Rental News Schlagzeilen
CT Norway at LLB with Green-Go
Jason Mraz on tour with Powersoft X8 and X4L
Alcons beschallt Zwillingsfestival in Oslo
Lenny Sasso lights UnderOath with Chauvet
Parker McCollom on tour with Chauvet
Robe lights the way for MacBeth
Cameo beleuchtet 110. Six Day Radrennen
Chauvet supports “Love Has No Limits” event in Houston
“Love Has No Limits - 1 Day Houston”, which was actually a two-day event, raised awareness and funds for community organizations in the Texas city. The Activity’s Patrick Dierson, who led the creative team, initially planned on working with a much larger stage at The Toyota Center, but logistics got in the way, necessitating a change in his design strategy.
“Ultimately, we were forced into having a smaller turntable, which led to a slightly tighter performance area”, says Dierson. “With things beginning to narrow, we started playing with the idea of going with a more elongated look for the project. So, we decided to base the overall design on a series of trusses that would be orientated upstage to downstage at an upward rake. This ended up giving us a much larger overall look.”
Working with this rig, Dierson and lighting director Justin Cheatham created the looks for headliners Tim McCraw, Tobe Nwigwe, Tori Kelly and other stars, ranging from soft monochromatic washes, to intense crisscrossing patterns of bright white light. Contributing to the panorama were 32 Colorado PXL 16 motorized battens from Chauvet Professional, which, like the rest of the fixtures, were supplied by Gemini Light Sound & Video. The Colorado linear units were flown on alternating fingers. While the linear battens were on one group of fingers, washes, spots and other moving fixtures were positioned on the others.
“Being a huge fan of negative space, I wanted to find a way to achieve that without wasting large swaths of airspace, especially since our performance area was compressed”, says Dierson. “This ultimately led us to take a slightly different approach to how fixtures were used. In this regard, we had our alternating trusses of wash lights and Chauvet PXL Bar 16s both being able to provide a proper even stage wash in the performance area as well as being able to provide aerial effects that were unique to each of those types of fixtures’ look.”
Harmonizing with this lighting rig was a multi-layered video wall that displayed a plethora of 3D images. Created with AI and Epic’s Unreal Engine, these images included geometric patterns, soft whimsical metaphors, photographs, and a host of other visualizations. Dierson credits media director Bob Bonniol and his team at Mode Studios for their work in adding this dimension to the production.
(Photos: Chauvet Professional)
CT Norway at LLB with Green-Go
Oslo-based CT Norway enjoyed a successful LLB exhibition in March, its busy booth including a showcase of systems from event and broadcast comms specialist Green-Go.
LLB (Lyd Lys Bilde or “Light Sound Picture”), held every two years in Oslo, is a major social event for Norway’s industry, attracting professionals from all over the country. This year, however, following COVID, it returned for the first time since 2019, bringing an added anticipation for all concerned.
Part of the global Creative Technology Group, CT Norway provides audio, lighting, visual and staging technologies and expertise for all kinds of live, virtual and installed environments. It is also the exclusive Norwegian distributor for a number of brands, including Green-Go’s Ethernet network-based digital intercom systems.
As well as making Green-Go technology a centrepiece of their LLB booth, CT Norway also gave a special “thank you” to customers and partners with an after-show party featuring Green-Go systems as a central talking point.
Drawing interest was the MCXD multi-channel desk station, along with the BPX (wired) and WBPX (wireless) beltpacks. Also shown was the RDX radio interface - which allows the user to connect radio to the Green-Go network, the Beacon call light, and the Slim Audio Interface 2-Wire (via which existing analogue party-line systems can be integrated into the Green-Go network).
(Photos: CT Norway)
Jason Mraz on tour with Powersoft X8 and X4L
Singesen Technical Production and Chan Lee Sound & Light selected a combination of Powersoft’s X8 and X4L amplifier platforms for American singer-songwriter Jason Mraz, as he stopped off in Kuala Lumpur for the third Asian date of his “Good Vibes” world tour.
The main system was driven by eleven of Powersoft’s X8 amplifier platforms, while a pair of the company’s latest touring product - the X4L - were also used to power eight of the VT4880s, with each channel driving two of the subs. “The gig was used as something of a field test for the X4L amps, before loading it with VT4880A long excursion subwoofers in the future”, says Jackie Ng, owner of Singesen.
Events United picks Chauvet for Flo Rida’s “Marathon Monday” show
The lightshow for hip-hop artist Flo Rida’s afternoon appearance at Boston College’s “Marathon Monday” was created by Events United. “This was the second year we lit this event for One If By Land Productions”, says Director of Event Productions, Chase Clark of Events United. “Boston College puts this event on to keep their students on campus during the Boston Marathon. Last year, Jason Derulo performed; and this year it was Flo Rida.”
“Since the show takes place the same time as the Boston Marathon, our challenge is to create eye candy that looks sweet in sunlight”, continues Clark. He acknowledges that overcast skies helped with the effort this year, but most of the credit for the show goes to the Events United team’s use of a rig that featured over sixty Chauvet Professional fixtures, as well as 36 F4IP LED video tiles.
Included among these units were twelve Color Strike M motorized strobes, twelve Maverick Storm 1 Washes, eight Colorado PXL Bar 16 motorized battens, eight Nexus 4x4 LED panels, six Strike 4 blinders, eight Maverick MK2 Washes and eight Maverick Force 2 Profiles.
“This design was all about the eye candy on the stage and not having light in the air, because there is only so much you can do to outshine the sun”, says Clark. “Our upstage and mid-stage trusses were loaded with Force 2 Profiles and MK2 washes, while downstage was full of PXL Bar 16s, Strike 4s and strobes. In addition to that, we had the Nexus 4x4 skirt on the DJ riser, and vertical trusses full of Color Strike Ms, which we strobed like crazy.”
A robust punt file helped the design team to keep looks varied during the 60-minute show. “With all the firepower this design had to offer and our punt file, it became all about paying attention to what video was doing and working to make the looks match the energy that the artist was bringing to the stage”, says Clark.
He also gives credit to the Events United team, which included manager and A1 Donald Van Slyke at FOH, A1 Blake Rivera, A2 Andrew Johnson, production designer Jonathan Martell, L1 Ryan Lane, L2 Rachel Fahey, L2 Meg Fiske, V1 Wes Messina, V2 Jack Redding, photographer Shaylyn Kelly, and videographer Pat Dunn.
