PRG XL Video Supports Peter Mumford with Lighting for The Ferryman page 24
August 2017 Issue: 294
direct from: www.etnow.com
Chroma-Q Lights Up PennGDS ArcSystemElcom Gets forWired New Sounds for O2 Pyramid Stage forNetherlands New Studio Philharmonic in Hastings Forum with Adlib Audio
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Contents this month page: 2 Nearly 50 of the multi award- GDS provided a Dialux study AMG has again enlisted winning Chroma-Q Color Force of the venue and following site Adlib to design and deliver a Jobs and II 48 luminaires were a central demonstrations NedPho gave completely new, full touring Careers page: 27 feature of the Pyramid Stage at the go ahead for GDS specification audio system this year’s Glastonbury. ArcSystem to be installed. for O2 Forum Kentish Town. Web Directory pages: 27 to 31 page: 14 page: 18 page: 22
PR Lighting’s New Blinder 360 LED Strobe PR Lighting has announced the new Blinder 360, an exceptionally powerful LED strobe, blinder and flood. Available in white (6500K – 8330D) or warm (3000K – 8330T) versions it is powered by 360 x 1W white LEDs. This provides an intense output of pulse and random strobe effects at a rate of 0-25fps (plus seven macro effects). This achieves staggering light levels and an unbelievable punch over a huge area.
More on page 9
ROBERT JULIAT AVAILABLE FOLLOW SPOTS TO HIRE Cyrano - 2500w HMI Roxie - 300w LED w: hawthorn.biz t: 01664 821 111 Buxie - 575w MSD LIGHTING | SOUND | VIDEO e: [email protected] RIGGING | STAGING | DRAPES August 2017 contents this month
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12 Marquee AV Provides the AV and 20 PopRock Festival Slovenia Production Lighting for New LAMDA Slovenia’s 2017 PopRock Festival, a high profile Facility national TV event broadcast from Ljubljana, saw lighting designer Crt Birsa and set designer LAMDA recently opened its brand new £28.2m facility, Greta Godnic work in a special collaboration, which replaces the western part of its campus and with the help of 200 plus Robe lighting fixtures. more than doubles its size. Charcoalblue LLP worked alongside Níall McLaughlin Architects to provide the performance specification for the consolidation of 22 New Sounds for London’s O2 Forum LAMDA’s disparate and remote teaching spaces onto with Adlib Audio Installation page : 5 the new single-site campus in Hammersmith. Academy Music Group (AMG) has once again enlisted Liverpool-based Adlib to design and 14 Chroma-Q Color Force II Lights Up deliver a completely new, full touring Pyramid Stage Artists’ Performances at specification audio system for its most recent venue acquisition, O2 Forum Kentish Town. Glastonbury Festival Nearly 50 of the multi award-winning Chroma-Q Color Force II 48 luminaires were a central feature 23 Robe Specified for Atlas Theatre of the Pyramid Stage lighting rig at this year’s Institution Glastonbury Festival, providing powerful coloured The newly built Atlas Theatre in Emmen is a illumination for high-profile artists including Foo multifunctional performance space in the heart of Fighters, Ed Sheeran, Katy Perry, Craig David, Chic, the city. In addition to the two Atlas auditoriums, page : 10 Barry Gibb, The National, First Aid Kit and many more. the complex also includes a full convention centre, catering outlets, offices and is an access point for the Wildlands Adventure Zoo … and 16 Stage Electrics helps RE:NEW Chester’s Robe moving lights! Storyhouse Theatre and Cinema Built in 1936 and a Grade II Listed building, the 24 PRG XL Video Supports Peter Storyhouse theatre was originally Chester’s Odeon cinema. It had been empty and deteriorating since Mumford with Theatre Lighting 2007, but the £37 million RE:NEW project, set about Technology for The Ferryman converting and extending the original building. Stage Olivier Award and Knight of Illumination Award- Electrics was tasked with installing and supplying winner Peter Mumford has lit Rob Howell’s set sound, production lighting, AV equipment, paging and for The Ferryman. With a single set used for the technical infrastructure for the entire project. page : 11 majority of the play, the lighting becomes key in transporting the audience into the kitchen setting, and in transitioning through the day as 18 Orchestral Manoeuvres in the Light: the sun rises and shines through the window. Netherlands Philharmonic Rehearses Under GDS ArcSystem 26 New Ayrton fixtures for Tom Petty Built in the 1920s, the domed and eye-catching Majella and the Heartbreakers 40th church in East Amsterdam is a large, imposing building Anniversary Tour In 2012 it became home to the Netherlands Classic American blues rock band Tom Petty Philharmonic Orchestra and Dutch Chamber and the Heartbreakers celebrates its 40th Orchestra(NedPho/NKO). GDS provided a Dialux study anniversary with their current five month tour of of the venue and following site demonstrations followed the US and Canada, with an additional date in by visits to other GDS installations, such as the page : 11 London in July. The band’s lighting designer, Vereeniging Concert Hall in Nijmegen, NedPho gave Stanley A Green, chose Ayrton LED fixtures for the go ahead for GDS ArcSystem to be installed. the show.
TECHNICAL STANDARDS FOR PLACES OF ENTERTAINMENT Revised in February 2017 Available now from www.etbooks.co.uk Issue: 294 direct from: www.etnow.com from the editor Entertainment Technology is published 12 times a year in conjunction with the leading industry portal www.etnow.com Theatres Trust announces Annual Conference Editor: John Offord in October 2017 exploring role theatres can play Technical Editor: Jackie Staines
within placemaking Published by: Theatres Trust Conference 17: Theatres Entertainment Technology Press Ltd & Placemaking will take place on Tuesday The Studio, High Green 17th October at the Lyric Hammersmith, Great Shelford London, discussing the role of theatres Cambridge CB22 5EG and wider cultural infrastructure within Telephone: +44 (0)1223 550805 placemaking. The conference will examine Fax: +44 (0)1223 550806 and debate a number of issues around this Website: www.etnow.com vital topic, including the contribution theatre email: [email protected] © Entertainment Technology Press Ltd. buildings can make towards the regeneration, economic growth, vibrancy and well-being of a community. Subscription Rates: Jon Morgan, Director of Theatres Trust, said: “Placemaking is a well-established concept Annual Subscription for 12 issues (UK): £27.50 and an important principle guiding the work across both city and town planning and Annual Subscription (overseas): £50.00 increasingly within the culture sector. Conference 17 will look at how all the stakeholders Subject to acceptance, subscription is free to including theatre operators, planners, developers, architects and local communities, can UK based industry professionals. work together to embed the value of theatres in placemaking. We will explore how we Subscribe online at: can design and run our theatres as democratic, inclusive environments to foster a sense www.etnow.com/etmag/ of ownership and civic pride. We will examine the role of local authorities in championing theatre buildings in their plans. And we will discuss ways to encourage and support local Opinions expressed in Entertainment communities to value and protect their local theatre and to take an active role in cultural Technology are not necessarily those of planning.” the publishers. All rights are reserved and The annual conference, now in its 11th year, attracts a high number of key decision makers reproduction of any part in whatever form is and influencers and in a break from the usual format delegates will be able to participate prohibited without the prior permission of the in a range of plenary and break-out sessions whilst listening to inspiring case studies to publishers. inform their discussion and debates. etnow.com (entertainment technology news on web) is the industry portal site with news from Jon Morgan continues: “Our Conference provides a useful platform to hear from voices around the world added daily under various across different sectors who might not necessarily engage with each other on a daily basis. sector headings coupled to an extensive We work with a diverse range of stakeholders throughout the year and we hope that the archive. The site also features a books section subject matter will encourage those with a shared interest in vibrant communities and a where titles from Entertainment Technology flourishing theatre sector to get involved." Press can be ordered online via our secure Conference 17: Theatres & Placemaking contributors confirmed to date include Richard Sage Pay credit card services. Blyth head of policy, Royal Town Planning Institute, David Byrne artistic and executive director New Diorama Theatre, Damian Cruden artistic director, York Theatre Royal, Anna Devlet head of community British Land and Angus Morrogh-Ryan director De Matos Ryan Architects. Weekly News Headlines Conference 17: Theatres & Placemaking is generously sponsored by a diverse group of organisations, consultancies and manufacturers including ABTT, Aedas Arts Team, Allies & Morrison, Audio Light Systems, BuroHappold, Charcoalblue, Chauvet Professional, EM Acoustics, ETC, GDS, GoboPlus, Harlequin Floors, Haworth Tompkins, Hawthorn, Register for LSI Magazine, Lyric Hammersmith, New Stages Ltd, Northern Light, Page\Park, Philips Entertainment Lighting, Plann, Really Useful Theatres Group, Stage Electrics, Theatre Projects, Triple E and Unusual. Keep up to date by signing up at www.etnow.com/etexpress
