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Elation IP line lights Château de Chambord for French TV show

15/07/2021

Henk-Jan van Beek setzt Lichtdesign beim Eurovision Song Contest mit Robe um

14/07/2021

Kristof Van Mensel selects Astera for Scala & Kolacny Brothers

07/07/2021

Chauvet Rogue fixtures chosen for Pigeons Playing Ping Pong live show

06/07/2021

Bryson Tiller XR concert created with Robe

06/07/2021

GLP Creative Lights 1 plus bei David-Vidanos Release-Konzert im Einsatz

29/06/2021

Elation IP-rated rig highlights BYB Extreme Fighting series

29/06/2021

Chinese Ox sculpture illuminated by Astera

28/06/2021

Rally Estonia event lit with Robe

24/06/2021

Tom Kenny chooses Chauvet for Vax Live concert

21/06/2021

AV Stumpfl Pixera bei Benefizshow „Austria for Life“ im Einsatz

15/06/2021

Niller Bjerregaard uses ChamSys consoles for Volbeat shows

14/06/2021

4Wall includes Chauvet in Otis Howard’s rig for Miley Cyrus NCAA Tournament show

02/06/2021

Corona: Schallmeister beleuchtet Livestream in Schwarzkaue Herten mit Chauvet

28/05/2021

Robe illuminates Eesti Laul 2021

12/05/2021

Steve Kosiba turns to Chauvet for June Divided

11/05/2021

Ayrton Diablo for Dick Whittington at the National Theatre

11/05/2021

Sun Effects uses Elation Proteus luminaires for a variety of events

06/05/2021

Robe MegaPointes illuminate charity event and Sony product launch in Warsaw

06/05/2021

Corona: Chauvet fixtures chosen for virtual Jo Quail concert

04/05/2021

Shure-TwinPlex-Headsets bei „The Masked Dancer“-Premiere im Einsatz

23/04/2021

A phenomenon: Melodifestivalen 2021 in Sweden

23/04/2021

Fusion FS20 von GLP beleuchten Austragungsort der International Swimming League in Budapest

19/04/2021

Corona: Josh Turner’s socially distant shows lit with Chauvet

15/04/2021

Corona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im Einsatz

15/04/2021

Elation IP line lights Château de Chambord for French TV show

On the French television show ‘La chanson de l’année’ (The Song of the Year) on station TF1, the French public get to choose their favorite French song of the past year. Produced by DMLS TV, this year’s show featured a château backdrop with lighting effects from Elation IP-rated luminaires.

 

For the show, aired live on June 5th, the Château de Chambord in the Loire Valley, provided the backdrop for lighting designer Frédéric Dorieux to showcase the competing acts. Dorieux had at his disposal 148 Proteus Hybrid arc-source moving heads and 140 Arena Zoom Q7 IP Par lights, both luminaires from Elation’s outdoor-rated IP65 line.

 

Dorieux used the Proteus Hybrids from ground positions, as well as from across the front parapet of the château. The Arena Zoom Q7 IPs uplit the Château and highlighted the surrounding gardens. Dushow TV supplied all of the lighting and audio for the show. Elation French distribution is by Best Audio & Lighting.

 

(Photos: Seb.N/Best Audio & Lighting/Elation Professional)

 

www.elationlighting.com

 

Henk-Jan van Beek setzt Lichtdesign beim Eurovision Song Contest mit Robe um

Die Produktionsbeleuchtung beim Eurovision Song Contest (ESC) 2021 in der Ahoy Arena in Rotterdam (Niederlande) wurde von LD Henk-Jan van Beek von Light-H-Art geleitet, der eng mit den Co-Designern Bas de Vries und Martin Beekhuizen zusammenarbeitete.

 

Neben der Entwicklung eines allgemeinen Beleuchtungsdesigns für die Show arbeiteten sie mit allen Delegationen für ihre individuellen Shows zusammen - viele hatten ihre eigenen beratenden Lichtdesigner und künstlerischen Leiter dabei - und kreierten 39 individuelle Auftritte innerhalb des Gesamtdesigns der Show.

 

Henk-Jan van Beek spezifizierte 740 x Robe Moving Lights für die Veranstaltung, die mehr als ein Drittel des gesamten, 1.782 aktive Scheinwerfer umfassenden Beleuchtungs-Riggs ausmachten. Das gesamte Lichtequipment der Veranstaltung - plus Audio und Rigging - wurde vom niederländischen Rental-Spezialisten Ampco Flashlight, dem offiziellen technischen Ausstatter des ESC 2021 für Licht, Audio und Rigging, geliefert.

 

Laut Dennis van der Haagen, operativer und kommerzieller Direktor von Ampco Flashlight, wurde das Unternehmen nach einem offiziellen europäischen Ausschreibungsverfahren ausgewählt, um - erstmalig - drei Bereiche der Produktion auszustatten. Der die Liste an Geräten von Robe Lighting bestand aus 396 x Spiider, 220 x LEDBeam 150, 92 x BMFL WashBeam und 25 x Tetra2-Moving-LED-Bars, plus 12 x BMFL FollowSpot LT, die über 12 x Robe RoboSpot-Remote-Follow-Spot-Systeme betrieben wurden.

 

Florian Wieders Set-Design mit einer auffälligen, durchscheinenden Haupt-LED-Leinwand und quecksilbrig wirkendem Videoboden war für Henk-Jan van Beek der Ausgangspunkt für die Gestaltung der Beleuchtung. Van Beek und Wieder waren sich zu Beginn des Design- und Planungsprozesses einig, dass die „strukturelle Integrität“ der Bühne durch die Beleuchtung widergespiegelt und verstärkt werden sollte, mit klaren Linien und großen dramatischen Leinwänden.

 

Das Set enthielt eine beachtliche Fläche an LED-Bildschirmen, die zusammen mit Augmented-Reality-Videoinhalten für einige Pausenauftritte zusätzlich ihre eigenen Lichteffekte erzeugten, welche mit den echten Scheinwerfern abgestimmt und synchronisiert werden mussten. Automatisierungselemente wie Drehtüren, Washlight-Pods, Fallarme und verschiedene andere bewegliche Teile halfen dabei, verschiedene architektonische Looks für die Bühne zu schaffen.

 

Die 396 Robe-Spiider-LED-Wash-Beams wurden auf 44 Pods im Dach verteilt, wobei neun davon pro „Flower-Pod“ über den gesamten Veranstaltungsort geflogen und als „riesige Wash-Lights“ eingesetzt wurden. Vierzehn dieser Pods befanden sich auf dem Automationssystem und direkt über der Hauptbühne. Die 220 LEDBeam 150 wurden um die Bildschirme der Haupt- und B-Bühne sowie als nach außen fächernde Bodenbeleuchtung für beide Bühnen eingesetzt. Fünfundzwanzig Robe Tetra2 wurden in den Bühnenboden eingebaut, direkt vor der Videoleinwand auf der Hauptbühne, um wirbelnde Effekte zu erzeugen.

 

Das Publikum (3.500 Personen waren zu den drei Fernsehveranstaltungen zugelassen) erhielt Sitzplätze in der ersten Reihe der seitlichen Tribünen, während der Green-Room auf den Boden der Arena verlegt wurde, so dass alle Künstler und Delegationen quasi auch zum Teil des Publikums wurden. Um diesen Bereich zu beleuchten, wurden die ursprünglichen Pläne (aus dem Jahr 2020, in dem der ESC pandemiebedingt ausfiel) überarbeitet und die 92 x BMFL WashBeam sowie die BMFL FollowSpot LT (Long Throws) an den Traversen für die Front-, Publikums- und Green-Room-Beleuchtung des gesamten Raums angebracht. Dadurch wurde gewährleistet, dass alle Nahaufnahmen im Green-Room eingefangen und sauber für die Kamera ausgeleuchtet werden konnten.

