of light and water came together at Toce Falls by Lake Maggiore in the Alps of northern Italy (Cascata del Toce) during a light and music show designed by Pierre Gèlil. For a special event held June 28th and 29th, the designer turned to color-changing Elation Paladin lighting effects.
When Gèlil, who also works as director of Teatro Maggiore in Verbania, was looking for a watertight fixture that could put up with mist from the Falls as well as weather extremes, Elation’s Italian partner, Audio Effetti, proposed the Paladin, a multi-functional LED wash light with an IP65 housing.
Gèlil used ten fixtures mounted at various positions to illuminate the 143-meter drop of the waterfall, which spreads out at the bottom to a breadth of 60 meters. The dynamic light show was synchronized with music. The event will be repeated on the 20th and 21st of September.
Martin Audio WPL’s season-long deployment in Russian eco park
A&T Trade and Music Trade have deployed Martin Audio’s premier WPL PA on the main stage of the Zolotoy Gorod eco park, one of the largest country parks in Russia, located near the city of Tula.
Music Trade, A&T Trade’s Tula-based partner, were requested to design a sound system that would serve artists all summer long. The main stage of the Zolotoy Gorod presents a multi-genre line-up featuring artists for pop, folk, orchestra, rock, electronic and theatrical performances.
The main PA comprises 10 Martin Audio WPL elements flown on each PA wing, with eight further WPC each side as outfills. A cardioid array of 12 SXH218 subwoofers stretched across the entire width of the stage, provide low frequency support.
Ana Gabriel on tour with Robe fixtures
Mexican singer Ana Gabriel hit the road on her “Estamos A Tiempo” (We Are On Time) world tour last year at the National Auditorium in Mexico City, a campaign that continues internationally throughout 2019, with another lighting and visual design by Chilean LD Felipe Serey.
Serey has worked with the artist for six years, and the lighting specification for the current tour has over 150 Robe moving lights - 60 x MegaPointes, 40 x Spiiders, 48 x Spikies, two BMFL Spots and three BMFL WashBeams - on the lighting plot.
Recently Ana Gabriel played a show at the Movistar Arena in Santiago de Chile, Serey’s hometown, where the full Robe rig was supplied by a local rental company. Serey decided on a diamond-shaped LED screen upstage centre - to have something different and more interesting than the ‘standard’ rectangular slab of video. He evolved an array of lighting looks and texturing for each song of the set, with some input from the artist.
The central screen is 6.5 metres square but rotated 45 degrees to give the diamond shape a top-to-bottom height of 9 metres. With all the motors concealed in the roof above, it appears to be floating in the air. The main 12 metre runs of overhead trusses were flown at 90 degrees to one another to mirror the architecture of the diamond screen, each one rigged with 10 x MegaPointes and 4 x Spiiders.
Then there were four diagonal trusses - two a side - at the back, framing and following the angle of the upper half of the screen, also rigged with MegaPointes and Spiiders. On the floor were three 2.4 metre structures each side also rigged with Spiiders.
Towards the centre of the stage - overhead - was another 2.4-metre-long run of truss loaded with 3 x BMFL Spots and 12 of the Spikies, and then to the sides, two 6 metre runs of truss each rigged with 6 x Spikies. The ‘frame’ of lighting was completed with Tyler trusses each side each containing another six MegaPointes and four Spiiders.
On the floor for contrasting angles, 12 additional MegaPointes and 12 x Spikies were positioned along the back and sides. For the show’s opening sequence, two BMFL WashBeams were utilized for front gobo projections. The three BMFL Spots Serey used to close the stage space down for the intimate and personal moments of the set.
The MegaPointes were used extensively throughout the show - they are the main effects fixture. The Spiiders are used for the whole show, washing the different stage areas. Serey runs them in wide mode, and he also uses the central ’flower’ for some scenes. The Spikies he uses to add energy and punch to certain sections of the show.
Video equipment - including two side IMAG screens - is being supplied to the tour by Nitro LED. Felipe Serey created all the video content for this tour - the first time he’s also taken on this role in addition to the lighting and the video systems design.
(Photos: Lorena Persson)
András Praksch uses Chauvet fixtures at Sziget 2019
The Sziget Festival has blossomed into one of the largest events of its kind in Europe. Over half a million fans flocked to Obuda Island in the Danube in mid-August 2019. On the Europe Stage, the week-long festival featured 43 “national acts.”