Entertainment Technology Press Latest Title Charles John Phipps F.S.A. Architect to the Victorian Theatre This book is the fi rst in-depth biography of the leading Victorian theatre architect Charles Phipps. His designs dislodged the Victorian theatre from its dependence on the Georgian playhouse and ushered in a new modernity utilising the latest technology in lighting, stage machinery and building construction and his work was a major infl uence on younger architects, notably Frank Matcham. August 2017 news
LAMDA chooses White Light Becomes Prolyte Group DiGiCo SD9T for Official Technical expands production new £28.2m facility Supplier to Claridge’s to support its growth Autograph Sales & Installations has White Light has established a reputation for Following continued growth, Prolyte recently supplied a DiGiCo SDT9 for providing technical solutions in some of the Group has solved its need for additional LAMDA (London Academy of Music & country’s most prestigious venues. Not only is production capacity by expanding its new Dramatic Art) as part of an extensive the company an approved technical supplier at production site in Piatra Olt, Romania, sound reinforcement system for its Historic Royal Palaces, Unique Venues of London, which was opened in 2016. With this brand new £28.2m facility. Saatchi and Tate, but also offers exclusive in- expansion Prolyte has completed an The 220 UK and overseas students house technical services to prestigious venues additional 4,400m2 production space to who take part in LAMDA’s seven such as Central Hall Westminster. Adding to the already impressive facilities. validated degree courses (which its increasing venue portfolio, White Light has Consolidating all its European include acting, direction, production recently been appointed as the in-house technical manufacturing capacity into an and technical arts) will now benefit supplier to Claridge’s, which is regarded as one approximately 10,000m2 facility, Prolyte from a transformative 5,500m2 of the most luxurious hotels in the world. Group can boast to have one of the largest redevelopment which includes the 200- Located in the heart of Mayfair, Claridge’s is and most modern production facilities seat Sainsbury Theatre, the 120-seat synonymous with hotel luxury and impeccable for the manufacture of truss systems. Carne Studio Theatre, the Manny & service. Part of the prestigious Maybourne Hotel And there’s room for further growth with Brigitta Davidson Foyer, the Sackler Group, previous guests include Queen Victoria expansion possibilities to 16,000m2. Library, a screen and audio suite, and Prince Albert, Audrey Hepburn, Cary Grant, The complete production facility is ten training/rehearsal studios and full Alfred Hitchcock and current members of the equipped with brand new automated technical and wardrobe facilities. Royal Family. The grade-II listed building hosts production machinery and state-of-the- Autograph has a long history with over 200 rooms along with a series of event art product lines. In addition, the building LAMDA, not only working with them spaces. contains industry-leading employee on their own technical facilities, but Similar to other venues where WL offers in- welfare and environmental systems, providing in-house training for LAMDA house technical services, the company’s role at as well as an in-house training facility students at Autograph’s London Claridge’s will be providing a dedicated in-house for welding personnel. The complete headquarters. They recommended the technical team who will be on hand to support any bespoke factory including all equipment, Academy purchase the SD9 because event taking place within this prestigious location. procedures and personnel has obtained of this and because of DiGiCo’s With a £3million annual investment in the latest a EN1090 certification in the highest predominant use in West End theatre equipment, WL will ensure that Claridge’s is fully execution class III and is further ISO productions. equipped with state-of-the-art technology. 3834-2 certified.
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4 4 Issue: 294 news
Solaris T-Lights on Stone Roses Systems Group Expands at Shure Tour Distribution UK The Manchester The Systems Group at Shure Distribution UK is band Stone Roses expanding with the addition of Andrew Francis (top) completed their as senior applications engineer and Richard Knott European tour last as project manager. The new employees have been month, highlighted taken on in response to the growing demand for Shure by a sold-out conferencing audio technology following the launch of performance at products such as the Microflex Advance networked mic London’s Wembley array and in advance of the launch of the forthcoming Stadium. After a IntelliMix P300 Audio Conferencing Processor. hiatus beginning Andrew Francis has a decade of AV experience in the nineties, the covering both installed systems and live events. In group’s successful his new role, he is a product specialist for Shure’s comeback in 2012 made them the “Lazarus of Rock & Roll.” Microflex Advance, Microflex Wireless, QLX-D, ULX-D For their 2017 tour, lighting designer Paul Normandale of Lite and Axient Digital platforms. He will also offer technical Alternative Design included two Solaris T-Light 85,000 Watt support in the pre-sales and commissioning phases of lightning machines. larger projects, and will take an active role in industry “Two were plenty,” says lighting director and programmer Glen education through Shure Audio Institute events. Johnson. “These over-the-top strobes are reliable and daylight Richard Knott (lower) also comes from an AV bright. We needed something for maximum impact against a background with a focus on installed sound, having huge amount of video surfaces. The back screen alone was 35 carried out roles at manufacturer and distributor level. by six metres, with an additional seven screens of IMAG! The Prior to joining Shure he was business development T-Lights provided defining moments when used and dramatically manager at White Light, managing AV system design ‘altered’ the stage surface each time. I love them!” and project sales across a range of markets. As project manager, Richard Provided for the tour by Lite Alternative, Solaris T-Light Lightning is responsible for relationship building between Shure, end users and Machines have a flash length from 1/30 to 3.5 seconds and an consultants in the systems market, focusing on conference audio, meeting output of up to two million lumens. ETL Listed and housed in a rooms, and multi-divisible spaces. rugged stainless steel enclosure, they feature an adjustable spot SDUK systems group manager Duncan Savage said: “We are thrilled to to flood beam width. The T-Light 85kW lightning machine is the have Andrew and Richard on board. Microflex Advance has proved hugely ‘Bad-Ass’ member of the Solaris family of high-performance LED popular since its launch in 2016 and, with their knowledge and experience, and xenon fixtures and strobes. they will be invaluable as we continue to develop the Shure product portfolio www.tmb.com and deliver innovative solutions to the market.”