(Photos: Chauvet Professional/Events United/One If By Land Productions)
Alcons beschallt Zwillingsfestival in Oslo
Die Beliebtheit von Nostalgie-Festivals, bei denen mehrere Künstler aus einer bestimmten Ära gemeinsam auftreten, reißt nicht ab. Mit dem Event „We Love The 90s“ feierte der Veranstalter Nordic Beats in diesem Jahr sein zehnjähriges Jubiläum und hängte noch einen zweiten Tag unter dem Motto „We Love The 2000s“ hinten dran.
Bei dem musikalischen Doppel-Event vor 20.000 Zuschauern in der Telenor Arena in Oslo traten unter anderem Aqua, The KLF feat. Wanda Dee, Dr. Alban, DJ Sash, 2 Unlimited und Scooter (alle am „We Love The 90s“-Tag) sowie Melanie C, Blue, Atomic Kitten, 5ive, S Club, Fatman Scoop, Kate Ryan und Kevin Lyttle (alle am „We Love The 2000s“-Tag) auf. Beschallungsseitig kam dabei ein Pro-Ribbon-System von Alcons zum Einsatz.
Trondheim Lyd war von Nordic Beats mit der Tontechnik betraut worden. „Die Telenor Arena ist die größte überdachte Konzertarena Norwegens mit einer Kapazität von 25.000 Zuschauern für Live-Musik“, sagt Erwan Thomas, Systemdesigner bei Trondheim Lyd. „Sie wurde jedoch ursprünglich als Hallenfußballstadion gebaut und ist für ihre schwierige Akustik bekannt. Die Halle hat eine schlechte RT60-Nachhallzeit, viel Slapback-Echo, und der 100 x 82 Meter große Fußboden ist mit Asphalt bedeckt.“
Thomas spezifizierte daher ein System mit sechzehn Dreiwege-Line-Array-Modulen LR28/80 größeren Formats (Doppel-14’’) pro Seite, acht LR24/90-Dreiwege-Line-Array-Modulen mittlerer Größe (Doppel-12’’) pro Seite, neun geflogenen großformatigen Doppel-18’’-Line-Array-Bass-Subwoofern LR28B pro Seite und 22 am Boden gestackten BC543-Triple-18’’-Cardioid-Hochleistungssubwoofern.
Sechs RR12-12’’-Point-Source-Array-Module wurden für die Infills verwendet, während vier der mittelgroßen VR12/90-Zwei-Wege-12’’-Monitore als Center Fills dienten. Drei geflogene Arrays aus zwölf LR18/90-Drei-Wege-Doppel-8’’-Compact-Line-Array-Modulen sorgten für die Delays. Das System wurde von 48 Sentinel10-Amplified-Loudspeaker-Controllern mit Strom versorgt und gesteuert, mit insgesamt 192 Ausgangskanälen.
(Fotos: Trondheim Lyd)
Wiener Produktion „KInd of Human“ mit Arri Orbiter inszeniert
Die Tanzproduktion „KInd of Human“ in Wien beschäftigt sich mit dem Verhältnis zwischen dem Menschen und der künstlichen Intelligenz. Teile der Inszenierung, sowohl Musikpassagen als auch Bestandteile der Choreografie, entstanden mithilfe künstlicher Intelligenz.
Die Lichtgestaltung des vierteiligen Stücks soll die Gegensätze und die Interaktion verdeutlichen - Mensch und Maschine. Farbtemperatur wird dabei als Stilmittel eingesetzt. Weißlicht von 3.000 bis 8.000 K setzt warme, humane Aspekte sowie die Kälte der Maschinen in Szene.
„Das Licht ist eine der wichtigsten Komponenten der Show“, betont die Choreografin des Stücks, Roberta Pisu. Lichtdesigner Michael Heidinger wählte den Orbiter von Arri für die Beleuchtung aus, um Pisus Choreografie mit klassischem Ballett-Gassenlicht, ohne harte Kanten, zur Geltung zu bringen.
Die große Stufenlinse des Orbiters zeichnet einen harten Kern mit sanften Verläufen auf die Körper des Ensembles und reduziert Überlicht, wenn die Tänzer zu nahe an den Scheinwerfern stehen. Die Flügeltore machen die Verläufe wiederum weicher, um weniger Helligkeit auf den Boden zu haben und die Übergänge zwischen den Gassen besser zu gliedern.
Lineares Dimmen war bei der Auswahl der Scheinwerfer von großer Bedeutung. Fließende Übergänge zur nächsten Stimmung - unabhängig davon, ob die jeweilige Stimmung nun schnell oder langsam ist - folgen der Musik und der Choreografie. Das Saxophonquartett Arcis ist Teil des Bühnengeschehens bei dieser Produktion. Die Musiker bleiben ungestört von der Lichttechnik, auch bei leisen Musikpassagen.
(Foto: Arri/LB Electronics)
GLP JDC1 verfolgen Ski- und Snowboardtricks bei kanadischer „Big Air Show“
Jedes Jahr treten am Fuße der „Smart Alec“-Skipiste im kanadischen Ontario die besten Freestyle-Skifahrer und -Snowboarder des Landes an, begleitet von Musik, Beleuchtung, Feuerwerk und Showeffekten. Für die „The Big Air Show“ genannte Veranstaltung wurde eine technische Infrastruktur mit Türmen aufgebaut, bestückt mit 24 Hybrid-Strobes JDC1 von GLP.
Die Zuschauer konnten dadurch das Geschehen auf dem 61 Meter langen Hang sowie im Auslaufbereich verfolgen. Die FOH-Position selbst befand sich fünfzehn Meter weiter hinten, versteckt hinter einer Videoleinwand. Die nicht IP-zertifizierten JDC1 überstanden das mehrtägige Winter-Event bei Schnee und Regen unbeschadet.
Lichtdesigner Andrew Dawson, der bereits im letzten Jahr an der Veranstaltung mitgearbeitet hatte, war über eine Empfehlung auf die hybriden Strobes von GLP gekommen. Er tat sich mit seinem alten Freund (und langjährigen Mitarbeiter) Matt Chambers von PSI (Production Service Industries aus St. Catherines, Ontario) zusammen, der seinerseits als Account Manager und Show Services Manager fungierte und über den Hauptauftragnehmer Cass Audio Productions tätig war.