Few of these performers were accompanied by an LD, but all were supported by a lightshow - András Praksch of Mobil Audio and Light Kft created an array of looks on stage with help from 50 Chauvet Professional fixtures and the Net-X Ethernet-to-DMX node.
“Most of these bands were famous in their own countries, but not very well know elsewhere,” says Praksch. “Only seven of them brought an LD. Our team ran the lighting for the rest of them. This included a group of nine winners from the Ibis Music Contest, each of whom got thirty minutes on the stage the first day.”
Praksch configured the fixtures in his rig so he could cover the 16 meters wide by 9 meters deep “play area” of his stage with light from every angle, while also leaving options for audience lighting. This design strategy was plain to see in how he positioned his 20 Maverick MK2 Spot fixtures, hanging five of the 440 W LED movers on each of his two side trusses, six on the upstage truss and four on the midstage truss.
“We used the Mavericks for down lighting, back lighting, audience lighting and a variety of specials,” he explains. Praksch hung 12 Colorado Par-Hex12 fixtures on each of his side trusses to create more color. “I added different DMX addresses to the Colorado,” he says. For added audience engagement, he hung six Strike 4 fixtures on the downstage truss.
GLP setzt Schwedens größtes EDM-Festival in Szene
2011 in Stockholm gestartet, hat sich das Summerburst inzwischen zu Schwedens größtem Festival für EDM entwickelt. Seit 2012 findet ein Ableger des Festivals zusätzlich in Göteborg statt, beide Locations ziehen Jahr für Jahr rund 25.000 Fans an zwei Wochenenden an.
Von Anfang an dabei war Daniel Hellsten, der nicht nur den Posten des Lichtdesigners innehat, sondern zugleich auch die Produktionsleitung des 2-Tage-Events übernimmt. Premiere im Ullevi Stadion in Göteborg hatten im Juni diesen Jahres die KNV Cubes von GLP. Auf der Mainstage kamen insgesamt 24 der KNV Cubes zum Einsatz. Installiert wurden sie direkt unter dem Kuppeldach der Bühne, wo sie die DJ-Kanzel in Szene setzten.
Daniel Hellsten erklärt die Idee hinter dem Design, bei dem ihm Tobias Borén als Assistent zur Seite stand: „Wir wollten den Gastdesignern die Möglichkeit geben, die Cubes möglichst vielfältig einzusetzen. Zum Beispiel als Blinder, als Strobe oder als Blickfang. Deshalb die Position der KNVs im Zentrum der Bühne.“ Als Programmierer und Operator am Lichtpult fungierte Daniel Löfgren.
Die KNV-Module auf der Mainstage waren nicht die einzigen Lampen von GLP, die beim Summerburst zum Einsatz kamen: Insgesamt 30 Impression X4 Bars und 44 JDC1 Hybridstrobes komplettierten das Design der Mainstage. Auf der kleineren Garden Stage setzte Hellsten weitere 12 KNV Cubes als Backlight hinter den DJs ein.
(Fotos: Pax Engström)
Martijn Steman and Chauvet create looks for Jan Smit tour
For Dutch singer and TV presenter Jan Smit’s current theatre tour of the Benelux, which is set to run until the end of the year, Smit’s long-term creative collaborator Martijn Steman was once again tasked with providing the tour visuals. Triple Showtechniek supplied Steman and his team with 30 Chauvet Professional Rogue R1 FX-B fixtures.
Positioned in three horizontal rows running the width of the entire stage, the R1 FX-Bs play a pivotal role in creating color and energy in between the video content played from large LED screens. “The R1 FX-B allows me to punctuate the video wall with some effects, which has the effect of making the back wall look larger while making full use of the space on stage,” comments Steman.
One of the key effects in Steman’s arsenal of looks is a so-called curtain of light, which is achieved by lining up the beams of the R1 FX-B to create a luminous barrier at the back of the stage. “I’m also able to create a light curtain effect through the band by playing with the individual beams,” he says.
MX Événement and Chauvet DJ help Design Aglaé create a luminescent floral display for Euro Disney
Sophie Hombert and her company Design Aglaé S.A. beguiled visitors to Disneyland Paris this spring with luminescent flowers, adorning the Ticket to America Startup Competition with a floral display.
The lighting system by MX Événement drew on the illuminating power of the Chauvet DJ Eve P-150 UV. The company deployed 16 of the 150 W UV LED fixtures throughout the display, relying on their ultraviolet light to make rows of specially treated flowers glow in the dark.