5 August 2017 news
ETC Eos delivers dynamic looks for Rose Bruford College Wins Gold The Dream of Gerontius Award in Teaching Excellence As part of its summer Framework programme, English National Opera appeared at the Royal Rose Bruford College of Theatre Performance has been awarded Festival Hall for a captivating a Gold award in the Teaching Excellence Framework (TEF), which production of Elgar’s The was introduced by the Government to recognise and reward Dream of Gerontius. Multi- excellent teaching in UK higher education providers. award winning lighting The TEF awards were decided by an independent panel of experts designer Lucy Carter used including academics, students and employer representatives. light – controlled with ETC Drawing on national data, and evidence submitted by each Eos Ti and RPU3 – to create university or college, the TEF measures excellence in three areas: an additional layer of emotion teaching quality, the learning environment and the educational and and energy to support and professional outcomes achieved by students. reflect the music. Based on the evidence available the TEF Panel (which is Widely regarded as Elgar’s made up of students, employers widening participation experts finest choral work, The and academics) judged that: “Rose Bruford College delivers Dream of Gerontius relates consistently outstanding teaching learning and outcomes for its the journey of a pious man’s students. It is of the highest quality found in the UK.” soul from his deathbed to his The gold award is another external validation of the College judgement before God and delivering the highest quality of teaching and standards, following settling into Purgatory. To the awarding of Taught Degree Awarding Powers in January 2017 evoke an otherworldly feel, and the UK quality mark by the Quality Assurance Agency for Carter opted for simple staging with abstract lighting energies that Higher Education (QAA) standard in November 2014. combined with the music to create an ethereal quality. Principal and chief executive, professor Michael Earley, said: “The “When I was researching this production and arrived at my eventual Gold TEF ranking is a major endorsement for Rose Bruford College design decisions, I knew that in order to create the complex and of Theatre and Performance and the kind of teaching and learning detailed environments to match the expansive and evocative music excellence that led to our receiving Taught Degree Awarding and themes of the libretto, I would need an immense amount of Powers in 2017. We are in the top rank of UK conservatoires and flexibility from my rig,” says Carter. “I chose to work almost exclusively now rank with the best universities in the Teaching Excellence with the GLP impression X4 Bars and Eos pixel mapping, and to Framework. The Gold award is something we share with all use video files to populate the designed structure of the lights with students, staff and alumni, all of whom delivered this tremendous energies and light textures.” result.” Supplied by PRG, the rig consisted primarily of 163 GLP impression X4 Bars, arranged into six concentric triangles positioned over the orchestra, and three rows over the chorus. Lighting of the choir and orchestra was delivered by 12 Martin Mac Aura XBs, with the soloists and conductor lit by a combination of ETC Source Four LED Series 2 Lustr and Vari-Lite VL1000 AS fixtures. The rig required in excess of 40 universes of DMX, delivered via 14 ETC DMX/RDM Four-Port Gateways mounted locally on the trusses by production electrician Martin Chisnall. To deliver the dynamic range of looks required, Carter worked closely with lighting programmer Jenny Kershaw, with programming support from Andi Davis, on behalf of ETC. “Jenny and I have been working with these ideas for a few years, and the ETC desks are an essential tool for our design work,” says Carter. “I want the lighting textures to feel organic and not mathematically produced and Jenny is able to manipulate the effects tools to create the dancing light textures I want. These are not repetitive effects, but seemingly evolving and dynamic.” Full story etnow.com Production News photo: Richard Davies www.etcconnect.com
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New team to strengthen projects structure for Martin Audio’s New J&C Joel Product Line up Starts Leading manufacturer of flame retardant to Ship fabrics, drapery and stage engineering solutions, J&C Joel, has announced a Back in April, Martin Audio chose new structure for its projects department. Prolight+Sound in Frankfurt as the platform Ben Richardson-Owen, previously to announce and preview its ambitious Middle East project manager, has line-up of ten new products across multiple been promoted to head of projects categories including line arrays, stage (international) alongside Fraser monitors and amplifiers. Davidson, previously UK and Europe With pre-sales running high, Martin Audio project manager, who has now stepped has announced that many of the new into the role as head of projects (UK and Europe). products have now started to ship. Dom Ben has worked for the company for six years and worked in the company’s Dubai office for five Harter, managing director, commented: years, returning to the UK office last year. He has a proven track record for preparing project “I’m delighted that our production schedule methodologies, building and fostering project team’s specific to individual client’s needs, co- has remained on track which is another sign ordinating all design aspects of projects using 2D CAD, liaising with draftsmen and design of the growing maturity of the business, engineers and delivering projects worldwide. enabling us to keep our commitments to Fraser has worked for the company for 17 years, starting out as an apprentice installing J&C Joel customers.” products all over the world, alongside J&C Joel’s CEO James Wheelwright, before eventually First out of the gates was the XE Series, moving into the co-ordination and management side of project delivery. bringing engineering innovation to high Matt Corbett, operations director, said: “We’re extremely pleased to be able to promote both Ben performance stage monitoring. Featuring and Fraser. They bring a wealth of experience to their roles and have been key assets to the unique Coaxial Differential Dispersion J&C Joel projects team for a long time. I believe they are the right people for the roles and have technology with a patent pending third the right skills, work ethic and vision to lead and drive the team forward. I’m very much looking static waveguide, the XE series is designed forward to working closely with them to implement innovative ideas and develop the department to deliver perfect monitor sound with a as well as seeing the team progress under their leadership.” defined coverage pattern that allows the The changes also see Alan Carradus join the J&C Joel team as a project estimator. Alan started artist freedom of movement, while reducing in the industry in 1987 and brings a wealth of industry experience from theatre, production overlap with adjacent monitors. Harter and live events. His impressive background includes project management in the West End, commented: “Both XE500 and XE300 production management and technical management. will be featuring at major festivals over Alan said: “I’m really happy to join the team and look forward to a new challenge. I’ve known the summer, and currently demand has Joel’s for a long time and I’ve used their products for a long time. Hopefully I can bring a level already accounted for our next few months’ of experience to augment the existing output and help implement innovative ways of working.” production.” Martin Radmall has also joined the business as UK project manager. Martin has more than 28 Also shipping is the latest LE Monitor Series, years’ experience in the industry and comes with a strong background in events, television and scaling down the technology found in the theatre. He said: “I am incredibly excited to be bringing my knowledge and creativity to J&C Joel. XE Series to bring engineering innovation I love technical theatre and therefore I’m extremely pleased to join the team and bring old and to everyday stage monitoring, while at new venues to life.” the same time delivering exceptional These new roles further strengthen the projects department both in the domestic market and performance and controlled coverage at internationally, bringing a wealth of experience to the existing team which now stands at 24 a price point not previously possible for a employees. truly professional monitor. Both the LE100 www.jcjoel.co.uk (1x12” LF) and LE200 (1x15” LF) started to ship at the end of May. Harter commented: “We’ve ramped production quickly on these as the price point and early interest suggests significant volume to follow.” Ovation B-1965FC Offers Advantage of Lime The Wavefront Precision Series is also Colour Mixing set to ship this month. Both the WPC (2x10” LF) and the WPM (2x6.5”LF) are Chauvet Professional continues to new generation of multi-purpose line usher in a new era of colour mixing arrays designed to bring Martin Audio’s opportunities in wash lighting with signature sound, coverage consistency and the introduction of the Ovation B-1965FC. Like its predecessors, the Ovation B-2805FC and control to a broader range of live events, B-565FC, the new 1.2 metre batten utilises a RGBA-Lime color mixing system, allowing designers permanent venue installations and budgets. to create a richer and broader range of colours as well as brighter whites. Combined with the newly announced “The Ovation B-1965FC gives us a complete range of batten washes with RGBA-Lime colour iKON multi-channel amplifiers, iK42 and mixing,” said Albert Chauvet, CEO of Chauvet. “Designers immediately appreciated the brighter iK81, Wavefront Precision is designed output and more realistic colour washes they could achieve with our Ovation B-2805FC and to be uniquely flexible, upgradeable and B-565FC and they can expect the same from our latest batten. Lime fits into the optimal financially accessible. Harter, commented, wavelength for the human eye, which is critical to the performance of these fixtures.” “The reaction to Wavefront Precision has Powered by 196 RGBL LEDs, the Ovation B-1965FC has an illuminance of up to 5,000 lux at been extraordinary with our forecast six five metres, making it one of the brightest battens on the market. In addition to its brightness month volume already taken in opening and long throw distance, the fixture is extremely versatile with multiple control personalities orders.” for complex programming schemes, up to seven sections of control and 16-bit dimming of the Finally, the two new high performance master dimmer and individual colours. The user-friendly batten offers RDM, Art-Net and sACN subwoofers the SX118 and SX218, a as well as standard 3-pin and 5-pin DMX control options. single 18” and double 18” respectively, Other standard features include a virtual colour wheel that matches popular gel colours, have also started to ship. Harter explained: temperature presets for easier programming, and a linear holographic diffuser that locks into “The SX subs were designed primarily to place for wall and cyc grazing. The fixture’s adjustable pulse width modulation and silent operation accompany the Wavefront Precision but make it well-suited for lighting designs that will be videoed, as well as for use in theatres and their performance and price point has seen houses of worship. demand as a sub to accompany many of “We expect the Ovation B-1965FC to be embraced in a wide range of applications,” said Chauvet. our other loudspeaker series too. This is so “Aside from its extraordinary colour mixing, this fixture has a range of performance features that much so, that we are now looking to phase make it ideally suited for many different projects.” out the older WS118X and WS218X.”