 

Ein Teil des gesamten Remote-FollowSpot-Systems des ESC bestand aus vierzehn Robe-RoboSpot-Remote-FollowSpot-Controllern (ein Follow-Me-System wurde ebenfalls bei der Veranstaltung eingesetzt). Zwölf davon, eine Mischung aus BMFL WashBeam und BMFL FollowSpot, liefen im Multi-Device-Modus mit MotionCams und zwei BMFL FollowSpot, die als Key Lights vor der Bühne eingesetzt wurden. Ampco Flashlights Lead-Systems-Techniker für die ferngesteuerten FollowSpots war Dennis Berkhout. Die gesamte Showbeleuchtung wurde von zehn GrandMA3-Pulten am FOH gesteuert, die in drei Sessions über Art-Net liefen und über ein vollständig redundantes Netzwerk verbunden waren, das auch die 26 Kameras und die DMX-RDM-Daten bediente.

 

Zu van Beeks Team von Lichtprogrammierern und -operatoren gehörten Joost Wijgers, Key-Light-Programmierer und Assistent des Lichtdesigners, sowie Micky Dordregter, Programmierer für die Hauptbeleuchtung der Show, beide von Light-H-Art. Außerdem waren die Showlichtprogrammierer Andre Beekmans, Robbert-Jan Vernooij und Erik-Jan Berendsen, der Nachtschichtprogrammierer Bas Geersema und der Previz- und DMX-Kameraprogrammierer Emillio Galluzo für die Beleuchtung verantwortlich. Bart van Stiphout war der Einleuchter.

 

(Fotos: Ralph Larmann)

 

www.robelighting.de

 

Kristof Van Mensel selects Astera for Scala & Kolacny Brothers

Kristof Van Mensel selects Astera for Scala & Kolacny Brothers
Kristof Van Mensel selects Astera for Scala & Kolacny Brothers

Kristof Van Mensel from Belgium-based lighting and visual design company TCF (The Creative Factory) is the long term lighting designer for the Scala & Kolacny Brothers women’s choir. He regularly incorporates Astera fixtures into their live show designs, especially the AX3.

 

“I ensconce them in the set and have also used AX3s on occasions as hand-held lighting effects for the artists”, says Van Mensel, whose association with Astera started about five years ago when Controllux became the Belgian distributor and contacted him to show the range of products. Now they are one of his key creative tools.

 

Van Mensel and TCF also designed lighting for the opening ceremony of a new market place shopping area in the Belgian city of Sint Truiden, a show featuring dancers and interactive water fountains, where he used AX3s to enhance the motion and flow of the dancers and the water.

 

AX3s also provided a solution for a tour with Belgian new wave band The Arch. More recently, Van Mensel has started using Astera Titan Tubes as artist floor packages onstage and for TV productions. He has also used Titan Tubes to illuminate the drum kit of drummer and e-drummer Michael Schack, among others. Since the pandemic, Van Mensel and his colleagues at TCF have been busy lighting live streams plus AR, VR and XR broadcast events.

 

(Photos: Scala & Kolacny Brothers/The city of Sint Truiden/Andreas Gijbels/Medialounge.be)

 

www.astera-led.com

 

Kristof Van Mensel selects Astera for Scala & Kolacny BrothersKristof Van Mensel selects Astera for Scala & Kolacny Brothers

Chauvet Rogue fixtures chosen for Pigeons Playing Ping Pong live show

For jam band Pigeons Playing Ping Pong’s two-set gig at the Avondale Brewing Company in Birmingham, Alabama, lighting designer Manny Newman specified 18 Chauvet Professional Rogue fixtures in the band’s own touring rig.

 

He arranged six Rogue R1 Spot fixtures across a 16-foot truss as part of the ground package, and hung twelve Rogue R1 Wash units on four Global Truss Quick Grids. Working this road package with the house rig, he unleashed a stream of looks across the stage’s backdrop that invited imagination.

 

“Usually during the second set I like to do psych looks on the back wall for certain jams”, says Newman. “At Avondale, I did this with light and gobos rather than video, because I don’t like to shoot media in people’s faces. I want people to create their own mental image of what a song means to them. For example: when we play the song ‘Poseidon’, any normal video guy would probably do something with waves or an actual image of Poseidon, but in my case, I don’t want to, because Poseidon might mean something completely different to the listener. It may represent something deep in that person’s life.”

 

Newman also made liberal use of white during the show, sometimes using it to envelop the band in a fan of light. “During peaks of jams I tend to go all white”, he says. “I like to look at the progression of brightness like the fret board of a guitar. As the musician is going up in the fretboard, the notes get higher as well as brighter. For me, I like to complement that from darker to brighter with dimmer and color. So, white is the natural choice for the peak of the jam.”

 

(Photos: Kendall McCargo)

 

www.chauvetprofessional.com

 

Bryson Tiller XR concert created with Robe

Xite Labs - founded in 2018 by visual and production design specialists Greg Russell and Vello Virkhaus - was approached by director Mike Carson and The 92 Group to assist in the production of XR environments for singer, rapper, and songwriter Bryson Tiller who recently recorded an XR concert - for later broadcast - in Calabasas, California at Xite Labs’ XR stage facility.

 

Xite received a detailed brief with a set of storyboard images and a flow concept of the four dynamic worlds that they wanted to build. The 3D spaces were created by multiple artists using Unreal Engine and Notch. For the shoot, the physical studio design comprised three sides - including a back wall - of LED, an LED floor with rear lights at high angles following the back wall curve, plus several front and side filler lights.

 

Two cameras were involved, one mounted on a tripod and one on the end of a human-operated 12 ft arm crane. The crane camera was fitted with a Canon 18-105 lens, and a Stype Red Spy optical camera tracking system. The secondary camera had a long lens and was offset to the left of the main LED screen and used for a range of classic static telephoto looks.

 

The Robe Tetra2s were used for side fills, the T1 Profiles and BMFL Blades were rigged in the front and high side lighting positions, while the SuperSpikies were at the back. All of these provided light on Tiller that closely mirrored the activity of the richly contrasting environments.

 

The BMFL Blades were brought in as an extra by DoP Russ Fraser and used to side light the artist and create patterns and light movement. A GrandMA2 system was used for control, with lighting and video cues timecoded for synchronicity between the creative and narrative events. A total of 14 songs were recorded.

 

Lighting equipment was supplied by Russ Fraser Films and the production company was HPLA with Bryson Tiller, Ryan Hahn, and Neil Dominique as executive producers. Mike Carson was the show director, and the overall creative direction was a collaboration between Vello Virkhaus and Greg Russel, Amish Dani, and Sam Ashcroft. Lighting director was Mike Robertson from Lightswitch who also did the timecode pre-programming and show file setup, and the D3 server operator was Simon Anaya.