Das GLP-Material wurde von dem in Toronto ansässigen Unternehmen Christie Lites geliefert. Dimmertechniker war Antony Kahil. Einem zweitägigen Aufbau folgten ein Probentag, fünf Showabende und der anschließenden Abbau. Dem vorausgegangen waren vier Tage Vorvisualisierung.
Vier Türme mit je zwei freistehenden JDC1 wurden auf beiden Seiten der Landefläche aufgestellt. Die restlichen Türme wurden um das Gelände herum errichtet. Die Piste selbst wurde auf etwa 42° eingestellt, bevor sie im Auslaufbereich abflachte. Andrew Dawson programmierte die Scheinwerfer im 68-Kanal-Modus 3 und ließ die Show über eine GrandMA3 laufen. Er setzte die Scheinwerfer als Blinder, Washlights und Strobes ein, Pixel-Effekte, Eye Candy und Gassenlicht inklusive.
Das Intro und das Outro der einzelnen, jeweils 40-minütigen Shows wurden nach Timecode abgespielt, wobei jeder Sportler über einen eigenen Soundtrack verfügte, den Dawson spontan mischte, während die Performer ihr Repertoire an Tricks und Comedy-Routinen präsentierten.
D&B system selected for Bethel Music show in South Africa
Bethel Music, part of the contemporary worship movement in the US, recently headed to South Africa for a two-night concert series. Alongside an appearance in Pretoria, Bethel Music led an evening of song and praise with the Henry Pike Worship Band at Meerendal Wine Estate, Cape Town, on March 25th. A D&B system, provided by Cape Town-based technical production company Golden Circle Events, was chosen to meet the technical requirements of the bands for the open-air event.
“A great deal of kit is required for a production of this size, including audio, backline, lighting, video and power supply”, says Golden Circle General Manager Lindsay Barton. “We worked closely with several other technical companies to organise the event, whilst loudspeakers were sourced by us, C&S Audio and Ultra Events.
On the day of the event, heavy rains made for a challenging set-up environment. Despite the conditions, an enormous system was deployed including 48 flown V-Series line array loudspeakers, sixteen flown V-Series V-Sub subwoofers, twelve B22 subs in a cardioid sub array, four V7Ps as front fill and twelve Q1s, all driven by D&B’s D80 and D12 amplifiers.
“Getting the subs to spread wide enough and to project all the way to the back at the same time was initially challenging, but with a few adjustments, we were able to achieve the desired coverage, reaching a distance of 170 metres to the back of the busy crowd and covering a width of 100 metres”, explains Barton. Despite the downpours, an estimated 17,000 people attended the evening of worship, song and celebration with Bethel Music.
(Photos: Stage Audio Works/Golden Circle Events)
Yann Windey chooses Chauvet for Nerdland Festival
Since recent reviews of the Nerdland Festival in Wachtebeke, building on the enthusiasm of nerds of all ages, were universally positive, it was decided a show at the Lotto Arena in Antwerp would be next. Featuring presentations on scientific wonders and a visual spectacle, the “Nerdland for Small Nerds” show provided entertainment for young and old alike.
A significant contribution to the visual aspect of the show was the lighting design by Yann Windey that made use of 68 Chauvet Professional fixtures supplied by Splendit. “For the past few years, I have been closely involved creatively and technically with projects by Working Class Heroes, so this was a project I looked forward to working on”, says Windey, owner of WNDY. “The hosts of the session in the Lotto Arena, Lieven Scheire and Hetty Helsmoortel, bring a great deal of energy and genuine enthusiasm to the program, so we tried to reflect that attitude in our lighting.”
“Pre-made content was created for the LED screens, so it was essential that we matched them in terms of colors and overall look”, he continues. “We found that a mix of warm and cool palettes, combined with different accent colors worked best, taking into consideration practical considerations as well. For example, the ‘football robots’ could not function properly under overly bright blue or red light. We had to balance the lighting carefully to meet the technical requirements of the equipment. No one wanted to see the robot featured in the event drive off the stage because it couldn’t see the field properly.”
Windey also had to ensure that the hosts and personalities on stage were readily visible to members of the audience. To do this, he used his eight Maverick MK2 Profile fixtures. “The profiles were very effective in key lighting for both the main talent, Hetty and Lieven, as well as all the guest acts and band members”, he says. “The group would sometimes appear across the entire stage and yet still needed to be spotlighted from a close range.”
The rig’s nine Colorado Batten Q15 fixtures were used to create a warm and inviting atmosphere. These units also served as footlights. Meanwhile, creating looks from multiple directions were fourteen Maverick MK2 Spot fixtures, which were positioned above the video screens as well as on the stage deck. At times, Windey sent gobos from these fixtures out to the audience to strengthen their connection to the young crowd.
Rounding out the rig were sixteen Maverick MK2 Washes, five Colorado Panel Q40 units used around the band setup on the C stage, and sixteen Strike 1 fixtures. “The Strike 1s were the tools for achieving our goal of accentuating a wide range of effects, such as powerful canon shots and flames”, says Windey.
(Photos: Chauvet Professional)
Lenny Sasso lights UnderOath with Chauvet
“It’s funny, I got into this business because I love light, but as time’s gone on, I’ve found myself being more drawn to using darkness as a design tool”, says lighting designer Lenny Sasso. “Playing with shadows makes the darker moments feel darker, and the brighter ones feel brighter.” Sasso has been balancing these opposite forces to conjure up the looks for UnderOath’s current 24-city “Blind Obedience Tour”.
Keeping his front lighting “to an absolute minimum”, and sticking with monochromatic or basic two-toned color schemes, Sasso is endowing the stage with an underground aura that fits his client’s brand of metalcore music. Critical to creating the light that plays out on the stage against the shadows, often from side or off-center back angles, are thirteen Chauvet Professional Colorado PXL Bar 16 motorized tilting battens, which, like the rest of the rig, was supplied by Sonus Productions.
“I have the PXL16s side loaded to cover a sidewashed look”, says Sasso. “This has allowed me to create some half lit shadows on the band members’ faces that gives you a sense that they’re somewhere between light and darkness. I am also using the battens for some silhouette looks.”