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High End Systems Debuts New Website High End Systems has entered the next phase of its growth with a new website. The upgraded www.highend.com has been completely redesigned to offer a more engaging user experience with improved navigation and functionality. “We wanted to continue the excitement of the company’s new direction with a website that reflected the energy of our products and better addresses the needs of our users,” says HES general manager Becky Koester. “Our new site – still found at www.highend.com – offers a refreshed, dynamic way to get all the information about any High End Systems products, hear the latest news and find technical support.” The new design makes it fast to learn all about High End, with clear direction and links to all High End Products, including its award- winning SolaSpot line of fixtures and the Hog family of consoles. Mobile users and desktop surfers will equally enjoy the slick new site thanks to its mobile responsive design. “The popular user forums remain an integral part of the site, letting users help each other and share their latest triumphs. Other success stories have a higher profile on the site too, with an added focus on the latest designs, shows, studios and stages that showcase High End gear.” www.highend.com
PR Lighting’s New Blinder 360 LED Strobe PR Lighting has announced the new Blinder 360, an exceptionally powerful LED strobe, blinder and flood. Available in white (6500K – 8330D) or warm (3000K – 8330T) versions it is powered by 360 x 1W white LEDs. This provides an intense output of pulse and random strobe effects at a rate of 0-25fps (plus seven macro effects). This achieves staggering light levels and an unbelievable punch over a huge area. The strobing effect is compounded by an impressive head movement of 720°, 360° plus continuous rotation (in pan mode) and 270° (or endless rotation) in tilt to further increase the dynamic. Beam angle (1/10th peak) is 120° and dimmer function is 0-100%, linearly adjustable, with eight individually controllable areas for separate dimming and a wide selection of effects (12 channels in standard mode and 20 channels in extended mode). Available with wireless DMX control, and weighing just 5.7kg, the new Blinder 360 is now shipping.
BroadWeigh gets the LEEA seal of approval Wireless load monitoring brand BroadWeigh is now an associate member of the Lifting Equipment Engineers Association (LEEA), the leading representative body for all those involved in the lifting industry worldwide. The membership is the latest step taken by BroadWeigh as it strives to be the best – not only in the quality of products that it offers, but in the example the company sets within the entertainment industry. Jonathan Purdue, business development manager at BroadWeigh said: “Becoming members of LEEA is something we are very proud of. We started the ball rolling several months ago, then in May, a representative from the LEEA came to our premises in Exeter for the day and audited all our BroadWeigh processes and calibration machines. Applying for membership isn’t something we are obligated to do, but we felt it was the right thing to do, both for ourselves as we continue to promote BroadWeigh as the leading name for wireless load cells, and also for our clients who get the peace of mind that comes with knowing that we are keen to demonstrate our compliance with standards set for the lifting industry across the world.”
9 August 2017 news
Exton announced as new dealer for CAST Software announces wysiwyg J&C Joel in Iceland Release 39 Leading manufacturer of flame retardant CAST has introduced wysiwyg lighting design software Release 39 fabrics, drapery and stage engineering which packs improved security to protect user investment as well solutions, J&C Joel, has announced its new as a rich new feature set for every wysiwyg mode: CAD, data, plots, partnership with Exton who are now its bronze reports, previsualisation and more! dealer in Iceland. Created with the lighting designer in mind as well as a futuristic Exton was established in 1992 and is the workplace, wysiwyg’s powerful and integrated improvements result market leader in A/V rentals and sales in from the direct feedback from wysiwyg users and the wysiwyg beta Iceland providing rental of audio, lighting, testing programme. Users will be able to be more creative and dynamic video, stage and rigging equipment from in their lighting design workflow from the design and presentation to simple systems up to full production packages. clients as well as on site, saving valuable time and resources. As well as being the premiere rental company For wysiwyg Release 39, a lot of investigation time and effort was in the region Exton also sells audio, video and lighting equipment and dedicated to make improvements to importing DWG/DXF files. This offers an integration service which provides design and installation for should resolve any issues experienced when importing very large any kind of broadcast, audio, video or lighting project. DWG/DXF files. Also, setting a brand-new world record for a wysiwyg The company will offer J&C Joel’s fabrics, drapery and stage release, there are 220 new fixtures available in the Library plus new engineering solutions along with bespoke design, manufacturing and accessories, gels, gobos and many old fixture correction and updates. installation services as a complementary solution to their already wysiwyg lighting design software continues to improve its ease to use established products and services. workflow and features, some of the new functionalities are a first in the Exton’s director, Sigurjón Sigurðsson (pictured), said: “We look industry giving users significant commercial and creative advantage in forward to future cooperation as we see many new opportunities in an increasingly competitive marketplace. Icelandic market with J&C Joel.” Roland Rizk, J&C Joel’s Europe and Russia regional manager, said: “Exton are a great company with a lot of knowledge and experience in key areas which complement the products and services we provide. We are looking forward to supporting Exton for a long-term partnership Ampco Flashlight Group Light the in the Icelandic market.” Way for Green Hippo in Benelux www.jcjoel.co.uk Green Hippo has announced an agreement with Ampco Flashlight Group. The Utrecht-based outfit which consists of three principal divisions: rental, sales, and technology, is ideally placed to take real- time video playback technology to venues and practitioners throughout this valuable politico-economic union, one which is home to almost 30 Penn Elcom Invests in Washington million people. Facility Peter de Fouw, general manager of Ampco Flashlight sales comments: “Green Hippo is a hugely important brand to us and by taking on this Multinational flightcase market-leading brand for distribution, opens up opportunities in new hardware and 19-inch racking and innovative markets across the Benelux region. More and more manufacturer Penn Elcom we see video applications being used in all major events and across continues to invest in all many vertical markets such as theatre, live performance, installation its facilities to ensure the and broadcast. We are honoured to be the new distributor for a production process stays leading brand such as Green Hippo, which is a welcome addition to efficient, state-of-the-art the Ampco Flashlight portfolio.’’ and meeting the increased James Roth, head of sales and marketing for Green Hippo said: demands following the launch “Reaching an agreement with Ampco is another major step towards of global online sales portal, securing and further growing our market position in Europe. For me, pennelcomonline.com in the timing of this is of major importance and dovetails nicely with our January 2016. expansion plans in other territories.” A range of new engineering equipment has been installed at the Washington, Tyne & Wear HQ over the last 18 months, including new metal brake presses, plastic injection moulding machines, riveting assembly lines and Get more DiGiCo S-Series for your machinery to enhance processes like wood laminating, PVC / HPL, zinc plating and powder coating. There have also been upgrades to money the warehousing and distribution departments. DiGiCo has announced the release of its latest V2.0 software upgrade Consolidating all these key manufacturing processes under one roof for its S-Series consoles, adding key features including increased and minimising sub-contracting enables Penn Elcom to have a high channel count for both the S21 and S31 from 40 to 48 input channels. degree of control over its products, which guarantees meticulous This free of charge upgrade gives S-Series users an amazing 48 quality control and the high standards for which the brand is renowned. mono/stereo switchable flexi-channels, the equivalent to 46 busses at “It also makes the company versatile, agile and responsive to client 96kHz, with no processing limitations, giving you the DiGiCo power, needs,” explained David Brown, MD of Penn Elcom UK. performance and sonic quality you want, whatever your budget. The 105,000 square foot Washington plant is divided between DiGiCo’s S-Series consoles have been designed with meticulous manufacturing and warehousing and currently employs 133 full time attention to detail, using the same FPGA components as its SD Series staff, out of a total of 194 in the UK. The others are based atthe consoles, combined with a new ARM QuadCore RISC processor. Hastings facility in East Sussex, giving Penn excellent coverage and “This is what has allowed us to produce an entry level range with fast deliveries all over the UK and beyond. the same fundamental technological values as every other DiGiCo The company also has major manufacturing bases and distribution console and faster processing and lower power consumption than centres in Mexico and China. These four facilities are the bedrock of a any other console in its class,” says DiGiCo’s general manager Austin highly successful worldwide trade operation. Freshwater. “It also gives us the ability to unlock more features as With annual global sales of around £60 million, about £14 million of time goes on, so you can be confident your investment is safe and you this was generated in the UK last year, a 12% increase from previous won’t have to buy a new console to keep up with the ever-increasing figures. demands of today’s industry.” www.pennelcomonline.com www.digico.biz