 

(Photos: Billy Woods/Xite Labs)

 

www.robe.cz

 

GLP Creative Lights 1 plus bei David-Vidanos Release-Konzert im Einsatz

GLP Creative Lights 1 plus bei David-Vidanos Release-Konzert im Einsatz
GLP Creative Lights 1 plus bei David-Vidanos Release-Konzert im Einsatz

Die geplante Tournee zu seinem Debütalbum „Slo-Mo“ musste Singer/Songwriter David Vidano pandemiebedingt auf den Herbst 2021 verschieben. Zwischenzeitlich gab er dennoch zumindest ein einzelnes Release-Konzert - im kleinen Rahmen mit strengstem Hygienekonzept in der Probenhalle der TTL Event Solutions GmbH in Vidanos Heimatstadt Ochtrup -, welches auch aufgezeichnet wurde.

 

Vidanos Lichtdesigner Jens Hillenkötter übernahm für die Release-Show zusätzlich die Rolle des DoP und setzte dabei erstmalig GLPs neue Creative Lights 1 Plus ein. Vierzig Stück der kompakten LED-Discs befanden sich im Set. „Das waren noch Field-Test-Geräte, weil die Creative Light Plus zu dem Zeitpunkt noch nicht lieferbar waren“, so Hillenkötter.

 

Für Vidanos Album-Release-Konzert bestand die kreative Aufgabe zunächst darin, ein Lichtdesign in Form eines Floorsets zu gestalten, das einerseits individuell, andererseits logistisch möglichst kompakt sowie einfach und schnell handhabbar sein sollte. Das Setdesign sollte sich schnell auf verschiedene Bühnendesigns anpassen lassen. „Wir waren uns sehr früh einig, dass das Touring sich aufgrund von Corona kurzfristig darauf einstellen muss, dass Budgets zurückgefahren werden und wir überwiegend bestehende Lichttechnik in den Venues mit nutzen müssen“, erklärt der Designer.

 

Die GLP Creative Light Plus kamen in einer Matrix, die an die Stelle einer LED-Wand trat und vom Lichtpult aus mit einem Pixel-Mapping bespielt wurde, zum Einsatz.

 

(Foto: Jens Hillenkötter)

 

www.glp.de

 

Elation IP-rated rig highlights BYB Extreme Fighting series

Elation IP-rated rig highlights BYB Extreme Fighting series
Elation IP-rated rig highlights BYB Extreme Fighting series

William Mooney, lighting designer for BYB Extreme Fighting, a bare-knuckles form of boxing, is using an IP-rated Elation Professional lighting rig to highlight the action inside the ring while supporting the atmosphere outside the ring.

 

Although the fights take place indoors, Mooney uses a multi-environmental IP65-rated rig. “To have most of the rig LED and then have the IP rating on top of it, it gives me a greater level of confidence and comfortability”, he says. “If it’s not going to fail outdoors in the rain, it’s not going to fail indoors.”

 

At the BYB Extreme 5 event, which took place at the Miami-Dade County Fair Expo Center in Miami on May 15th, Mooney’s rig consisted of 6 Proteus Hybrid and 6 Proteus Rayzor 760 moving heads, 54 SixPar 200 IP and 10 SixPar 100 IP Par lights, 4 DTW Blinder 350 IP and 2 DTW Blinder 700 IP white light effects, and 2 TVL 2000 LED panel lights. He also incorporated 18 12PX Hex and 8 WiFly EXR Hex5 IP lights from Elation’s sister company ADJ. Master Sound Productions of Miami supplied the lighting gear.

 

For ring lighting, SixPar 200 LED Pars at full white give a balanced coverage at 5800 K and running about 140 ft candles. Mooney diffuses the SixPars using Rosco filters to break up the individual LED look. The LD says he uses a lot more color than most do in boxing events, which he tones using the ADJ fixtures, often in shades that represent the fighter’s nationality.

 

Mooney uses the Proteus Hybrid moving heads between rounds for spots, ballyhoos and breakup wall art while the Proteus Rayzor 760s run ballyhoos as spots and washes across the audience. During the action, being careful not to flash light through the ring, the Hybrids go to wall art, while the Rayzors keep the audience lit for the camera shot and depth of view.

 

(Photos: Elation Professional)

 

www.elationlighting.com

www.mastersoundpro.com

 

Chinese Ox sculpture illuminated by Astera

Chinese Ox sculpture illuminated by Astera
Chinese Ox sculpture illuminated by Astera

A large, illuminated Ox artwork created by Paul Wells from Sydney Props Specialists to celebrate the Chinese ‘Year of the Ox’ was illuminated with Astera Titan Tubes and NYX Bulbs and realised in collaboration with Sydney Event Services. This stood on display in Darling Harbour, Sydney, Australia, for three weeks during the 2021 Chinese New Year celebrations.

 

The work was commissioned by Sydney’s Harbour and Foreshore Authority. They approached Paul Wells four weeks ahead of this year’s Chinese New Year, and asked if the piece could be delivered as an internally lit steel-framed structure with stretched fabric skins. Wells in turn asked Mitch Hancock from Sydney Events Services to assist with the project’s lighting and delivery.

 

Once work started on the Ox, which is 1.16 metres wide and 2.4 metres long, Wells and Hancock soon realised time was too tight to complete the structure in hand-welded steel, so instead proposed the solution of 3D printing, a task expedited by a giant printing machine at Composite Images in Artarmon. All the other design requirements stayed the same, and right from the outset Hancock proposed that Astera products should be used as the lighting solution.

 

Two Titan Tubes illuminated the body, with the bulbs positioned to spread lumens down the limbs and into the head distributing it and achieving an even glow. The Titan Tubes were secured using the mounting clip options, with the NYX Bulbs fitted into waterproof light sockets mounted directly inside the Ox.

 

The electrics were all fed in/out through one of the ox’s hind legs and hooves, down into a waterproof plinth below on which it was mounted, keeping all the electrics safe and dry. The client requested four different colour combinations and the plan was to choose one signature look. The Astera App allowed Wells and Hancock to animate the lighting and create a sequence that scrolled seamlessly between all four lighting designs.

 

(Photos: Paul Wells)

 

www.astera-led.com

 

Chinese Ox sculpture illuminated by AsteraChinese Ox sculpture illuminated by Astera

Rally Estonia event lit with Robe

Rally Estonia event lit with Robe
Rally Estonia event lit with Robe

Estonian rental company Strikken supplied the lighting design and production design and equipment for the Power Stage Live TV podium, which welcomed the 2020 winners of Rally Estonia event - part of the World Rally Championship (WRC) - and was set up close to the final stage finish line, near Rally Estonia’s HQ in Tartu.

 

They chose Robe moving lights including LEDWash 300s, LEDWash 800s and MMX Spots, which were all rigged on the stage ground support structure together with some outrigged pipes facilitating the front positions. The event was broadcast in 155 countries worldwide, and the Power Stage podium featured a 20-metre-deep by 30-metre-wide platform with two drive-on/off wings at the front and an LED screen upstage.

 

Lighting for TV generally was the starting point for the design, which was created by Strikken’s Raiko Saadjärv, Mihkel Västrik and Meelis Lever in collaboration with the Rally Estonia team. The eight LEDWash 300s onstage provided back washes, with the five LEDWash 800s key lighting at the front. It was a daylight event with the additional ambient lumens emanating from the LED screen.

 

The two MMX Blades were used for boosting the light levels when winning drivers Ott Tänak and Martin Järveoja drove their Hyundai WRC onstage to collect the trophy. Also on the rig were some blinders and strobes, and all lighting was controlled via a ChamSys MQ80 console.