The Design Aglaé creative process began with a new (and entirely natural) nutritive serum that causes the flowers glow under ultraviolet light. Then MX Événement was asked to provide lighting that could project a smooth, evenly focused field of UV illumination on the flowers, while not distracting from the floral display itself. After evaluating fifteen different UV fixture options, the MX Événement team selected the Eve P-150 UV for the project.
MX Événement positioned the Eve fixtures discreetly within and around the floral display so they weren’t very visible. The quiet operation of the fixtures meant that they also could not be heard.
Keith Shanks completes “Game of Thrones” run with ChamSys
A visit to the Harland and Wolf Shipyard on Queen’s Island, Belfast, a shipyard-turned-studio, with a gaffer friend in early 2011 plunged Keith “Shanksy” Shanks into the fantastical world of Westeros and Essos as the lighting programmer for “Game of Thrones” throughout its entire eight-season run. With him all the way, on every one of the 73 episodes (plus the pilot), has been a series of ChamSys consoles.
Shanks selected a MagicQ MQ200 with a Playback Wing for the pilot show. He soon added a second MQ200 to his setup, followed by an MQ500 Stadium. By the time “Game of Thrones” reached its eighth season, he had four MagicQ MQ500 Stadiums and two MQ200s with Playback Wings at his disposal.
The increasing number of consoles reflected the growing complexity of the “Game of Thrones” set lighting, which went from 14 universes to 19, as it moved from extremely high levels of illumination to more subtle and natural ones. More consoles were also needed to accommodate the variety of different sets used in the series.
During the last season, Shanks positioned the consoles at different locations throughout the Harland and Wolf facility (now the largest film studio in Europe). “We had six consoles here, one of which was in a van for when we shot at remote locations,” he says.
“Our production schedule was so sharp that we had to have everything ready to go at every set, as well as the van, at a moment’s notice. Every console has a full system built into it, so we could move from one to the other with no hiccups. We also did a lot of pre viz using WYSIWYG, especially the 3D version.”
(Photos: Helen Sloan/Getty Images)
„Jazz in Duketown“ mit dBTechnologies Vio L212
Das Jazz-Festival „Jazz in Duketown“ im niederländischen ’s-Hertogenbosch ist mit neun Bühnen und mehr als 175.000 Besuchern das größte Event seiner Art in den Niederlanden.
Wie schon im vergangenen Jahr, nutzte das Festival auch 2019 wieder Systeme von dBTechnologies. So wurde das Full-Size-Line-Array Vio L212 auf der Main-Stage, die auf dem Markt in ’s-Hertogenbosch platziert war, eingesetzt.
Insgesamt kamen als Haupt-Array rechts und links der Bühne je 10x L212-Module plus 2x L210 als Downfill zum Einsatz. Als Front- und Outfills dienten 8x L208-Module, ebenfalls aus der Vio-Familie.
Als Subwoofer verwendete der verantwortliche Eventdienstleister RPSoundtechniek 6x S218 und 12x S118R Subs. Als Sidefills standen 2x Vio X15 und 2x Vio s118R zur Verfügung.
„Ich konnte den FOH-Mix sehr schnell abstimmen“, sagt Daniele Di Giovanni, FOH-Mischer für Marcus Miller während des Konzerts bei „Jazz in Duketown“. Für den Bühnensound der Band um Marcus Miller sorgten 8x TT+25-CXA von RCF als Front-Wedges. Schlagzeuger Alex Bailey nutzte 1x Vio S118R und 1x Vio X 12-Modul als Drum-Monitoring.
(Fotos: Marcus Scheuermann)
Kuchem stattet Motorworld mit Medientechnik aus
Die historischen Räumlichkeiten der Motorworld bieten sowohl einen Rahmen für große Showveranstaltungen und Galas als auch für kleinere Firmenevents und Tagungen. Hinter der Bugatti Lounge, der Pit Lane, der Michael Schumacher Lounge oder dem 4 Takt Hangar Loft stecken Präsentations- und Besprechungsräume für 10 bis 90 Personen.
Kuchem Konferenz Technik stattet als Technik-Partner alle Räume mit professioneller Medientechnik aus. So stehen den Kunden unter anderem mehrere Full-HD-Laser-Phosphor-Projektoren von ViewSonic und Samsung-Smart-Signage-4K-Displays in Größen von 55‘‘ bis 85‘‘ zur Verfügung. Die Displays kommen als Wandmontage oder auf rollbaren Trägersystemen für ein flexibles Raum-Set-Up zum Einsatz.