10 7 Issue: 294 news
David Stewart Joins GLP GLP has continued to strengthen its UK operation, with the announcement that the hugely experienced David Stewart has been recruited as sales manager. An industry veteran with nearly 30 years’ service, he spent the previous decade with Martin Professional, where he built up a powerful network of key specifiers, lighting designers and rental companies. Starting his career as a Vari-Lite operator, after working freelance for ten years he then enjoyed stints with Stage Electrics, Fusion and Spirit Design before joining Martin Professional. Finding himself ready for a change, he said that GLP had been an obvious move. “The brand is very well known and they were at the forefront of LED moving head technology with their impression series. Aside from their excellent reputation and branding I liked the idea of working for an independent company where I can make a difference and have a more hands-on approach to developing the next technology.” He also looks forward to being reunited with Mark Ravenhill, who heads up GLP Inc in the States, with whom he previously worked at Martin Professional. “Mark has been a huge influence and I have huge respect for him. We have kept in touch at trade shows and when he approached me about the sales manager role the timing seemed perfect.” www.glp.de
National Theatre Meets Growing Demand for GLP’s X4 Bars The National Theatre on London’s South Bank has invested heavily for the second time in GLP’s award-winning impression X4 Bar 20s. Lighting resources manager, Paul Hornsby, has added to the initial tranche of 18, which he purchased as soon as they first became available, with a further 20 in order to meet the increasing demand. Both batches were supplied by GLP dealer, White Light. Explaining the rationale, he stated: “We have an extremely substantial rig at the National, and so every year, with my on-site team, we evaluate and discuss what needs replacing and upgrading, depending on both lighting designers’ requests and advances in technology. He confirmed: “The initial GLP purchase was the result of a combination of lighting designer referrals along with our own need to replace our ageing DLC fixtures.” And as soon as the first 18 fixtures arrived they were requisitioned for productions of Angels in America and Salomé. Paul Hornsby’s introduction to the X4 Bars had been on GLP’s stand at last year’s PLASA Show in London. “I was extremely impressed and had never seen a unit like them. I had also seen them in use on other shows and heard nothing but praise from lighting designers who were quick to shout about their capabilities,” he continued. Both the X4 Bar 20 and smaller X4 Bar 10 are high performance battens that incorporate tightly-packed 15 Watt RGBW LEDs to produce a full line of light. High quality optics ensure a smooth, homogenised output across the batten through a broad pallet of pastel and saturated colours, complemented by exceptional dimming. DMX control offers full pixel mapping capabilities, while the impressive zoom range, from 7° to 50°, ensures effects from a narrow angle light curtain to a wide angle washlight. LDs were quick to recognise this unique feature-set, and due to the high demand for the X4 Bar 20s it was always in Hornsby’s thinking to invest in a second tranche. “We were immediately aware of how sought-after these fixtures are and the kind of impact they would make on all our shows here at the National.” This is so much the case, that the latest arrivals have gone straight onto Common and NT Connections, while 24 of the X4 Bars will be used on the upcoming production of Follies. www.glp.de
11 August 2017 features
Marquee AV Provides the AV and Production Lighting for New LAMDA Facility LAMDA (London Academy of music & Dramatic Art) recently opened its brand new £28.2m facility, which replaces the western part of its campus and more than doubles its overall size. Founded in 1861 as the London Academy of Music, LAMDA is the oldest drama school in the UK and was the first such institution to offer acting tuition. Today, LAMDA offers seven validated degree courses in acting, directing, production and technical arts. Charcoalblue LLP worked alongside Níall McLaughlin Architects to provide the performance specification for the consolidation of LAMDA’s disparate and remote teaching spaces onto the new single-site campus in Hammersmith. Development consisted of the 200-seat Sainsbury Theatre, the 120-seat Carne Studio Theatre, The Manny & Brigitta Davidson Foyer, The Sackler Library, a screen and audio suite, ten training/ rehearsal studios and full technical and wardrobe facilities. volume controls specifically designed for distribution. The main contractors for the project were operation in each room. Dedicated paging The Carne Studio Theatre is provided Volker Fitzpatrick, who appointed Marquee microphones are provided which connect with 84 dimmers, fitted with RCDs and AV to design and install the AV and via the audio data infrastructure. wall mounted in racks located in the production lighting systems to comply with The AV system in the main Sainsbury second floor equipment room. Circuits the Charcoalblue specification. In addition Theatre is centred around the combined from these dimmer racks is distributed to the building-wide AV infrastructure and amplifier/dimmer room on the second to 116 socket outlets in custom facility paging systems, the project covered The floor. From the patchbays located in panels throughout the space via a custom Sainsbury Theatre, The Carne Studio the equipment racks in this room it is patch panel located on the control gallery Theatre, the screen and audio suite, and possible to route audio, video, data, within the theatre. A comprehensive stage the sound studios. communications and loudspeaker lines lighting control network is installed in the The building-wide AV system provides to socket outlet boxes throughout the theatre, as well as dedicated digital stage distribution of audio and video show theatre. A phased-array induction loop is lighting DMX control tie-lines to each of relay signals to key offices and front of installed to provide assisted hearing aid the facility panels. house areas. Tie-lines and terminations listening. The screen and audio suite is provided are generally split between the racks in Lighting for The Sainsbury Theatre is with a power and data infrastructure to the main AV and dimmer room, servicing provided by 192 centralised dimmers and enable the use of stage lighting fixtures, to The Sainsbury Theatre and also to The relays. Socket outlets from the dimmer support events and live performances in Carne Studio Theatre rack. Links are racks is distributed in custom facility this space. The infrastructure in the sound provided between all racks. A paging panels throughout the space. Marquee AV studios includes outlet boxes in each system is provided for front and back of provided a comprehensive stage lighting of the three studios and one in the main house calls, show relay and monitoring of control network in the theatre, as well sound department, allowing audio, data technical intercom. Volume controls and as dedicated digital stage lighting DMX and video connectivity. Tie-lines originate outlet boxes are provided in key spaces control tie-lines to each of the facility from a single AV rack in the main sound throughout the building, in the dressing panels. department room. rooms, technical offices and workshop The AV infrastructure in The Carne The installation was handled by Marquee spaces to allow performers and staff to Studio Theatre is a simple but flexible AV’s project management team. Senior see and hear show relay or paging from arrangement to suit the changing projects manager, Rob Whitaker, either of the two theatre spaces. Paging is requirements of the space. All tie-lines commented: “This has been one of the split into zones of signal distribution, with originate in a single AV rack located in the most interesting theatre projects we have backstage area, with distributed facilities worked on, in many ways more complex at both floor and high level within the than a normal theatre installation. We theatre. The philosophy between The achieved the results set out in the Carne Studio Theatre and The Sainsbury specification on time and budget.” Theatre is as similar as possible and, Rob Young, head of technical training as such, a phased-array induction loop at LAMDA, said: “The young people we is installed to provide assisted hearing train go on to shape the future of the aid listening. The existing LAMDA stage dramatic arts and through these exciting management console was integrated new facilities we can ensure they have the within the infrastructure and video and very best preparation for successful and audio show relay systems are provided sustained careers in the industry.” along with appropriate processing and photos: Richard Hubert Smith 12 Chroma-Q® Color Force II™ RGBA Battens - Centre Stage on the Pyramid Stage Glastonbury Festival 2017
Congrats to all the Artists who Totally Rocked it!
“The Color Force II battens looked great and went down well on the Pyramid Stage with the LDs. They really contributed to
Photos: Left © Anna Barclay. Right © Shirlaine Forrest the overall look...”
- Andy ‘Fraggle’ Porter, Head of Lighting, the Pyramid Stage
“I’ve used them on a number of TV productions and I absolutely love them...” Foo Fighters - Kirk J Miller, Lighting Director, Photos © Shirlaine Forrest Katy Perry
“Loved them. They worked really well, even in a daylight application...”