 

Strikken additionally supplied lighting for sponsors Sportland’s mobile shop, a stand-alone tented space which had been erected at all 17 special stages of the Rally Estonia event which covered a total competitive distance of 232.64 km. These outlets enabled fans and pass holders to purchase rally branded kit and memorabilia as well as Covid-related products like masks, hand sanitiser, etc. They also provided lighting for the final stage press and media tent. The Strikken crew of seven were led by Taisto Raamat.

 

(Photos: Andre Lavadinho/Margus Vaher)

 

www.robe.cz

 

Tom Kenny chooses Chauvet for Vax Live concert

Tom Kenny chooses Chauvet for Vax Live concert
Tom Kenny chooses Chauvet for Vax Live concert

Global Citizen’s Vax Live, “The Concert To Reunite The World”, was a globally televised event that raised $302 million, enough to procure 26 million doses of the COVID-19 vaccine.

 

Lighting designer Tom Kenny and the Diversified Productions Services team used 281 Chauvet Professional Maverick MK3 Washes, supplied by 4Wall Entertainment, for the event which took place at the SoFi Stadium in Inglewood, California. Kenny arranged the RGBW moving fixtures on a circular truss above the stage, along a curved wall behind it, and on the floor in the area separating the performers from the audience.

 

“I wanted this to feel like a concert, not a television show”, says Kenny. “All of us involved, the artists as well as the entire crew, were thrilled to be working a live show again, and I wanted our design to express this feeling. Because of safety protocols, we had to leave 20-feet between the stage and the first row of the audience. We decided to put Mavericks on the floor in that space and shoot the light straight up.”

 

“We lit quite a few different styles”, he continues. “First was Jennifer Lopez who was all gracious and warm with her mother on stage. Then we had an artsy vibe for J Balvin, a punk one for Eddie Vedder, and the pure rock of the Foo Fighters. We programmed a lot of cues for J Lo and busked for the Foos, who continued performing for the pure fun of it even after the broadcast ended.”

 

Kenny worked the Maverick MK3 Washes and the rest of his rig with the LED house lights at SoFi Stadium to create an immersive field of light that enveloped the venue and the over 27,000 vaccinated fans inside.

 

(Photos: Chauvet Professional)

 

www.chauvetprofessional.com

 

AV Stumpfl Pixera bei Benefizshow „Austria for Life“ im Einsatz

Die am 28. Mai 2021 veranstaltete, 90-minütige Live-TV-Benefizshow „Austria for Life“ wurde im ORF 2 und auf Krone.tv übertragen. Das von Life+-Obmann Gery Keszler initiierte Projekt unterstützt die Hilfsorganisationen Caritas, Diakonie, Hilfswerk, Rotes Kreuz, Samariterbund und Volkshilfe. Life+ selbst hilft sozial relevanten Projekten zur Bekämpfung epidemisch auftretender Infektionskrankheiten sowie davon betroffenen und erkrankten Menschen.

 

Zahlreiche österreichische Künstlerinnen und Künstler nahmen im Rahmen von „Austria for Life“ das Publikum mit auf eine Zeitreise durch die österreichische Geschichte und verdeutlichten mit ihren Darbietungen den Umgang mit großen Herausforderungen.

 

Die gesamte Süd-Ansicht des Stephansdoms wurde von Visual Artists bis hin zur Domspitze mit zehn Christie-Projektoren ausgestattet. Die mit 200 Quadratmeter großen LED-Screens eingerahmte Bühne ließ Dom und Domplatz miteinander verschmelzen.

 

Für das Stephansdom-Projektionsmapping verwendete die  niederösterreichische Firma Rezac HPP das Medienserversystem Pixera von AV Stumpfl. Die Wiener Firma 4youreye setzte ebenfalls Pixera-Medienserver für die LED-Zuspielung im Rahmen des Events ein, bei dem insgesamt mehr als 600.000 EUR gespendet wurden.

 

Die Technische Planung übernahm Puls Multimedia, für die Konstruktion zeichneten Redline Enterprise und First Spot verantwortlich. 4youreye und Rezac High Power Projection (Gerald Herlbauer, Robert Huemer, Clemens Libel, Stefan Kürzel) verantworteten Programmierung und Operating.

 

(Fotos: AV Stumpfl GmbH/Stefan Kürzel/David Visnjic)

 

www.avstumpfl.com

www.4youreye-projection.design

www.rezac-hpp.com

 

Niller Bjerregaard uses ChamSys consoles for Volbeat shows

Niller Bjerregaard uses ChamSys consoles for Volbeat shows
Niller Bjerregaard uses ChamSys consoles for Volbeat shows

For Danish rock band Volbeat’s latest tour of Europe (before the lockdown), Niller Bjerregaard created a 40-universe light and video show powered by the designer’s two ChamSys MagicQ MQ500 Stadium consoles. The 22-song set’s images were part programmed and part busked.

 

The band’s special performance at the 15,000 capacity Hanns-Martin-Schleyer-Halle in Stuttgart, Germany, was streamed on a pay-per-view platform. “The Stuttgart recordings were part of numerous recordings on that tour, but no elements were used from other shows, so what fans saw was exactly what happened”, says Bjerregaard. “This video is a close as possible to that night.”

 

The show’s dramatic opening featured a video wall rising to reveal the band. “We had been using a kabuki front drop in the beginning of our shows, so we were looking for something different this time, while still keeping the element of surprise when we introduced the band”, says Bjerregaard. “We had a slightly curved full video wall 6 meters high and 14 meters wide with the Volbeat skull wing logo. As the show started the hole screen moved up in one piece above the band - and after few songs started to move up stage in various positions and formations, showing content and live feeds on them.”

 

The “screen” that opened the show was actually made up of eight different single screens that could be combined as one, or positioned individually on a 360° truss track. In addition to up and down movements, the individual monolith screens could be turned 180°. On the back, Bjerregaard mounted lights and drapes for special songs. Aside from the monolith screens, all surfaces of the stage set and pods were also covered with screens.

 

Bjerregaard used the M-Box Media Server. “Michael Austin Smalley, a light/media designer from Las Vegas and great friend, helped me in setting up”, says Bjerregaard. “My MQ500 controlled the media server with special designed video content, including movie clips with matching sound effects through the PA, as well as all camera live feeds. I programmed all of this onto my Cue List, patching the media server as I would any other fixture. I used my palettes to ensure that I had a consistent work flow and handling. A big shout out to Smalley and PRG UK for the support and help.”

 

To maintain a sense of spontaneity throughout the show, Bjerregaard mixed busked effects in with his cue lists. “I made a page for each song and had matching effects and color cues”, he says. “The MagicQ was invaluable for this purpose. I could enhance the cue stack by adding effects such as strobes, and fixture beam fly outs. I also used the Execute Window for macros and between song looks.”

 

The entire light and video show was programmed in different stages over several weeks on Bjerregaard’s two MagicQ MQ500 desks. He began at his home studio building the design into the plot window to ensure that all fixtures were placed correctly. Then he trimmed trusses and lights to make sure he had the correct look in the Visualiser for making pallets and pre-patching. He also made output window plan views for different parts of the light plot to allow easy access and programming.

 

Next, Bjerregaard moved on to London where he spent two days at Neg Earth putting the finishing touches on the patch plan and fixture modes. At Neg Earth, he also looked at video walls and screen automations and live cameras for the first time with live camera director Shelby Carol Cude and PRG UK. From London, he journeyed with the entire production crew to Poland, where they spent five days at an arena programming lights, video, automation, sound, and pyro before doing the first pre-run of the show in advance of heading out on tour.