John Berret chooses Chauvet for Aiken Bluegrass Festival
Lighting designer for this year’s Aiken Bluegrass Festival was John Berret, who chose to use a collection of Chauvet Professional Rogue fixtures, supplied by Quest Sound Productions. With limited height and room for his design, Berret hung six Rogue R2 Spots and two Rogue R1 Beams on upstage truss, as well as ground stacking four Rogue R1 Beams on totems below the truss and four Rogue R1 FX-B fixtures about 3’ in front of the R1 Beams.
Adding the four Rogue R1 FX-B units gave Berret the impact of twenty moving lights, since each fixture has five independently controlled LED heads. Berret had these heads going in different directions at some points, then had them act in unison at others, to reflect the music being performed. Berret used the Rogue Spot and Beam fixtures for color, backlighting and aerial effects. “The goal was to create the feeling of the stage being bigger than it actually was,” he says.
(Photos: Eric Rayburn)
Production AV delivers audio and visuals to Cheltenham Science Festival
For this year’s edition of Cheltenham’s annual Science Festival, Production AV was commissioned to design, supply and operate the screen, projection and sound solutions that formed the foundation of the multiple zones that were created in the specially built Festival Village.
Festival organisers asked Production AV to deliver all aspects of audio/visual for the six-day event. The team oversaw set up and technical checks for all of the zones, including the flagship Cheltenham Town Hall space and adjoining Pillar Room, the Helix, the Crucible and the Cinema zone.
As for the Town Hall, “we opted for a PA system based around D&B Audiotechnik Y-Series speakers, Yamaha QL desks and Sennheiser radio mics,” explains Production AV MD, Pete McCrea. Production AV’s Project Manager Olie Goulding oversaw the event load-in and operated the Town Hall audio.
Production AV also supplied the Town Hall’s main room with a 16’ x 9’ screen with a 10k Barco projector, a Barco switching solution and a camera package based around Agile ARC 360 Lite PTZ cameras and Sony Camcorders.
In the Pillar Room, the team installed a simple control package to interface with the in-house projection system, along with D&B Y-Series and E-Series speakers and a Yamaha TF series mixing desk. Production AV’s crew oversaw all audio aspects for the duration of the festival in the Pillar room, with the festival’s volunteer staff operating the majority of the video systems.
“For the outdoor Cinema zone we specified a Desay M6 6 mm pitch LED screen,” McCrea continues. “This displayed thirteen hours of continuous footage from the moon landings over the festival, as well as lots of other content.” The team also installed multiple flat screens across the site, ranging from 42” to 65”.
Robe moving lights illuminate Vasco Rossi’s stadium shows
For Italian rock singer Vasco Rossi’s latest tour, including six sold out nights at Milan’s San Siro stadium, lighting designer Giovanni Pinna used over 340 Robe moving lights - 152 x MegaPointes, 122 x Spiiders and 72 x LEDBeam 150s.
Video screens/content director and Disguise server operator Marco Piva and Disguise tech Nicolas Di Fonzo worked directly for Giovanni Pinna who also collaborated closely with live camera director Peppe Romano from Except. The initial visual inspiration for this years’ tour design was the 2018 tour - as the artist wanted some continuity in that industrial look with towers and large video surfaces.
To some extent, the design was tailored to the San Siro venue as it hosted the most multiple shows. The central LED screen was flanked by four surfaces, two a side, creating a 97-metre-wide stage - effectively 40 metres wider than the 2018 tour. With the increase in dimensions and the additional video surfaces more lights were needed to keep the balance.
Above the central section of stage was a video ‘header’ which split into four sections that tracked up/down and left/right into different configurations. The riser layout, central runway and walkways below were part of a new stage design by Gioforma.
The roof lighting was completely new, with an 18 x 8 metre grid providing the main over-stage lighting positions - upstage of the 4 x moving LED header pieces - with a 24 metre front truss, plus lighting ‘top pods’ stage left and right tucked in between the side screens.
The LEDBeam 150s were deployed across the riser positions on the decks and along the front lip of the stage in the footlights position. The MegaPointes and Spiiders were scattered all over the rig - on the main grid, in the side pods and along the back wall, which featured scenic mesh banners and had the whole surface area outlined in square and rectangular shapes utilising LED strips. Twenty-four of the MegaPointes and twelve of the Spiiders were working in conjunction with a BlackTrax remote follow system, highlighting the guitarists and bass player.