- Mark Cunniffe, Lighting Designer, Ed Sheeran
Pyramid Stage lighting supplied by Neg Earth Lights
Color Force II Patents Pending Katy Perry
Visit the stand of our UK Dealer at PLASA 2017:
A.C. Entertainment Technologies Ltd.,
+44 (0)1494 446000, [email protected], LONDON, OLYMPIA | 17-19 SEPTEMBER www.ac-et.com Stand F20 www.chroma-q.com
01194-Advert-Color Force II Glastonbury Fest - TPi Aug 17.indd 3 27/07/2017 15:29:52 August 2017 features
Chroma-Q Color Force II Lights Up Pyramid Stage Artists’ Performances at Glastonbury Festival
Color Force II on Katy Perry. photo: Shirlaine Forrest Nearly 50 of the multi award-winning Stage. Andy Porter, the stage’s head of shows by artists such as First Aid Kit. The Chroma-Q Color Force II 48 luminaire lighting, and the festival’s premier rental band’s lighting designer, Timo Kauristo were a central feature of the Pyramid supplier, Neg Earth Lights felt Chroma-Q commented: “Of course normally they Stage lighting rig at this year’s Glastonbury fixtures would be ideal and flew the Color would be used as cyc lighting, but they Festival, providing powerful coloured Force II 48 1.2m RGBA colour-changing make great eye candy when seen by the illumination and eye candy during both LED battens above artists on the stage. audience.” daytime and evening performances from From as early on as during Friday The Color Force II luminaires were even high-profile artists including Foo Fighters, afternoon’s performances, the powerful more impressive during the early evening Ed Sheeran, Katy Perry, Craig David, Chic, Color Force II battens were providing and final headline performances, providing Barry Gibb, The National, First Aid Kit and the colour needed to lift great daytime eye candy and stage colour for much many more. Mark Cunniffe, lighting designer for Sunday night headliner, Ed Sheeran was impressed by the output of the fixture, commenting: “Loved the Color Force IIs. They worked really well in a daylight application.” Kirk J Miller, lighting director for Katy Perry’s early evening, full daylight performance commented: “I’ve used the Chroma-Q Color Force IIs on a number of TV productions and I absolutely love them. They’re bright, well lensed, and put out some great colour. Here, even in full daylight, they make a huge dent; glad to see them in the rig.” The renowned music festival attracts much attention every year from the world’s media and provides a global showcase for the artists. Centre-stage are performances on the Festival’s iconic, premier Pyramid Stage. With so much expectation, only the highest production values will do on the Pyramid Color Force II and Space Force on Craig David. photo: Anna Barclay 14 Issue: 294 features
Color Force II on Foo Fighters. photo: Anna Barclay Color Force II on Foo Fighters. photo: Anna Barclay anticipated shows by international artists such as Foo Fighters, Katy Perry and massive home-grown star, Ed Sheeran. Michael Brown, lighting designer for The National added the Color Force II fixtures to his show just before the performance, but then used them for much of the high energy set in a wide variety of strong primary as well as pastel colours. Commenting after the show, Michael said: “I have used the original Color Force fixtures, but this is the first time I have used the Color Force IIs. I have to say they were much brighter than I thought they would be.” Six of the award-winning Chroma-Q Space Force soft lights also formed an essential part of the rig, providing TV key lighting during the performances so cameramen could get the shots they needed for performances, many of which were available to stream live online and recorded for TV broadcast live or later on. Designed to deliver a premium performance, the Chroma-Q Color Force II and Space Force LED solutions offer formidable output, superior homogenised optics and theatrical grade dimming. www.chroma-q.com Color Force II on Foo Fighters. photo: Anna Barclay
Color Force II on Foo Fighters. photo: Shirlaine Forrest 15 August 2017 features
Stage Electrics helps RE:NEW Chester’s Storyhouse Theatre and Cinema
Built in 1936 and a Grade II Listed building, Building works were completed at the The 150-seat studio theatre, meanwhile, the Storyhouse theatre was originally beginning of 2017 and the venue, which sits atop the building and is a flexible, Chester’s Odeon cinema. It had been opened in May, is now run and programmed fully-equipped performance, rehearsal empty and deteriorating since 2007, but by Storyhouse, after which the venue is and workshop space and is adjacent to the £37 million RE:NEW project, initiated now named. Previously known as Chester a glass-fronted bar which has panoramic by Cheshire West and Chester Council, Performs, Storyhouse is a combined arts views across the city and the Welsh set about converting and extending the producer that produces both its own work countryside. Both theatres were equipped original building. Stage Electrics was and receives touring work from the best with Stage Electrics stage management tasked with installing and supplying national and international artists coming to desks, a large bespoke system was sound, production lighting, AV equipment, the region. designed and integrated into the main paging and technical infrastructure for the Storyhouse now provides two flexible house and a standard portable system entire project. theatre spaces, a cinema, library and supplied for the studio theatre. The 100- From the outside, the building’s front two bars. The main 800-seat proscenium seat boutique cinema, furnished with elevation has changed little, with the theatre hosts touring productions and has plush red velvet and soft, sunken seating, Odeon’s original façade remaining an auditorium that spans three tiers. This sits within a sound-proofed pavilion on intact. However, the new theatre forms same space can be converted into a 500- a mezzanine floor in the space that was an extension, with glazed cladding seat thrust stage, spreading across two once the colossal Odeon auditorium. contrasting with the original brick of the tiers, where Storyhouse hosts its own Stage Electrics was engaged by Kier Odeon. On the inside, the transformation productions for three to four months of the Construction to deliver the stage lighting is astonishing. year. and audio visual aspect of theatre consultant Charcoalblue’s design. As the specialist integrator, Stage Electrics was responsible for delivering the production lighting and AV systems across all three performance spaces. This included the production lighting equipment, AV infrastructure and front of house audio systems, including a d&b audiotechnik sound reinforcement system in the main theatre and a distributed audio system for the entire building. In addition to the fully automated, DCI compliant cinema system, Stage Electrics also installed a versatile HD video distribution network throughout the venue, including multiple sources and projection facilities to be used in the main theatre and the open library foyer space. Architectural feature lighting and touchscreen control was specified and installed to the exterior of the striking ‘glass box’ cinema to illuminate the structure. “At Stage Electrics, we have a great deal
16 Issue: 294 features of experience of installations like this, so the supply of products like ETC Sensors for dimming infrastructure and our own bespoke manufactured facility panels, racks and Internally wired bars comes as second nature,” explains Ian Dunne, Stage Electrics project manager for the venue. “What was special and challenging with this project was maintaining the flexibility in the technical systems to allow Storyhouse to use each performance space in the variety of formats they intend. In the main theatre, for instance, the fact that the format can change between a proscenium and thrust stage had huge implications for the sound reinforcement and assisted listening system designs.” In addition to the flexibility of the main theatre, the Stage Electrics installation allows for both audio and video to be distributed virtually anywhere in the 7,000 square metre venue. “We were asked to develop the back of house paging and show relay system design to extend gives a stunning effect and an amazing professionalism and to an extremely high across the entirety of the venue, with the contrast. Because the walls are white, the standard. They were able to draw on additional functionality of local background cinema itself can flood the whole of the their experience and expertise to resolve music inputs,” Ian recalls. huge open space in colour.” technical issues that arose during the To this end, Stage Electrics designed “We set out to create an exemplar build programme, including designing and installed a Dante networked Symetrix project, and I am immensely proud of new technical solutions when faced paging, show relay and distributed audio what we have all achieved,” says Graham with unexpected changes to the original system that reaches virtually all rooms Lister, project director for Storyhouse. design. I am delighted with the result and and powers over 200 loudspeakers. “Stage Electrics has played a crucial I look forward to working with the team in The video distribution follows a similar role in developing a highly sophisticated the future.” vein and content from multiple sources technical infrastructure that more than The success of the project has recently including a satellite and receiver, Blu- meets the client’s challenging brief. Ian been underlined by its nomination for ray, or one of two Mac Pros for home Dunne as project manager and the whole Preservation and Rejuvenation Award produced content can be distributed into team at Stage Electrics have not only in North West Regional Construction the cinema or to either of the two, Christie delivered this complex installation on Awards. 12,500 lumen projectors that can be used time and on budget, but also with great www.stage-electrics.co.uk in the main theatre or on the raise and lower screen in the open library foyer. The sources can also be distributed over fibre and HDBaseT to virtually anywhere in the venue. “It’s been a great project to be involved in,” Ian adds. “The fact that half of the project was a new build theatre and the other half was a refurbishment of a Grade II listed building has been really interesting. The attention to detail maintained by everyone involved in the project and the blend of old and new has created a breath-taking venue.” The blend of old and new is probably most evident in what used to be the Odeon auditorium. The new boutique cinema sits on the mezzanine floor and is clad in modern glass panelling, but surrounded by the existing 1930s Art- Deco architecture. Taking things one step further, Stage Electrics has installed LED colour changing fixtures that illuminate the glass panelling with a custom programmed touchscreen control. “The whole cinema is an eight metre high glass box,” says Ian. “The glass panels are made in 400mm sections and we can control the colour of each section, which