 

(Photos: Brittany Bowman)

 

www.chamsyslighting.com

 

Niller Bjerregaard uses ChamSys consoles for Volbeat showsNiller Bjerregaard uses ChamSys consoles for Volbeat shows

4Wall includes Chauvet in Otis Howard’s rig for Miley Cyrus NCAA Tournament show

4Wall includes Chauvet in Otis Howard’s rig for Miley Cyrus NCAA Tournament show

Miley Cyrus performed between games of the NCAA Men’s Division 1 Basketball Tournament Final Four, which was aired on the CBS network. Her performance paid tribute to frontline workers and their continued service and sacrifices during the COVID-19 pandemic.

 

Lighting Designer Otis Howard called on over 500 light fixtures supplied by 4Wall Entertainment in his design. Included in this mix were close to 200 Chauvet Professional Colorado 2 Solo fixtures. The par style wash units, which are fitted with three 40 W RGBW LEDs, were positioned directly behind Miley Cyrus along with 44 LED panels.

 

The creative inspiration for the Miley Cyrus team for the lighting design was from early rock shows like Queen and Led Zeppelin. “One thing we knew we had to have, was a lot of par cans, without having par cans”, jokes Howard. “As we started to get deeper into the design, she wanted lighting under stairs, primary color looks and large washes to really dive deep into the theme of the show.”

 

Putting together this show with smaller crews than usual due to the pandemic, Howard leaned on a talented team, asking them to take on multiple responsibilities. “This was such a collaborative effort in all aspects of the show”, he says. “Lighting director Michael Appel, lighting director Stephen Sakowski, and gaffer Mike Grimes were all crucial elements on the team.”

 

Howard says he’s also “happy to have this relationship with 4Wall. We have worked on several projects before and during the pandemic, like the NBA bubble, and the gear and people have just been phenomenal. I’ve known (4Wall VP of Business Development) Al Ridella for a long time, and it is always a pleasure to work with him.”

 

(Photos: Chauvet Professional)

 

www.chauvetprofessional.com

 

4Wall includes Chauvet in Otis Howard’s rig for Miley Cyrus NCAA Tournament show4Wall includes Chauvet in Otis Howard’s rig for Miley Cyrus NCAA Tournament show

Corona: Schallmeister beleuchtet Livestream in Schwarzkaue Herten mit Chauvet

Corona: Schallmeister beleuchtet Livestream in Schwarzkaue Herten mit Chauvet

Die Zeichen der Vergangenheit sind in der Schwarzkaue Herten allgegenwärtig. Der Veranstaltungsraum, der einst Teil der inzwischen geschlossenen Zeche Schägel & Eisen war, ist trotz der mit modernen Annehmlichkeiten ausgestatteten Umgebung eine Hommage an ihre industrielle Vergangenheit und ihre Architektur. Um für einen Kunden ein Livestream-Event umzusetzen, hat das Team der Schallmeister GmbH diese klassischen Merkmale mit einem zeitgemäßen Lichtdesign in Einklang gebracht.

 

„Für uns war es wichtig, dass die historische Architektur des Gebäudes im Set beibehalten wird“, berichtet Schallmeister-Inhaber Tim Jansen. „Die ganzen Besonderheiten, die dieses Gebäude aus der Vergangenheit mitbringt, verleihen dem Raum eine interessante Textur. Unsere Aufgabe bestand darin, ein modernes und professionelles Fernsehstudio inmitten eines alten Industriestandort zu integrieren.“

 

Dafür bedienten sich Jansen und sein Team an zahlreichen Scheinwerfern von Chauvet Professional, darunter jeweils sechzehn Maverick MK 1 Spot, Strike Saber und Rogue R2 Wash. Insbesondere die 350-W-LED-Maverick-MK1-Spots erfüllten beim Design eine Vielzahl von Aufgaben im Design. Sie wurden auf dem Hauptrigg sowie im hinteren Teil der Bühne platziert und konnten so aus verschiedenen Winkeln für Effekte genutzt werden.

 

Zu den Spots im hinteren Bühnenteil gesellten sich die Strike Saber. Vertikal angeordnet sorgten die linearen Scheinwerfer für einen dynamischen Hintergrund während des Livestreams. Für eine farbige, flächenmäßige Ausleuchtung wurden die Rogue R2 Wash an verschiedenen Position oberhalb der Bühne gehangen.

 

(Fotos: Schallmeister GmbH/Carsten Nachlik Photography)

 

www.chauvetprofessional.com

 

Corona: Schallmeister beleuchtet Livestream in Schwarzkaue Herten mit ChauvetCorona: Schallmeister beleuchtet Livestream in Schwarzkaue Herten mit Chauvet

Robe illuminates Eesti Laul 2021

Robe moving lights and two RoboSpot systems provided the lighting solution for the 2021 Eesti Laul competition to select Estonia’s entry to this year’s Eurovision Song Contest.

 

Lighting and set designer for the finale show and the two semi-finals that preceded it in Tallinn’s Saku Suurhall arena was Rene Jõhve, who was approached to work on the project by Estonian national broadcaster ERR. This was his tenth year of lighting the finale and semi-final events which were aired live and, due to the pandemic, this year were staged without an audience.

 

The lighting rig included a selection of Robe fixtures including two BMFL WashBeams, 13 x DL7 Profiles, 12 x 300E Spot, 42 x Pointes, 25 x Spiider LED wash beams, 18 x LEDBeam150s and eight MMX WashBeams, plus other lights, all of which were supplied to the production by rental company Cuuclub Ltd.

 

The slick and streamlined main stage design was triangular, with angled side struts meeting above the centre to create a triangular arched ceiling over the upstage section which were clad in LED panels, leaving the forestage open. The transparent stage floor also contained tilted LED screens, and another main triangular LED screen upstage had lights rigged on both edges to accentuate its shape. A long runway at the front of the stage connected it to a smaller B stage out in the centre of the arena. Had there been an audience, this would have been right in the middle.

 

The geometry of the stage lent itself to a lot of dynamic beam lighting effects, however with the LED clad arches in place, there was less space for more conventional lighting positions. There was also a quantity of custom LED pixel fixtures rigged in squares above the stage and along the structural metalwork supporting the arch to the sides.

 

Two of the BMFL WashBeams were positioned on the front truss and connected to the RoboSpot systems together with three of the upstage DL7S Profiles which were also hooked into the system. The two RoboSpot base stations were located at FOH behind the lighting console, with all parameters controlled from the console apart from the pan and tilt movement and the iris. The systems were run in multi-device mode, allowing key light and back lighting to be calibrated together.

 

Having the additional three DL7S Profiles on the system allowed different rear spotlights to be selected and used if needed depending on the camera shot. At the two semi-finals, 24 contestants were whittled down to 12 for the finale. In addition to all the competing song action onstage, interval acts for each broadcast had to be lit.

 

Three ChamSys MQ500 desks were used for lighting control. Rene Jõhve programmed and ran the moving lights from one, Erki Kukk looked after all the key lights on another, and Crt Birsa - one of Slovenia’s leading LDs who was working in Estonia for a month - operated the bespoke digital pixel LED fixtures on the third. The two RoboSpot operators were Mihkel Viinalass and Marit Kutser. The finale broadcast was directed by Sebastian Koljak working closely with two camera directors for the individual song entries - Marke Miil and Tarmo Krimm.

 

(Photos: Rene Jõhve)

 

www.robe.cz

 

Steve Kosiba turns to Chauvet for June Divided

Steve Kosiba turns to Chauvet for June Divided
Steve Kosiba turns to Chauvet for June Divided

Philadelphia-based lighting designer Lenny Sasso has designed lightshows for the likes of Thrice, Circa Survive, and Atreyu. When he isn’t running the console, he’s playing bass guitar and synthesizer for the indie band June Divided.