In addition to the Robe fixtures on the rig, Pinna had around 350 other lights, all supplied by rental company BOTW. Lighting crew chief was Fabrizio Moggio, with whom Pinna’s worked on previous Vasco shows and a diversity of other projects.
ER Productions supplied lasers to Pinna’s spec, including LazerBlades and BB3s, all controlled by Pinna’s GrandMA2 full size console, plus five 15 W units run separately by Harry Boyde using one of ER’s Pangolin Beyond systems.
This year they canned the confetti, CO2 blasts and flame jets and instead opted for two pyro moments. The first was at the end of ‘Rewind’ when a 125 metre wide gerb fountain ignited along the back wall of the stadium - and then a firework finale during the last number ‘Albachiara’ brought the show to a close.
Vasco Rossi’s core creative team also included FOH sound engineer Andrea Coresellini, who together with Giovanni Pinna and Marco Piva has worked with the artist for over ten years.
(Photos: Louise Stickland)
Fedez on tour with Claypaky fixtures
Lighting Designer Jacopo Ricci made his contribution to staging Fedez's show by selecting a lighting system consisting of 52 Mythos 2 units and twenty Claypaky B-Eye K20s, all supplied by Mister X service based in Grumello Cremonese.
“With the Mythos 2 units, I could go from beam light to spotlight depending on the needs during the individual parts of the show, and I could program the fixtures differently during the show while exploiting the same installation points,” Ricci explains. “I don't normally use beam lights very much, but in this case, the ability to switch to beam mode was really important.”
The three front and two side trusses were all fitted with Mythos units, which Ricci says he “used 90% as pure effects”, including to drill through the semi-transparent cube of LED walls which opened up for the purpose. “I normally use a lot of gobo and animation wheel effects. I also used CMY variations and colour changes a lot. There are quick changes during each song, which I used as true effects.
“The Mythos units, however, also performed as spotlights during the more theatrical and less complex moments of the show.” The Claypaky B-Eye K20s were mainly used for visual effects on the front truss.
Rock musical “Murder Ballad” features Chauvet Professional Rogue fixtures
In a recent production of the Julia Jordan and Juliana Nash rock musical “Murder Ballad” at the Broward Center for the Performing Arts, lighting designer Clifford Michael Spulock captured the apprehension of characters caught in a world turned upside down. Helping him evoke this feeling were Chauvet Professional Rogue R1 Spot fixtures.
“The show is really charged with emotion as it moves through the breaking and splintering of relationships,” says Spulock. “I wanted to portray this feeling as literally as I could, not just with color, but also by breaking up the light with gobos, which I felt would really convey a sense of the characters’ fragmented world.”
During the play, which took place at the Broward Center for the Performing Arts’ cabaret style Abdo New River Room, the actors sometimes moved through the audience. “Since this show was actually done cabaret style, the audience sat at small tables instead of normal theatre seating, and the actors often interacted with them,” says Spulock.
“I positioned four of the Rogue Spots on FOH truss, two house left and two house right. An additional two Rogues were on the apron truss, and the final two were on the upstage truss, along with four Colorado 1-Quad Zoom Tours.”
Emily’s List gala illuminated by Chauvet
Designer Elizabeth Coco lit the “We Are Emily Conference and Gala” for Emily’s List on April 4, 2019. Held at the Marriott Marquis, just blocks from the White House, the event reaffirmed the accomplishment of women in politics and focused on important issues of the day. Coco used a collection of 72 Chauvet DJ Freedom Par Quad-4 fixtures.
“We set them up all around the room,” says Coco. “Being able to get this level of coverage without having to cable all those fixtures was critical to us getting the job done on time.” The RGBA fixtures were controlled remotely.
Accounting for almost half the fixtures in Coco’s rig, the Freedom Par fixtures were positioned across the venue, uplighting the area behind the stage as well as the side walls. During speeches when most of the overhead lights were dimmed, the Freedom Pars helped make the area behind the stage and around the large IMAG video walls stand out.
Jason Bullock runs Wiz Khalifa’s Coachella show with ChamSys
Wiz Khalifa’s performance at this year’s Coachella festival was lit by the rapper’s longtime lighting designer Jason Bullock, using a ChamSys MagicQ MQ500 desk, supplied by Upstaging, to run the 90-universe show.