17 August 2017 features
Orchestral Manoeuvres in the Light: Netherlands Philharmonic Rehearses Under GDS ArcSystem Built in the 1920s, the domed and eye- ArcSystem to be installed. catching Majella church in East Amsterdam The existing provision comprised 64 PAR is a large, imposing building. Its design 64 lamps of 500 Watts each and these was inspired by the Byzantine churches in were replaced by the retro-fitting of 57 Palestine visited by its architect, Jan Stuyt. ArcSystem Pro 4 Cell Square fixtures. The From the very beginning of the church’s four-cell fixtures were selected in white life, its sheer size presented the parish with powder-coated finish to better blend in with expensive maintenance issues. Having their surroundings. Each having an output struggled for long periods of time against of 7641 lumens, the fixtures achieved a lux a background of declining attendance level of 900, comfortably exceeding the and a consequent lack of funds, the last 800 required by the brief and easily met the mass was held in 1992 and the church coverage requirements. The new system is was bought by the city’s restoration operated wirelessly using GDS’s ArcMesh institution, Stadsherstel. Having first found protocol from wall panels with presets but a use hosting the Institute for Women’s can also be controlled by the in-house History, in 2012 it became home to the lighting console. It can be dimmed or turned Netherlands Philharmonic Orchestra and off in sections to suit any given layout in the Dutch Chamber Orchestra(NedPho/NKO)). venue. Power consumption at NedPho was NedPho/NKO had for some time been reduced from 32,000 watts to a mere 4,750 when there were no events or rehearsals seeking a new rehearsal space and with watts and the virtually maintenance-free taking place, the lights in the auditorium Stadherstel’s expertise, the heart of church system guaranteed perfect dimming and remained off because of high running was altered to create an ideal facility. The vastly improved quality of light. costs. The consequent unpleasant black space is also used for small-scale concerts, Hans Graafmans, senior account and void can now be replaced by a low level lectures and receptions and the NedPho project manager at Ampco reflects on the scene that creates a pleasant atmosphere Dome, as it is commonly known, is highly outcomes at NedPho: “This installation is throughout.” regarded as an important cultural hub. the latest in a series of ArcSystem solutions Matt Lloyd, managing director of GDS puts To further enhance and improve the Dome, we have carried out in The Netherlands, the cost savings into context: “It might be its management team recently addressed including both The Hanzehof Theatre in said that the factors Hans describes would issues of sustainability at the venue and Zutphen and The Vereeniging in Nijmegen. more than justify NedPho’s investment in took the decision to replace its auditorium The benefits of GDS ArcSystem at NedPho ArcSystem. The aesthetic benefits that lighting with a system that required less are many. It is the ideal combination of ArcSystem brings to any setting provide maintenance and could significantly reduce performance and durability, look and feel an enhanced experience for all and in this energy consumption. They also wished as well as brightness. The 3000K colour case, performers, visitors and the staff to improve the levels and quality of the temperature plays a hugely important at NedPho have vigorously voiced their lighting, for the benefit of the musicians and role in creating a natural ‘warmth’ for the approval. This however tells only part of visitors alike. NedPho approached Hans musicians and audience, both groups the story. Sustainability sits at the heart of Graafmans of Ampco Flashlight Sales, were very quick to express their admiration developing a better environment and the specialists in lighting sales and installation, for how the space has been transformed application of GDS technologies allows our and invited him to submit detailed proposals and some of the orchestra remarked that end users to drastically reduce their carbon for a solution. As the company’s distributor reading musical scores was now much footprint, with no aesthetic compromise, in the Netherlands, Hans reserved a easier. Our engineers dismantled and whilst simultaneously saving significant central role in the process for GDS. GDS removed the old system in half a day and sums of money. This particular installation provided a Dialux study of the venue and the new system was mounted, connected will have paid for itself within four years and following site demonstrations followed by and programmed the next. The new system save an estimated €80,000 over a ten year visits to other GDS installations, such as also offers an advantage to those working period, sweet music indeed to the ears of the Vereeniging Concert Hall in Nijmegen, in the internal offices whose windows the management at NedPho!” NedPho gave the go ahead for GDS look out onto the venue. In the past, www.gds.uk.com
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PopRock Festival Slovenia
Teamwork is a great thing, and this was clearly evident for Slovenia’s 2017 PopRock Festival, a high profile national TV live event broadcast from Ljubljana, where lighting designer Crt Birsa and set designer Greta Godnic worked their creative magic in a special collaboration, with the help of 200 plus Robe lighting fixtures. The PopRock Festival, now in its second year, was staged at the Gospodarsko Razstavisce exhibition centre for the first time, bringing an interesting mix of pop and rock artists and bands who had battled it out to reach the final 12. The aesthetic requirement was for a high- energy environment with enough latitude for all to look different and cool – both on camera and on stage – where they were appreciated by 700 excited music fans packed into the venue to catch the action as it unfolded. The 12 contestants performed and were whittled down to three by a jury, from which the public televoted to choose the winner. of shaping of the performance space as they to do some crafty accenting using strobe A few weeks earlier, Crt and Greta had did, they also provided a basic infrastructure like effects around the set which brought delivered another eye-catching stenographic for the lighting. The crosses were lit with a everything alive. and lighting design for the EMA, the event combination of Robe PARFects and CycFX At the heart of the rig was a lighting to select Slovenia’s 2017 Eurovision entry. 8s. ‘chandelier’, a square shaped truss loaded The look and feel of this was so successful, With Crt and Greta working so closely with a high concentration of lights including that by popular demand, the producers together on a fully integrated design from the 16 Spiiders, eight Pointes, 16 LEDBeam requested that a slightly updated version be start, by the time it took shape onstage, Crt 100s in a 4x4 matrix nucleus, and four Robe re-worked for the PopRock Festival. could finish the lighting plot in a day in terms Square fixtures delineating each corner. The distinctive proto-industrial scenic steel of fixture placement. As much as he thought The main overhead trussing design crosses of the set architecture were flown about how lighting would work in relation to comprised three diagonally flown squares at slightly different angles than before, with the set elements, Greta considered how the of which the chandelier was the central clusters of ‘steel rods’ providing further set pieces could be rigged leaving space for one. Thirty-six Pointes were the core effects visual eye-candy. All these elements as well lights and paths for the beams. lights, with eight each loaded on to the three as the black gloss stage floor which was The lighting rig mirrored the shape of the diamonds and the other twelve positioned shaped to the room, were designed to have stage floor, and the set was painted a around the front and to the sides of the a highly physical presence as well as to take medium grey shade, both to contrast with stage. light beautifully. the floor and to respond beautifully when Crt and Greta didn’t want a large imposing Crt is one of Slovenia’s most prolific LDs. illuminated in any colour. Crt was also able LED screen upstage. Instead, they decided He has used Robe products in his work for some time, and now it is usually his first choice of moving light. “I love Robe for the excellent range, the general brightness of the fixtures, their versatility and, of course, the reliability,” he stated. The PopRock festival rig included Spiiders, BMFL Blades, Pointes, MMX WashBeams, Squares, LEDBeam 100s, PARFect 100s, CycFX 8s, LEDWash 600s and ColorSpot 1200E ATs. All were supplied by Slovenia’s largest lighting rental company, Event Lighting, which now has a rental inventory of over 350 Robes. With the multi-artist line-up, a live broadcast scenario and a live audience to impress, Crt selected the fixtures for their flexibility and functionality. Due to the nature of the music, he needed a vibrant colour palette and plenty of effects surprises up his sleeve. The set crosses were initially inspired by looking at the intricate structural steelwork in the venue’s roof. Taking on the critical role 20 Issue: 294 features