Sasso is mounting six of his Colorado PXL Bars (two apiece) on downstage, midstage, and upstage side poles. From these positions, the units fill the downstage edge, and the midstage, as well as the space between the band members on the risers. The seven remaining battens are arranged in a straight line across the upstage deck, directly between the risers and the spot towers. This creates a wall of light behind the band that, in addition to providing a potent backdrop, serves to hide the spot towers in the rig. The Colorado PXL16 fixtures are being run entirely over ethernet. “For the first time ever, I am using virtually no DMX on stage”, says Sasso. “My entire PXL16 run is done over ethernet. I mainly did this because I’m using each fixture in the 186ch Tour Mode.”
Since UnderOath thrives on audience interaction, Sasso made sure to include a healthy serving of crowd lighting in this design. “The band has several moments, such as the bridge of ‘Dangerous Business’, the bridge of ‘Writing on the Walls’, and the bridge of ‘Hallelujah’, that are characterized by massive crowd chant moments”, he says. “When this happens, I am pointing every PXL toward the audience and throwing them in the widest zoom possible.”
Sasso has timecoded almost every accent hit, every big snare roll, and every fill in this show in an effort to have the lighting follow the music seamlessly with a palette that reflects the mood on stage.
(Photos: Randy Edwards)
New Canadian TV song competition lit with Ayrton Zonda 9 FX
Quebec’s KOTV is wrapping up the first season of “Zenith”, a new concept in live musical competition broadcast by Radio Canada, where song stars of different ages fight for the votes of an audience of 100 judges representing four generations. Lighting Designer Martin Labrecque selected Ayrton Zonda 9 FX fixtures for the show.
Labrecque, who is currently working on the new Cirque du Soleil production, teamed with the set designer to create the visual look of “Zenith”. “I built a lighting kit to hand off to DP and Lighting Director Yves Aucoin, who does the weekly show, so he has the flexibility to light the many different looks required by a variety show”, he explains.
“Zenith” marks the first time that Labrecque has used Ayrton Zonda 9 FX fixtures. He obtained sixteen Zonda 9 FX from event production agency Creativ Nation in Montreal, which has an extensive inventory of the fixtures. At the start of the series Labrecque hung all sixteen fixtures on the grid.
“I thought they’d be used mostly as a wash creating a large beam of light with wide shots showing the LiquidEffect”, he explains. “Then, in the middle of the series, Yves decided to put five of them on the floor so now you see the LiquidEffect used more as eye candy behind the participants.” Lighting Programmer for “Zenith” is Eric Belanger.
(Photos: Benoit Rousseau)
Klar&Deutlich beschallt Göttinger BBL-Events mit Coda Audio
Der Basketball-Erstligist BG Göttingen muss aus sicherheitstechnischen Gründen gelegentlich seine eigentliche Wirkungsstätte, die Göttinger Sparkassen Arena, verlassen und Heimspiele in einer Ausweicharena austragen. Erste Wahl hierfür ist die Lokhalle Göttingen, eine ehemalige Industrielocation der Deutschen Bahn mit einem Fassungsvermögen von bis zu 3.700 Zuschauern. Für die Licht- und Tontechnik sorgt dabei die in Bovenden ansässige Firma Klar&Deutlich Veranstaltungstechnik.
„Die Anforderungen der Basketball Bundesliga (BBL) an das Licht sind sehr hoch“, sagt Jannik Nyga, neben Nils Kerll Geschäftsführer von Klar&Deutlich. „Um sie zu erfüllen, muss man viele Lichtsysteme installieren - das braucht einen großen Teil der Dachlast auf. Für die Pro-Audio-Systeme bleibt da leider nicht mehr so viel übrig.“ Das Licht sei unter anderem wegen der Fernsehübertragungen von großer Bedeutung.
Was die Beschallung angeht, habe man pro Flugpunkt nur noch maximal 200 bis 250 Kilogramm für Lautsprecher, inklusive Motor und Kabel, übrig gehabt, so Nyga. Das Team von Klar&Deutlich entschied sich deshalb für Beschallungs-Systeme von Coda Audio. Sechs ViRay-Topteile wurden an die Punkte gehängt.
Für die Pausenbeschallung habe man ursprünglich ein Bass-Cluster mittig über das Spielfeld hängen wollen. Dies ließ sich jedoch aus diversen Gründen nicht realisieren. „Deshalb ist es notgedrungen eine Vier-Punkt-Beschallung geworden - und das hat auch hervorragend funktioniert“, sagt Nyga.
Beim Spiel BG Göttingen gegen MLP Academics Heidelberg kamen audioseitig 24 kompakte 3-Wege-Line-Array-Systeme ViRay (Haupttribüne), sechzehn ultrakompakte 3-Wege-Line-Array-Systeme N-Ray (Fantribüne), acht Sensor Controlled Subwoofer SCV-F (4 x 2 geflogen) sowie zwei 3-Wege-Multifunktionslautsprecher G712-Pro zum Einsatz. Für den Antrieb sorgten fünf Compact-4-Kanal-Touring-Linus-M-Rack.
(Fotos: Jannik Nyga/Klar&Deutlich)
The Activity, TAG and Elation team up for Ultra Music Festival
Patrick Dierson and the team at The Activity were again called on to handle production and lighting design for the Main Stage at the Ultra Music Festival in Miami and this year delivered a visual presentation with the help of Elation Professional IP-rated lighting and Netron data distribution devices. The Activity collaborated closely with Ultra’s Creative Director Richard Milstein, as well as TAG (Technical Arts Group), the primary lighting and video vendor for the Main Stage.
Ultra’s flagship festival in Miami is one of the world’s largest electronic music celebrations. This year’s event, at Bayfront Park, ran from March 24-26 and featured a lineup that included Martin Garrix, Eric Prydz, Carl Cox, Rezz, Swedish House Mafia, Alesso, and many more. The Activity has been involved with the festival for over ten years. For this year’s event, Richard Milstein came up with an overall production design for the Main Stage.
As part of the pre-production process, The Activity traditionally operates in conjunction with Ultra’s creative designer, Technical Producer Ray Steinman, the event production team, and chosen vendors to bring Milstein’s vision to an engineered reality. This year, Milstein’s concept included a massive amount of production elements placed throughout the space to complete a visual balance.
The look was primarily hexagonal in nature with undulating curves flanking the stage. Dierson says it was not just about lighting and video. The concept incorporated a plethora of pyrotechnic effects across the length of the downstage edge as well as the roof, cryo jets, water features that incorporated flame dancing atop fountains, and full fireworks displays every evening.