 

Recently, when the band recorded a pair of music videos on the Ruby Stage at Squeek Lights in Middlesex, New Jersey, Sasso was on the receiving end of the LD-musician relationship. Steve Kosiba created the lightshow for both videos, one of which premiered on the website of Philadelphia’s 104.5 alternative rock station.

 

“I ran the basic color scheme by Lenny”, says Kosiba. “He gave me his feedback, but let me do what I wanted otherwise. It was a fun project for all of us.” The color scheme Kosiba went with for the song featured on 104.5 (“If I Knew How To Love”), was a Cyan/Magenta/Yellow mix. For the other song, “The Wall,” he created a blend of amber and deep congo blue along with warm white.

 

Helping Kosiba create his color-scapes, along with the rest of his looks, was a collection of 42 Chauvet Professional Rogue R1 BeamWash fixtures, with ten units used for front light, twelve for side light, eight for top light and twelve for back light.

 

(Photos: Chauvet Professional)

 

www.chauvetprofessional.com

 

Ayrton Diablo for Dick Whittington at the National Theatre

Ayrton Diablo for Dick Whittington at the National Theatre

When the COVID-19 pandemic forced UK theatres to close in December 2020, the National Theatre’s pantomime, Dick Whittington, at the Olivier Theatre had only previewed four times. The performance on the 15 December was filmed and shared on YouTube over the Christmas holiday period with the National Theatre looking to reach as wide an audience as possible despite the closure.

 

The Olivier Theatre had already been re-configured in-the-round before the pantomime took place, reducing its capacity to approximately 500. A new temporary lighting rig, designed by lighting designer and NT lighting associate Paule Constable, was installed which stretches over half of the stage and out into the auditorium.

 

“With the whole rig shifted out half way into the auditorium, and the trim height reduced from 30 m to 8.5 m, all our natural followspot positions were blocked out”, says Jack Williams, lighting supervisor for the Olivier. “And with half the rig suspended temporarily front of house, we were restricted in the number of lights we could hang on the truss due to reduced weight limits and hanging points. We therefore needed something small and lightweight which could integrate into the rig as usable followspots.”

 

Four Ayrton Diablo LED profile fixtures were installed as permanent components of the basic rig to act as followspots. These are hung centrally and work in tandem with a ‘real’ followspot operator through a Robert Juliat SpotMe tracking system. The Diablos hang 1 m below the main rig giving clear sightlines across the entire performance area, and are side mounted to allow full pan.

 

The Olivier’s complement of Diablo fixtures was part of an investment of six which the National Theatre added to its inventory before the pandemic struck. They were chosen after extensive testing and comparisons arranged by Ayrton’s exclusive UK distributor, Ambersphere Solutions.

 

(Photos: The Other Richard)

 

www.ayrton.eu

 

Ayrton Diablo for Dick Whittington at the National TheatreAyrton Diablo for Dick Whittington at the National Theatre

Sun Effects uses Elation Proteus luminaires for a variety of events

Sun Effects of Finland - a design and production house that offers visual designs and concept-to-execution solutions from offices in Helsinki and Tokyo - sought a line of outdoor-rated moving head luminaires that could withstand Finland’s weather conditions and therefore turned to Elation’s Proteus line.

 

Sun Effects acquired Elation’s multi-functional arc-source moving head, the Proteus Hybrid, in 2018 to address their needs but when they saw the 50,000-lumen Proteus Maximus LED luminaire at the Prolight + Sound show in 2019, they decided to invest in this one as well. They now use the Proteus Maximus in a number of ways - to texture an area, as a sky light, or as a more traditional moving light.

 

The Maximus has featured in multiple applications, one of them a light art piece, “Vapaa”, by Ainu Palmu, a Helsinki-based light artist, where the fixtures were used for white light animation with custom gobos. It has also been utilized ‘up north’ where the temperature drops to minus 30 degrees Celsius.

 

The Polar Night Light Festival saw the luminaires lighting up mountainsides at Ruka Ski Resort exposed to blowing snow and immense winds. Just after their acquisition in 2019, they were employed at the Flow Festival, an urban music and arts festival in Helsinki.

 

(Photos: Hannu Iso-Oja/Kerttu Penttilä/Simo Vilhunen)

 

www.elationlighting.com

 

Robe MegaPointes illuminate charity event and Sony product launch in Warsaw

Robe MegaPointes illuminate charity event and Sony product launch in Warsaw
Robe MegaPointes illuminate charity event and Sony product launch in Warsaw

Jacek Chojczak and his team from Polish creative production design company Green Beam Design (GBD) utilised 82 x Robe MegaPointes for an outdoor installation in central Warsaw marking the 29th anniversary of WOSP (Wielka Orkiestra Swiatecznej Pomocy) - The Great Orchestra of Christmas Charity - which is the biggest non-governmental, non-profit charity organization in Poland raising money for paediatric and elderly care.

 

Each year WOSP stages a major outdoor concert in central Warsaw called “Light to Heaven”, but this year due to COVID-19 restrictions this could not happen. Instead, the organisers decided to build a large scenic pyramid which was 21 metres wide and 12 metres high, designed by set specialist Giorgos Stylianou - in the square adjacent to the Palace of Culture and Science. Jacek Chojczak’s lighting scheme ensured that the luminosity from the MegaPointes on this pyramid structure illuminated the night skies like a giant beacon visible from all around the city.

 

The backbone of the event was a 16-hour ‘telethon’ broadcast from a pop-up tent-based TV studio in central Warsaw which aired on TVN and various online platforms with lighting also designed by Chojczak. In the studio he used more Robe fixtures including Spikies, LEDWash 600s and Esprites complete with a 4-way Robe RoboSpot remote controlled follow spot system, with lighting equipment supplied by ATM System and multimedia from VES.

 

The MegaPointes - supplied by rental company ATM - were arranged on each level of the five-tiered pyramid and powered from generators. They were covered by ‘dome’ protectors for this event which saw heavy snowfall on the night. The pyramid lightshow was programmed to timecode and started at 8 p.m., when the telethon had four ‘prime time’ hours to run.

 

A major challenge of the show was tying the two live stages in the studio with the central pyramid show plus a slew of interviews, artist performances and other guest appearances in the studio, together with assorted regional broadcast segments. Chojczak utilised four GrandMA3 consoles in the studio - one for multimedia, two for lighting on the big and small stages along with a fourth key lighting console, operated by himself - and used to add white light as needed to all the studio spaces.

 

All the effects lighting was pre-programmed and visualised in Depence2 ahead of the telethon, and Chojczak worked closely with a technical production team including Michal Parzych who ran the main studio stage lighting console in the studio and Tomasz Szwelicki who ran the main multimedia console.

 

Lukasz Melinski was the studio D3 engineer, assisted by Oskar Kutryb. Video content was supplied by Piotr Maruszak from Red Square. Michal Kossakowski programmed and ran the second studio lighting console. Jakub Kowalski was the pyramid lighting and multimedia programmer using a GrandMA3 console.

 

GBD first became involved in lighting the event in 2020, just before the pandemic shut down the live event industry worldwide. Part of their pitch - which stepped up the production elements - was introducing multimedia screens for live music for the first time.