“The Sahara Tent at Coachella was primarily EDM acts,” Bullock explains. “Since Wiz brought the entire band with him, I decided to make the show completely different than the other acts by going in the direction of a more classical rock show. Our set, which was designed by the team from Nimblist, made it easier to create this kind of look with its band risers and large center gate. We also had a powerful video display from Screenworks NEP that covered the front of the set.”
Bullock controlled a universe of Catalyst to send multiple outputs to the video surfaces on the set. “My whole show was punted,” says Bullock, who ran all the FX, video and lighting. “Even right up until showtime at Coachella there were still alterations to the set list.
Robe fixtures used for Dzem’s anniversary show in Katowice
Polish blues rock band Dzem celebrated their 40th anniversary with a special show at the Spodek Arena in Katowice. The lighting was designed by Michal Parzych from design collective Green Beam Design (GBD) who has been involved in all Dzem’s special events for around the last ten years, and on this one he again worked in collaboration with the band’s regular LD, Marek Gubala.
Together, they specified 131 x Robe fixtures - 30 x MegaPointes, 56 x Spikies and 45 x LEDBeam 800s, all of which were delivered by Polish rental company Transcolor. Green Beam Design’s founder Jacek Chojczak explains that the starting point for the lighting was a request from Dzem’s management to have a large upstage LED screen, and apart from that, they left Michal Parzych and the GBD team to produce a solution for presenting the band and their special guests for this event. GBD also created the show’s video design and co-ordinated the visuals.
Parzych designed the staging and set, with lighting rigged on a series of overhead and side trusses with some on the floor. Ten MegaPointes were distributed on each of the three main LX trusses 1, 2 and 3. The Spikies were on four upstage side towers and the LEDWash 800s were rigged on the large ‘crown’ circular house trusses in the roof of the Spodek Arena and used primarily for audience illumination. The show was also recorded for DVD/future streaming.
In addition to the Robe products, they utilised approximately 100 other lights of various types, all of which were controlled by a GrandMA2 console, with another one running content from the Disguise media server handling all the video playback. The rear video wall was 15 metres wide by 6 metres high, 3.9 mm HD pitch.
The 40th anniversary playback video content was created by Piotr Maruszak from Red Square, and the Disguise was operated by Karol Nowakowski. There were two IMAG screens showing camera feeds directed by Jerzy Charuzawas and vision mixed by GBD’s Tomasz Szwelicki. Transcolors’s crew chief for the event was Jarek Wasasnik and sound was supplied by Target Sound.
(Photos: Oskar Kutryb CutRB/GDB)
ETC setzt India Fashion Week in Szene
ColorSource Spot Pearls von ETC beleuchteten die diesjährige Lotus Make-Up India Fashion Week in Indiens Hauptstadt Delhi. Die ortsansässige Rental-Company Modern Stage Services Pvt. Ltd. war mit der Audio-, Video- und Lichtproduktion der viertägigen Veranstaltung betraut.
„In diesem Jahr haben wir erstmals zwölf ETC-ColorSource-Spot-Pearl-Scheinwerfer verwendet“, so Geschäftsführer Davinder Wadhwa. „Mit dem variablen Weißlicht-LED-Array konnten wir die Farbtemperatur zwischen 2.700 K und 6.500 K einstellen.“ Als Lichtdesigner fungierte Viraf Pocha.
Hoodie Allen auf Tour mit Impression X4 Bar 20 und JDC1 von GLP
Lichtdesigner Hayden Borgars hat sich mit dem amerikanischen Rapper Hoodie Allen (aka Steven Markowitz) für eine UK/Europa-Tournee zusammengetan, die von der 700 Leute fassenden Garage Glasgow bis hin zum Shepherds Bush Empire mit 2.000 Plätzen reichte. Mit auf Tour waren GLP Impression X4 Bar 20 und JDC1-Hybrid-Strobes, die von der Rental-Firma Siyan geliefert wurden.
Angesichts der verschiedenen Spielstättten stellte Borgars ein skalierbares Scheinwerfer-Paket für den Einsatz auf dem Bühnenboden zusammen. Der LD programmierte die Geräte in Mode 3 (68 DMX-Kanäle) mit Pixel-Chasern, Blindern und Beam-Effekten. Daneben nutzte er die JDC1 auch als Washlights. Er platzierte sie links und rechts am Bühnenrand, auf beiden Seiten des Drumkits und auf Risern. Die Impression X4 Bar 20 fanden ihren Platz ebenfalls auf dem Boden im hinteren Teil der Bühne.
(Fotos: Jordan Knight)