Elation fixtures played a large role in the design and according to Dierson most of the units were chosen not just for their expected performance but also their IP65 ratings. Active within the rig were 92 Proteus Hybrid moving heads, 27 Pixel Bar 60 IP, 48 Paladin Panel flood and effect lights, and 294 SixBar 1000 IP, all IP65-rated luminaires. TAG turned to thirty Netron EN12 nodes from Obsidian Control Systems to drive the Main Stage.
The Proteus Hybrid moving heads served as workhorse units that were completely exposed on the sides of the stage. They were spread across four separate layers of truss and video. The linear SixBar 1000s provided the bulk of the LED strip lighting, lining both layers of Proteus trusses on the external sides of the stage, as well as a densely populated “hex” or “arrow” pattern directly above the center of the stage.
For the interior of the stage, Dierson sought a “bright bucket of intense light” to outline the vertical hex video wall, as well as two flanking areas of truss downstage left and right. Paladin Panels were chosen, which were so intensely bright that they had to be limited to 20% of their output for the majority of the event. The Pixel Bar 60 IPs were chosen to enhance the symbol of every Ultra Music Festival stage - its iconic “U” truss configuration mounted at the top center of the structure. Complemented with LED video panels, the Pixel Bar 60s helped to outline the truss structure and maintain the pixelated visual all the way to the top extent of the stage.
Working on this project alongside Richard Milstein, Ray Steinman and Patrick Dierson were TAG Project Managers Kevin Mignone and John Gonzalez, TAG Lighting Crew Chief Russell Felton, TAG FOH Technician John Flanagan, TAG Video Crew Chief Mike Wurtz, and the TAG Crew comprising Michael Hale, Lowell Hawley, Abraham Carrillo, Geoff Ford, Justin Volpe, Ed Amico, Albert Chipperson, Jonathan Gue, and Amilcar Fernandez.
Grant Davis was the Video Director, Laser Director and SFX Director were Jeff Cornell and Lusi Torres, respectively, both from JDFX. Neil Rosenstock (Audio Lead) and Justin Gauthier/Premier Global Productions (Rigging & Automation) were also involved.
(Photos: Rutger Geerling - rudgr.com)
Parker McCollom on tour with Chauvet
Texas-born country music singer Parker McCollom is currently on tour with a Chris Lisle lighting design that often immerses the star and his band in an amber glow created with Chauvet Professional fixtures.
“I personally love using ambers”, says McCollom’s lighting director, Alex Sanchez. “They warm up the stage beautifully and look great in photos. This year we are using custom video content that has a lot of amber, so that’s reflected in the lighting as well. We’re also creating some silhouette glows with tungsten looks. Seeing the performers having that tungsten halo come up from behind them has such a powerful impact.”
The rig’s 24 Color Strike M motorized IP65 fixtures are used as washes, strobes and blinders. “They’re effective when we want a big general color wash over the band to dramatize some moments”, explains Sanchez. “We also use the double white tubes in these fixtures for big hits with the band. Then, during sing-along moments, we focus them on the audience.”
Sanchez, along with his L1 Peter Zellan, and L2 Matthew PJ Row, use their rig to involve the entire crowd in the moment. Varying the direction and color of audience lighting, they avoid repeating looks to create greater engagement with fans. “Parker interacts with the crowd a lot, so we change up the audience lighting”, says Sanchez.
Joining the Color Strike M and Strike 1 units in the rig are the Rogue R2X Wash, R3X Spot, and R2 Wash. Positioned throughout the stage, these fixtures are used to create specials, backlighting, and silhouette effects.
(Photos: Chauvet Professional)
Mike Oldfield’s Tubular Bells Tour on the road with EM Acoustics’ Halo and EMS series
A celebration of Mike Oldfield’s debut album “Tubular Bells”, the Tubular Bells 50th Anniversary Tour has recently finished up its UK concert circuit. The concert tour, conducted and arranged by Oldfield’s long-term collaborator Robin Smith, featured the Royal Philharmonic Orchestra, who performed the entire album in sold-out venues across the UK in the Spring of 2023.
An EM Acoustics system, consisting of Halo and EMS series loudspeakers, accompanied the tour and was deployed in a total of 32 venues over the course of two months. AV installation and rental company Show Works became involved in the project during the initial phases, having worked closely with the event’s producers on previous projects.
Show Works specified an EM Acoustics system consisting of Halo-B and Halo-C as well as EMS-129s and EMS-81s. Two DQ20 amplifiers were deployed to drive the main part of the system. “I used XLRs in failover mode in case the Dante network went down, but it was fairly smooth throughout the tour”, says Tubular Bells Tour Sound Engineer Sam Ferstenberg.
(Photos: Sam Ferstenberg)
Het Amsterdamse Winterparadijs lit with over 600 Chauvet fixtures
For eighteen days this winter, the Het Amsterdamse Winterparadijs event turned RAI Amsterdam into an enchanted world that filled 38,000 square meters of indoor space (plus 5,000 square meters outdoors) and including a market, massive indoor-outdoor ice skating rink, snow play area, Ferris wheel, Apres cross country skiing trail, silent disco, and a variety of food and drink options, as well as on-stage performances by different artists.
Providing the technical production that supported this event, produced by 4PM Entertainment, was Unlimited Productions. For the lighting, the production specialist relied on over 600 IP65 rated Chauvet Professional fixtures supplied by Splendit. “We wanted to avoid external rain protection such as domes to keep a clean look and not distract from the magical mood of the visitor’s experience”, explains Unlimited Production’s Bert Kelchtermans, the production manager of the event.
Unlimited Productions used 222 Colorado Quad Zoom fixtures in the space, most of them (162 units) were dedicated to creating general atmospheric lighting and accenting scenic elements, while the remainder were positioned in the eating and drinking areas. Most of the 54 Colorado Batten Q15 linear fixtures were used to define walkways and waiting areas with colorful light, while other units created an eye-pleasing effect on two round shrimbars.
Sixty-eight Colorado Q40 fixtures were sprinkled throughout the attraction for general lighting. In addition to the Colorado units, the lighting package featured 46 Color Strike M fixtures, used for general lighting. Lighting other areas, where manually focusing lights was not practical, were 34 Rogue Outcast BeamWash fixtures. Other moving light that figured prominently in the design were eight Maverick MK2 Spot and 32 Rogue R2 Wash fixtures, both of which were used to light performance stages. Also featured in the lighting system were 32 Strike P38 units.