 

A couple of months earlier, Jacek Chojczak designed another lighting scheme in central Warsaw, this time at the Sony HQ which is next door to the Palace of Culture & Science. This included 48 x MegaPointes for a PS5 console launch event which was co-ordinated across multiple buildings and landmarks worldwide. GDB was working for event producers Live Agency and the MegaPointes were deployed on four prominent floors of the Sony HQ, blasting blue beams out through the windows.

 

(Photos: Green Beam Design/Oskar Kutryb)

 

www.robe.cz

 

Corona: Chauvet fixtures chosen for virtual Jo Quail concert

Corona: Chauvet fixtures chosen for virtual Jo Quail concert
Corona: Chauvet fixtures chosen for virtual Jo Quail concert

David Howard was called upon to light a virtual concert by London-based cellist and composer Jo Quail. “Using looping and layering techniques, Jo’s music has a structure that encourages lighting elements to reflect and visualize the sounds Jo produces with her cello. The visual experience builds with the music”, says Howard.

 

Featuring six individual compositions taken from Quail’s discography, the concert took place in an improvised demo space, since the production team did not have access to a livestream studio. Helping Howard create a variety of looks within this space was an extensive collection of Chauvet Professional fixtures, including the Maverick MK Pyxis, MK2 Wash, MK3 Wash, Rogue R1 FX-B, Épix Strip Tour, and Ovation E-910FC color rendering ellipsoidal.

 

“From a logistical point of view, we only had a few hours to set up and film all six pieces, each of them about 10 minutes each in length”, says Howard. “The entire show was programmed from scratch with a good deal of the show programmed in advance using WYSIWYG. Each piece was a single take and operated live so there really was no room for mistakes. Since Jo’s music is very layered, all the accent lighting that picks up on this music language was structured in the desk in such a way it could be brought seamlessly in and out as she played.”

 

(Photos: Chauvet Professional)

 

www.chauvetprofessional.com

 

Corona: Chauvet fixtures chosen for virtual Jo Quail concertCorona: Chauvet fixtures chosen for virtual Jo Quail concert

Shure-TwinPlex-Headsets bei „The Masked Dancer“-Premiere im Einsatz

Shure-TwinPlex-Headsets bei „The Masked Dancer“-Premiere im Einsatz

Ein aus Paula Abdul, Ashley Tisdale, Brian Austin Greene und Ken Jeong bestehendes Rateteam hat in der ersten Staffel der neuen Fox-TV-Serie „The Masked Dancer“, einem Spinoff von „The Masked Singer“, TwinPlex-TH53-Subminiatur-Headsets von Shure genutzt.

 

In der Show treten Stars, anonym in schrille Ganzkörperkostüme gekleidet, in einem Tanzwettstreit gegeneinander an, bei dem sie in verschiedenen Stilen performen. Nach jedem Tanz versucht das Rateteam, die Identität der Tanzenden anhand verschiedener Anhaltspunkte zu erraten. Um die COVID-19 Sicherheitsvorgaben einzuhalten, wurden die Mitglieder des Rateteams mit 1,80 m Abstand zueinander platziert, anstelle des sonst üblichen Nebeneinanders am Tisch (wie bei den bisherigen Staffeln von „The Masked Singer“).

 

Sean Prickett von Drop Ship Audio war seit der ersten Staffel bei „The Masked Singer“ als leitender Toningenieur tätig und bringt sein Fachwissen nun auch am Set von „The Masked Dancer“ ein. Normalerweise verwendet er für seine Produktionen keine Headsets; in diesem Fall sollte sich das Rateteam jedoch frei bewegen können, und der Einsatz von Lavaliermikrofonen erwies sich aufgrund der lauten Studioumgebung als nicht praktikabel. Prickett akzeptierte 2019 das Angebot von Shure, die damals noch nicht am Markt erhältlichen Headsets zu nutzen, und hat TwinPlex seitdem sowohl bei allen vier Staffeln von „The Masked Singer“ als auch bei der Premierenstaffel von „The Masked Dancer“ eingesetzt.

 

(Foto: FOX Media LLC./Getty Images)

 

www.shure.de

 

A phenomenon: Melodifestivalen 2021 in Sweden

Enthusiasm for the 2021 Eurovision Song Contest is bursting every disco bubble this year, especially in the wake of last year's first ever cancellation due to - we all know what - as competing countries ramp up the glorious glitz, glamour, drama and pop moments with gusto.

No country takes the ESC more seriously than Sweden. It is one of the most successful competing nations with a total of six victories and the most top five results of the 21st century, with 11 Melodifestivalen - the annual competition to select the Swedish entry is organised by Sveriges Television and is a phenomenon in itself. In recent years, it has been a touring show visiting six key cities, but due to Covid restrictions, this year the six rounds - four heats, the "second chance" and the final - were staged in one place, the Annexet arena in Stockholm, part of the Globe complex, and broadcast live on STV1.

It was lit for the 20th time by Fredrik Jonsson who utilised 200 Robe moving lights and four Robo Spot systems among other fixtures on the rig. Taking this fund of experience into account, Fredrik always relishes the challenge of making "Mello" look fresh, exciting and fun each year and 2021 was no exception, offering the rare opportunity to work in what was effectively a very large studio space without an audience, which opened new doors for technical experimentation.

Jonsson once again worked closely with set designer Viktor Brattstrom, another long-term member of the Mello creative team. The two enjoy a great imaginative synergy, and usually start throwing ideas into the mix the previous summer and autumn. Video content was supplied by Green Wall Designs, another regular collaborator, who had their content wranglers onsite together with a disguise operator.

With a trim height of around 10 metres - and without the limitations of having to tour the rig - the circumstances gave rise to an idea floating around for some time which involved integrating a roof into the set design. This resulted in shiny black rectangular scenic roof sections being rigged in the upstage/downstage orientation, with lighting trusses filling the gaps in between. With the 24-metre-wide by 28-metre-deep stage to achieve the desired catwalk/runway perspective, the whole roof system needed a lower trim, so this was set at 4.9 metres from the stage floor, resulting in the epic cinematic look that they had been dreaming of.

The low trim also meant that any big bulky lights were out, so Fredrik wanted as many compact powerful fixtures as possible on the rig and chose Robe Mega Pointes and LED Beam 150s to be at the core of the main lighting system. The 88 x Mega Pointes and 82 x LED Beam 150s were rigged in triangular-shaped trusses to maintain the linear perspective at the heart of the set concept.

The next challenge was the rear follow spot positions and Fredrik chose BMFL Wash Beams as follow spot fixtures. However, with this design, it was impossible to rig them on the back bars and keep the clean lines due to the larger size of the fixture compared to the LED Beam 150. After some experimentation, Fredrik opted to use six Mega Pointes as his rear follow spots which retained the aesthetic integrity of the rig. These six fixtures were hooked in to the Robo Spot system.

Some applied rigging magic from rental company - and lighting equipment suppliers - Creative Technology Northern Europe's crew combined with short pipes and swivel couplers enabled the LED Beams to sit slightly lower from the trusses so their lenses aligned trim wise with the Mega Pointes. Also on the rig were 27 x Robe BMFL Wash Beams utilised for key lights, four of which were the front follow spots, also running on the Robo Spot system. MegaPointes were the main workhorses for creating all the effects in the stage area. Most of them were in the roof rig, with a few on the "flowerbox" set pieces - two sets of lights on shelves running US/DS on both sides of the stage. The LED Beams were rigged in almost identical positions as the two types of fixtures were essentially working in tandem so that alignment was also important. Two lighting operators worked alongside Fredrik Jonsson on the show: Danne Persson and Timo Kauristo, using a combination of grand MA2 and grand MA3 consoles. The disguise operator was Fredrik Stormby.