The event space was divided into different areas for the purposes of lighting. In some areas warm color tones were used to set a cozy mood, while in others, a cool blue tint was used to reflect the spirit of wintery outdoor activities. At the Apres ski area, Kelchtermans used twenty Maverick MK Pyxis fixtures to create “a typical bar look with lights that would be on sound-to-light mode”, as he puts it.
(Photos: Chauvet Professional/Unlimited Productions/4PM Entertainment)
Johannes Felber setzt Anne-Frank-Musical in Wien mit Moving Lights von ETC in Szene
„Anne Frank - Ein poetisches Musical“ feierte am 27. Januar 2023 in der Stadtgalerie Mödling (bei Wien) Weltpremiere. Die Uraufführung des von Norbert Holoubek inszenierten Stückes fand anlässlich des Internationalen Holocaust Remembrance Day statt. Für die Beleuchtung sorgte der österreichische Lichtdesigner und Workshop-Dozent Johannes Felber.
Im Fokus seines Licht-Konzeptes standen vier Lonestar-LED-Moving-Lights von ETC. Die Scheinwerfer stammen aus Felbers eigenem Bestand. Mitte letzten Jahres hatte der LD, der vorher in Theatern als Beleuchter angestellt war und seit 2019 selbstständig ist, einige Lonestar-Scheinwerfer gekauft.
„Anne Frank - Ein poetisches Musical“ ist von zwei Stimmungspolen geprägt. „Der erste Akt ist noch recht fröhlich und Musical-artig. Das habe ich auch entsprechend ausgeleuchtet“, erklärt Felber. „Der zweite Akt spielt allerdings im Versteck. Es gibt noch ein paar wenige Lieder, doch es entspricht mehr einem Sprechtheater. Das Licht habe ich angepasst und es weniger effektvoll, schlichter und ernster gehalten.
Basierend auf diesen unterschiedlichen Stimmungen habe Felber beinahe jedes Feature des Lonestars genutzt. „Ich war über jede enthaltene Funktion froh“, sagt er. „Auch, da man aufgrund des begrenzten Platzes und des nicht gerade üppigen Budgets mit sehr wenigen Lampen viel erreichen musste.“
Neben dem Lonestar-Quartett gehörten unter anderem noch mehrere ETC-Source-Four-jr-Scheinwerfer sowie eine ETC-Ion-Konsole zum Licht-Setup. Die Ion benutzt Felber bereits seit einigen Jahren. „Es ist schon ein etwas älteres Modell, trotzdem läuft die aktuelle Software darauf“, sagt er.
(Fotos: Helmut Rasinger/Halmen Photo Design e.U./Johannes Felber)
Showtec unterstützt Lichterfest auf Burg Eltz
Am Abend des 11. März 2023 verwandelte sich Burg Eltz in der Nähe von Wierschem (Rheinland-Pfalz) in ein Märchenschloss. Peter Baur von LED Lichtkunst ließ die Burg in neuem Licht erstrahlen.
Die Beleuchtung war Teil eines Lichterfestes mit einem 2,3 km langen Rundweg durch den Eltzer Wald, das mehrere Hunderte Menschen besuchten. Dabei war die Burg (bekannt von den alten 500-DM-Scheinen) das Highlight des Abends. Deshalb gab es auch eine Fotostation mit einem 500-DM-Schein, auf dem die Burg ausgeschnitten war.
Die Beleuchtung kam durch LED-Scheinwerfer wie den Showtec Helix S5000 Q4 und einige ältere Produkte der Marke zustande. Da die Veranstalter großen Wert auf Klimaneutralität legten, stammte der Strom größtenteils aus Speichereinheiten und Batterien, die von einer Solaranlage geladen wurden.
(Fotos: Christin Dietrich/Hetpix)
IPS supports drama of “The Thorn” with visuals from Elation
Lighting Designer Caleb Franke, Vice President of Design & Operations at Illuminate Production Services (IPS), is using a large package of Elation Professional lighting for the drama “The Thorn”, a modern day Passion play. The immersive theatrical show combines modern dance, music, martial arts and aerial acrobatics with lighting and visuals. The play has been staged yearly since 1998. The current 10-city tour launched on March 1 in Loveland, Colorado, and ends on April 8 in Miami.
This year, IPS provides audio, video, lighting, staging and special FX for “The Thorn”, their tenth year working with this theatrical production. Elation has also featured in IPS’s visual design for the show for many years. Caleb Franke is serving as lead lighting designer on the project. He comments, “This show is often affectionately described as ‘Passion of the Christ meets Cirque du Soleil’ so it’s truly a theatrical journey filled with moments ranging widely from subtle to celebratory.”
“The Thorn” has toured in churches for nearly a decade but this year the production moved to performing arts centers and arenas. According to Franke, the move has made many aspects of the show more consistent and efficient: “In the past, because church venues vary so much in design and layout, we were redesigning and deploying new custom solutions for the show every week. This took a lot of time and creative solutions to accommodate. Now that we are in larger open spaces, we’ve reduced many of these challenges. Keeping a similar design from venue to venue translates into faster load-in and load-out, and a more prepared crew and cast.”
Used to flood the stage in color and break-up textures, as well as provide mid-air beam looks are a variety of lights in Elation’s Fuze, Proteus, Rayzor and SixPar series along with other luminaires. Many have been staples of previous productions but new to this year’s rig are Fuze Max Profiles. “These fixtures replaced the Artiste DaVinci moving heads that have served the tour for a few years”, says Franke. “The Fuze Max Profiles serve as the primary stage profiles, but also back light, side fill, and even feature somewhat in the floor package.” The Fuze Wash FR, an automated LED Fresnel fixture with framing, is being used as the primary followspot fixture.
A host of Proteus series lights are being used in the production including Proteus Maximus, Proteus Lucius, Proteus Hybrid, and Proteus Rayzor 760. “The Proteus Maximus are being used as the primary profile front light fixtures as well as the downstage center light that we call the ‘cross light’”, states Franke. Additionally, a pair of Therma Tour 800 hazers from Magmatic effects are providing a fine, long-lasting atmospheric haze.
In order to reach an even wider audience, “The Thorn” was filmed for the first time, playing in theatres across the U.S. in early March 2023. IPS played a role in the filming, handling lighting design and providing audio, video, lighting, staging and special FX. “Many of the Elation fixtures used in the live show were used in the film”, says Franke. “We use Elation fixtures for our video lighting every day.”
The complete list of Elation gear being used for “The Thorn” reads as follows: 12 x Fuze Max Profile, 6 x Fuze Wash Z350, 1 x Fuze Wash FR, 6 x Proteus Maximus, 6 x Proteus Lucius, 8 x Proteus Hybrid, 15 x Proteus Rayzor 760, 8 x Rayzor 760, 8 x Rayzor 360, 8 x Platinum HFX, 14 x Platinum Beam Extreme, 8 x SixPar 100, 4 x SixPar 200, 6 x Cuepix 16 IP, 8 x Protron 3K, 161 x EPT6 IP, 2 x Magmatic Therma Tour 800.
Teaming up with Caleb Franke are Rick Franke (Lead Production Manager), Creighton Stack (Lighting Tech and Lighting Operator), Joshua Gerstenberg (Lead Tour Rigger), Bryce Adams (Led Video Wall Tech and Show Control), and Joe Bettis (A1 and Production Manager).
(Photos: Aslanian/Jeffrey Miller/Creighton Stack)
Robe stages Lir Open House event and expands Irish operation
Robe lighting staged a recent Open House event in partnership with The Lir National Academy of Dramatic Arts at Trinity College Dublin. The Lir Academy offers conservatory training for the theatre, film and television industries.
The Open House platform proved ideal for showcasing some of the manufacturer’s latest products and technologies, including its Painte, iForte and LEDBeam 350 moving lights, the T11 static luminaire range, the T11 Profile manual follow spot and the RoboSpot system. These were showcased to a range of lighting professionals plus students on the Lir’s Stage Management and Technical Theatre course. The Lir’s main studio provided the venue space and backdrop for the event which built on a similar one last year, the first since COVID.
Visitors travelled from all across Ireland (northern and southern) - a mix of lighting designers, rental companies, venue managers and others from educational and commercial worlds, reflecting the general current industry buzz and interest in live music and entertainment in Ireland. The set-up day further facilitated an opportunity for students from other local schools to look more closely into the world of entertainment lighting and train on some of the kit. Robe’s RoboSpot remote follow system was highlighted again this year. The Open House event also proved an opportunity to showcase the first production unit of Robe’s Manual Follow Spot (MFS).
Robe UK’s sales director Ian W Brown was a key presenter at the Open House, together with Gavin Mooney, Robe Ireland’s new sales and business development representative. Mooney is one of the Lir’s Stage Management and Technical Theatre course alumni and an example of how a career can launch and grow from this academic space.
Whilst at the Lir, he became involved in the NRG (Next Robe Generation) programme which led to the opportunity of working as sales support on Robe’s PLASA stand, among other events. Now, working directly for the brand in a very special market, the scope of his work will include facilitating Robe users/customers in Ireland as well as developing Robe’s business in new areas.
Will Blackie, who also recently joined Robe UK in a technical sales support capacity, was heavily involved in the Open House delivering onsite training and product demonstrations, and will also provide pivotal technical support to the sales team.
(Photos: Robe UK)
Ayrton Diablo on stage with “The Little Prince”
“The Little Prince” by Antoine de Saint-Exupéry, directed by Stefano Genovese, made its debut appearance eighty years after its publication in a theatrical production that toured Italy from Rome to Milan in February 2023, and will land in France and the rest of Europe next Autumn.
Lighting designer Giovanni Pinna chose eighteen Ayrton Diablo fixtures for the theatrical staging. “The Diablos, rigged at different depths across the stage, were used for all selective and shaping work, sculpting the stage with light, as well as for effects (gobos-prisms) and for different situations using frost and wide zoom”, says Pinna. “As far as the concept of the project was concerned, we moved from very static and typically theatrical moments to very dynamic and musical ones where effects and movement became the protagonists. Throughout the show, the Diablos were always 'on stage’.”
“The Little Prince” played in Rome at the Sistina Theatre from 3-12 February, in Bologna at the Celebrazioni Theatre from 16-19 February, in Turin’s Colosseo Theatre from 23-26 February, Florence’s Tuscany Hall from 2-5 March and will play in Milan’s Repower Theatre from 23 March-2 April. The Ayrton Diablo fixtures were supplied by technical production and rental company BOTW of Rome.
(Photos: Fabrizio Moggio)
Varilite delivers looks and effects for Miley Cyrus
American singer Miley Cyrus returned to US screens recently for a massive live-broadcast party with a host of star guests. Taking place at Miami's Telemundo Studios, it featured classic rock'n'roll lighting effects mixed with a Miami club style setting, achieved using Varilite VL5LED Wash luminaires from Signify. The DX7 Design team delivered the lighting design, specifying a series of the VL5LED Wash fixtures which were mostly rigged to the arches of the main scenic structure over the main stage.
"This was our third TV show with Miley and on each one, she has opted for a more lighting-based design with almost no video", explains Tom Sutherland, CEO and Lead Designer at DX7 Design. "She is a big fan of the more traditional lighting looks, which is why we had a large PAR wall as our background, as opposed to a video wall. Positioning the VL5LEDs on the arches really helped to compliment the production design as well as provide a nice background for any side or low camera shots."
Her decision to include the PAR wall as opposed to a video screen, with a lot of beams and moving lights, meant that the DX7 Design team needed to ensure they had the tools needed to provide the different and dynamic looks for the many musical numbers, but also keep a very traditional aesthetic when needed that complemented the large PAR wall.
The design for the New Year's Eve show was heavily connected to the Production Design of Keith Raywood and Cyrus's vision and personal aesthetic. The DX7 Design team took full advantage of the VL5LED fixtures' vintage styling with the Dichro fusion blades, which are based on the classic Varilite VL5 and offer a strong visual impact. The looks achieved went into overdrive as a host of stars joined Cyrus on stage, including Australian singer Sia, celebrity Paris Hilton, and Cyrus's godmother Dolly Parton, who duetted with Cyrus on her power ballad "I Will Always Love You".
The VL5LED luminaires were supplied to the show by Solotech, with programming by Mark Humphrey and Nate Files, and lighting direction by James Coldicott and Jasmine Lesane. Miley's New Year's Eve Party was broadcast live on on NBC and Peacock.
Robe lights the way for MacBeth
The New Zealand Opera's recent acclaimed production of Giuseppe Verdi's MacBeth unleashed a classic and grisly narrative of power, politics, corruption, murder and authoritarianism. Lighting designer Matt Marshall specified and used Robe T1 PC moving lights to provide special soft back lighting to delineate the cast and evoke a sense of separation between them and the large scape video projections across the set.