Fredrik broke a few personal records during Mello 2021: The sixth and final broadcast was his 115th Mello broadcast, and by that time he had designed a staggering 612 competition songs - excluding all the interval acts and opening/closing/linking performances. Mello 2021 was won by singer Tusse with the foot-tappingly catchy "Voices", who will represent Sweden in the 2021 Eurovision Song Context Final in Rotterdam on May 22nd.

Fotos: Danne Persson, Fredrik Jonsson

 

Fusion FS20 von GLP beleuchten Austragungsort der International Swimming League in Budapest

Für die Beleuchtung eines ISL (International Swimming League)- Events in Budapest hat Produktionsdesigner Frédéric „Aldo“ Fayard (Concept K) erstmalig Fusion-by-GLP-FS20-Sticks eingesetzt. Das aufgrund von Corona-Beschränkungen zuschauerfrei ausgetragene Event wurde unter anderem auf CBS in den USA und BeIN Sport übertragen.

 

Für das Setdesign und die szenografische Gestaltung tat sich Frédéric Fayard mit Antoine D’Halluin, Projektleiter bei PRG, zusammen. Das Setdesign umfasste die Beleuchtung, die Bildregie, Video-Elemente und die Integration der LED-Screens sowie das Studio für die englischsprachigen Kommentatoren und zudem die gesamte technische und sportliche Ausstattung.

 

Ein Auswahlkriterium für den IP-65-klassifizierten und mit zwanzig Leuchtquellen pro Meter ausgestatteten Fusion FS20 bestand in der Möglichkeit, die Sticks miteinander zu verbinden. „Dadurch konnten wir einen durchgehenden horizontalen Lichtstreifen am Beckenrand kreieren und gleichzeitig einen beachtlichen Output erzeugen“, erklärt Fayard. „Wir entschieden uns für die am breitesten abstrahlende Optik (60°), die noch bei keinem anderen Dienstleister verfügbar war.“

 

Das Design verlangte die Beleuchtung beider Seiten des 25 m langen Beckens, deshalb wurden links und rechts jeweils 24 FS20 horizontal etwa 20 cm vom Beckenüberlauf entfernt installiert. „Das Ganze war in einem Winkel von etwa 20° nach oben ausgerichtet“, so Fayard. Die Fusion FS20 erfüllten dabei mehrere Aufgaben und kamen bei der rhythmischen Gestaltung des Show-Intros via Timecode, bei den Zieleinläufen der einzelnen Wettkämpfe und schließlich als Hintergrund und Dekoration in allen Kameraeinstellungen zum Einsatz.

 

Was die Programmierung angeht, entschied sich Fayard für den 92-Kanal-Pixel-Modus. „Wenn man an einem Projekt arbeitet, das anderthalb Monate lang an Ort und Stelle bleiben soll, will man es bis an seine Grenzen bringen“, sagt der LD. „Wir mussten unbedingt die LEDs einzeln nutzen, also Effekte erzeugen, als hätten wir eine einzelne Leiste mit 240 LEDs. Aber ich wollte auch Zugriff auf die Strobe-Funktion für alle LED-Bars haben und in der Lage sein, in einigen dynamischeren Momenten Bar-für-Bar-Effekte zu erzeugen, wie zum Beispiel bei der Feier von Weltrekorden - deshalb brauchten wir den 92-Kanal-Modus.“

 

Außerdem nutzte Fayard GLPs Impression X4 L in einer Doppelrolle: als generellen Gegenpart für den Einzug aller Schwimmer sowie für Effekte bei Finishes und nach Werbepausen. Da er auch hier eine Vielzahl von Lichtquellen benötigte, nutzte er zwei Linien von X4 L: die erste mit zwanzig Stück und die zweite mit sechzehn Stück. Drei weitere X4 L kamen backstage zum Einsatz. Der Designer spezifizierte darüber hinaus neun Impression X4 Bar 20.

 

(Fotos: Set & Lighting Design PRG & Concept K for ISL 2020/Theo Broche Cannone)

 

www.glp.de

 

Corona: Josh Turner’s socially distant shows lit with Chauvet

Corona: Josh Turner’s socially distant shows lit with Chauvet

When Josh Turner recently played two socially distant shows in Florida and Georgia, Mason Felps’ lighting design featured warm white audience light created with a collection of Chauvet Professional Strike 4 fixtures that were flown across the upstage truss.

 

“Josh really likes to see fans at this shows”, says Felps. “So, of course we wanted to include audience lighting in the rig, especially during these times when the fans have to be separated.” Like the other fixtures in Felps’ rig, which included 24 Maverick MK2 Spots and 16 Maverick MK3 Washes, as well as Rogue R2 Washes and Vesuvio RGBA foggers, the four Strike 4 units were supplied by ESI of Tampa.

 

The first show’s stage measured 50’ x 40’, while the second night’s was 32’ x 15’.  Felps had his Maverick MK2 Spot fixtures arranged on the deck and flown on mid-stage truss the first night, then used them as truss toppers on the small stage on night two. On both nights, he used a variety of crossing beam patterns to add depth to the stage.

 

(Photos: Chauvet Professional)

 

www.chauvetprofessional.com

 

Corona: Josh Turner’s socially distant shows lit with ChauvetCorona: Josh Turner’s socially distant shows lit with Chauvet

Corona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im Einsatz

Corona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im Einsatz

Die Singer/Songwriterin LEA hat an den „Picknick-Konzerten“, einer coronakonform umgesetzten Veranstaltungsreihe der Landstreicher Konzerte GmbH, teilgenommen. Lichtdesigner Maximilian Gräf von PE Lichtdesign nutzte dabei zwanzig KNV Line von GLP. Gräf, der seit Februar 2017 als Licht- und Bühnendesigner für LEA tätig ist, musste pandemiebedingt für die „Picknick-Konzerte“ auf ein älteres Design zurückgreifen.

 

„Das Design zum neuen Album ‘Treppenhaus’ existiert nur auf dem Reißbrett“, berichtet er. „Als es dann an die ‘Picknick-Konzerte’ ging, habe ich mir sowohl die alten Aufzeichnung des ‘Zwischen meinen Zeilen’-Designs, als auch die Entwürfe für das geplante ‘Treppenhaus’-Set vorgenommen und versucht, aus beidem etwas Neues zu kreieren. Ich habe also Dollys und Lampenpositionen aus dem alten Set übernommen und modifiziert.“ Der Designer platzierte die GLP-LED-Module an vier Gassendollys, vier Backdollys sowie auf der Riserkante vor den Musikern und gewann dadurch in erster Linie Tiefe auf der Bühne.

 

Die „Picknick-Konzerte“ bedeuteten für LEA und Gräf ein straffes Programm. „Insgesamt haben wir dreizehn Shows an sieben Tagen gespielt, in der Regel zwei Shows pro Tag - eine nachmittags, eine abends. Ganz schön sportlich, zumal wir coronabedingt ohne Lichtsystemtechniker unterwegs waren. Da hieß es: Kabelbäume vorbereiten und schnell sein“, sagt Gräf. Die Lichttechnik wurde von Groh-P.A. Veranstaltungstechnik geliefert.

 

(Fotos: Calvin Müller)

 

www.glp.de

 

Corona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im EinsatzCorona: GLP KNV Line bei „Picknick-Konzerten“ von LEA im Einsatz