The performance opened at the Aotea Centre in Auckland, then travelled to the St James Theatre in Wellington and the Isaac Royal Theatre in Christchurch. It was the first opera that Matt has lit using T1 PC fixtures and his first creative collaboration with British director/designer and video artist Netia Jones, who designed set, costumes and video as well as directing the work. Projected images played a prominent role in the dramaturgy, beamed onto three imposing scenic walls making up the set.
With video projections so fundamental to the action and aesthetics, this also informed the way Matt lit the stage and cast. It was needing a specific and refined back light to give depth and three-dimensionality which led him to T1 PC to make the characters pop out but not affect the impact of the images. The production's visual style was very noir with multiple greyscales, monochromacy and sharp contrasts, so he needed a crisp, cold white to complement and contrast with this for which the seven T1 PCs were the solution.
Having previously used T1 and T2 Profiles on shows for the Western Australian Ballet in 2021, he knew that the products were ideal for this environment, but it was the quietness that really impressed him. It's also something that is essential for opera, as everyone involved in this genre of performance is acutely conscious of ambient noise levels. Other features like the accurate shuttering system and super-smooth dimming were also useful, especially when confining light to specific areas and preventing spill onto the set.
The general challenge in lighting this production was accentuating all the nuance and intrigue involved as Francesco Maria Piave's libretto was unfolded, capturing the intricacy and narcissism of the characters and the cynicism of their actions. There had to be a constant and complete balance between the two visual media - light and moving image - to enhance the compelling storytelling, and Matt enjoyed working with Netia to create this fluidity and sense of visual spectacle.
The set was essentially a giant angled box wrapping an almost bare stage, so the trick was penetrating this space and using it properly and intelligently to relate the story. Fixture placement was absolutely critical in each venue, and lights had to be rigged on drop bars and other rigging infrastructure to get them spot-on, as no luminaire could be below the 10-metre projector pathway.
The moving lights were supplied to the production by Wellington-based Grouse Lighting.
photos: Grant Triplow
Cameo beleuchtet 110. Six Day Radrennen
Vom 27. bis 29. Januar 2023 fand im Velodrom Berlin das 110. Six Day statt. Das auch als Sechstagerennen weltbekannte Radrennen gehört zu den absoluten Sport-Highlights der Hauptstadt und schickt die Profis auf ein beeindruckendes 250-Meter-Oval. Für die Beleuchtung im Velodrom zeichnete in diesem Jahr die AVM Event Veranstaltungstechnik & Service GmbH verantwortlich, die bereits jahrelange Erfahrung mit dem Six Days-Ableger in Bremen hat. Mit mehr als 300 Cameo-Scheinwerfern setzte der Full-Service-Dienstleister in Berlin dabei auf ein umfangreiches Lichtsetup.
Wenn die Radsportler mit Spitzengeschwindigkeiten von bis zu 80 km/h ihre Runden drehen, braucht man vor allem eine helle und homogene Ausleuchtung der Rennbahn. Diese Aufgabe übernahmen die von AVM Event eingesetzten 116 Cameo Zenit W600-D LED-Washlights, die mit ihrem hochauflösenden Dimmverhalten und den Torblenden eine präzise, ausschließlich auf die Rennstrecke beschränkte Ausleuchtung ermöglichten. Jens Wiegandt, Inhaber von AVM Event: "Die LED-Washlights sorgten für eine geringere Hängelast und ermöglichten es dem Team, die Scheinwerfer auch als Blinder im Showlicht-Design zu verwenden."
Neben den Zenit setzte AVM auf 70 Cameo Opus H5 Beam-Spot-Wash Hybrid-Moving-Heads, um Gobos auf die Bahn zu projizieren und Effektbeams in der gesamten Halle zu erzeugen. Ergänzt wurde das Showlicht-Design durch 24 Opus S5 Spot-Moving-Heads, um unter anderem Kunstradfahrer im Hallen-Innenraum in Szene zu setzen. Für weitere Aufgaben in und außerhalb der Halle, darunter die Beleuchtung der Taxi- und Shuttle-Haltestelle, kamen wiederum Zenit W600 LED-Washlights mit RGBW-Bestückung zum Einsatz. In der VIP-Lounge des Velodroms sorgten zudem die akkubetriebenen Modelle B200 und B60 C LSD für eine flexible wie dezente Ambient-Beleuchtung.
Für die Cameo Otos H5 Hybrid Moving Heads hatte AVM eine besondere Aufgabe vorgesehen. Direkt an der Showbühne platziert, mussten die IP65-fähigen Hybrid-Moving-Heads nicht nur die Showacts in Szene setzen, sondern auch den Champagner-Duschen der Siegerehrungen standhalten. Dank des Strahlwasserschutzes konnte das Team die Scheinwerfer nach jeder "Dusche" problemlos mit einem Wasserstrahl reinigen.
LD Bobby Grey creates retro look for Stephen Sanchez
Lighting designer Bobby Grey of Notan Creative was brought in by 24/7 Productions to design a series of late night talk show appearances for singer-songwriter Stephen Sanchez and chose to incorporate Elation Professional's KL Fresnel 8 FC soft light as a retro look fixture in his design for a February performance on "The Late Late Show With James Corden."
For the performance Sanchez teamed with Em Beihold to deliver a remarkable duet of his hit "Until I Found You". The collaboration - their first television performance of the song together - brought together two of music's most exciting breakout stars for one memorable performance.
LD Grey placed 10 KL Fresnel 8 FC fixtures on C stands for a vintage Fresnel backdrop look. "I just love a Fresnel and feel it really personifies light as art. A big Fresnel has this great vintage Hollywood feel", Grey stated, explaining that he originally tried to retrofit a classic 10" Fresnel with LEDs inside to get a color-changing glow but gave up on the idea. Ideal for broadcast applications that require high-quality, high-output soft light, the KL Fresnel 8 FC employs a 500 W RGBMA LED engine (CRI 92) to emit a diffused wash of full-spectrum light that includes dynamic whites.
Sanchez's Late Late Show performance was the designer's first time using Elation's KL Fresnel series. The appearance was one of two Late Late Show performances that Grey lit for Sanchez, along with a performance on "The Tonight Show Starring Jimmy Fallon". The appearances continue a busy season for Sanchez who recently unveiled a new single "Evangeline" and is playing sold-out shows across the U.S.