to light through a stretched gauze back- behind the set at the sides. Their huge fat were optimised to light the stage, set and cloth as a rear visual feature, with a mix beams were great for shooting out into orchestra. of Sunstrips and Robe LEDBeam 100s the audience and the powerful projection Twenty-two LEDWash 600s washed and concealed behind, then revealed for power- capabilities helped bring a new dimension coloured evenly down each side of the venue accents and ‘wow’ moments. to the scenery. Two more at the back of the with another six on the outer two squares, Twelve BMFL Blades covered the centre hall were used as followspots. an ideal position to highlight the crosses and and backlighting with a row along the Ten MMX WashBeams and 10 more the venue’s prominent structural pillars and upstage edge of the stage deck and two Spiiders on the front and rear trusses wash the ceiling. Fundamental to the lighting and scenography concept succeeding was the desire to fully embrace the building in the show environment, rather than trying to shut it out or mask it off. The PARFect 100s – fitted with 10 and 20 degree diffusion filters – were fitted tothe venue’s pillars and spread out over the floor, used for set dressing in conjunction with CycFX 8s. Six CycFX 8s under the stage at the front were used judiciously, just enough to give the illusion that the the stage was floating, while other units assisted the PARFects in lighting the inner surfaces of the crosses and the venue’s structural RSJs. Crt programmed and ran all the lighting on a ChamSys console using a mix of timecode and manual cueing. All of the most complicated sets, mainly by the rock bands, he ran manually. He comments that having the orchestra and a live backing band really added to the vibe with richness and sonic texture, and working with the set for a second time, with all the basics in the console already, gave him a bit more time to experiment with new looks and effects for the cameras. “Having this many and such a wide variety of Robe fixtures at my fingertips gave me plenty of creative options, so it was down to my programming skills and imagination to be able to deliver 15 completely different looking performances,” he said. All of this looked equally good on camera for TV director Nejc Levstik as it did live, a lively, animated collage of lighting looks and scenes that also made the space look a lot bigger than it actually was! PopRock Slovenia 2017 was presented by Anja Križnik Tomažin, Tin Vodopivec and Perica Jerković, and won by Anabel with her song, “A Cup of Coffee”. photos: Louise Stickland www.robe.cz 21 August 2017 features
New Sounds for London’s O2 Forum with Robe Specified for Atlas Theatre Institution Adlib Audio Installation
Academy Music Group (AMG) has once Leeds, Sheffield and Leicester, so it made at front of house to act as a front-end again enlisted Liverpool-based Adlib to perfect sense for us to work together system input matrix, offering flexibility for design and deliver a completely new, full again on this bespoke solution in one of house and visiting consoles. touring specification, audio system for its our major London venues.” “Again, we considered carefully what most recent venue acquisition, O2 Forum The Adlib project team was headed might come in and out on a tour and this is Kentish Town in North London. The 2,300 by Roger Kirby, Rob Crossland and an out-the-box ready-to-go system with no capacity venue is one of the most popular senior systems technician Tony Szabo, dramatic changes needed,” stated Roger. live music destinations in the capital. who studied the room and the audio Adlib then selected their own MP wedge The brief was to future-proof the venue’s requirements closely. They then designed system for monitors, which are also well- technical infrastructure, bring it up-to- and specified the system, and fine-tuned known and respected on touring and date and give incoming productions once the installation was complete in festival circuits. The latest MP5 version the flexibility and facilities they need to a close collaboration with the on-site 15 inch monitor has improved drivers and stage world class performances with the technical team. output and has been very well received. convenience of using the house system. L-Acoustics K2 was selected for its size Twenty MP5s are also available at O2 Adlib’s vast experience in live touring and and suitability for the wide variety of Forum Kentish Town, all driven by Linea venue installations coupled with detailed featured music and performance genres. Research 44M20 four-channel amps, research of current rider information “We supply kit to numerous tours playing of which seven deal with the MP5s and drove the specification of an L-Acoustics this size of venue,” commented Roger, another powers an Adlib AA215DS K2 loudspeaker system, DiGiCo “so from the rental side of our business, 2400W drum sub. consoles and Adlib’s latest proprietary this system is extensively proven to A set of full range Adlib side fills were MP5 wedges and side fills for the monitor deliver the results required by the most supplied comprising of an FD3P mid/high system. demanding artistes. Further to that, box, with AA215HL sub woofers. All the Adlib’s MD Andy Dockerty and John L-Acoustics is now on most European Adlib products onstage are driven via the Hughes led the initial requirement touring riders almost by default.” presets on the Linea Research amplifiers. discussions with Academy Music Group’s To ensure the new system was fully Two DiGiCo SD10 consoles have been divisional managers Helen McGee and optimised, Adlib recommended that supplied with D2 stage boxes, deployed Steve Hoyland with newly appointed the main PA points were upgraded and at FoOH and monitors, together with general manager, Eral Hassan and relocated to a new position. They worked well-specified control options to complete technical manager John Pinner, who with Academy Music Group’s appointed a high-spec rider-friendly system, with have joined O2 Forum Kentish Town structural engineers, MJC Consulting on which most professional sound engineers this year from London venues, The this element, so the new K2 PA arrays will be familiar. Garage and O2 Shepherd’s Bush Empire could be hung in the best positions each Each and every item in the system has respectively. side. been carefully thought-through and is “We’ve listened to many promoters, This precision was needed to cover the known, proved and appreciated by the sound engineers and production spacious balcony area and the wide audio engineering community. A new managers and wanted to invest in a first areas off stage at the front. Additional low VDC multicore system with 48 input class system. O2 Forum Kentish Town is frequency support is offered by six SB28s lines and 16 stage returns is part of the a stunning art-deco theatre and a much- a side, ground-stacked in two three-way package, and AES signal lines to follow. loved, major touring venue that attracts wheeled dollies which position them at the John Hughes concludes: “It’s been high profile, international artists, so we ideal height in relation to the audience. another great experience working with needed to invest in a completely new PA Three L-Acoustics ARCS boxes a side on Academy Music Group, and one that’s system that really is the best-in-class,” the inside edges of the sub stacks cover offered the chance to combine premium says Helen McGee. the nearfield and stalls areas immediately products in a powerful, practical and “We’ve enjoyed a great synergy and track in front of the stage. fantastic sounding solution at one of record with Adlib over the last decade, All the L-Acoustics speakers are powered London’s premier venues.” with well-respected audio systems at our by LA8 amplifiers. A pair of Lake LM44 venues in Bournemouth, Birmingham, signal processors have been introduced photos: by Caitlin Mogridge, ©Academy Music Group
22 Issue: 294 features
Robe Specified for Atlas Theatre Institution
The newly built and inaugurated Atlas Theatre in Emmen, The Netherlands is a multifunctional performance space in the heart of the city and part of a 250 million euro development. In addition to the two Atlas auditoriums – with capacities of 822 and 300 – the complex also includes a full convention centre, catering outlets, offices and is an access point for the Wildlands Adventure Zoo … and Robe moving lights! The plan to replace the old De Muzeval theatre in the city actually took around 40 years to come to realisation for a complexity of reasons. The construction eventually commenced in 2014 and was finished in 2016, with its spectacular, gleamingly modern architectural style, the state-of-the-art facility opened in autumn of last year. In the meantime, the technical specifications had been completed by from anything from a conference to a using the house equipment including Amsterdam based theatre consultants live art performance, plus the LED light the moving lights. Theateradvies, and the bid to supply source being sensible from a longevity The Atlas is a stellar improvement lighting was won by Controllux. Twenty- aspect all helped. “It’s an adaptable technically on the old theatre which four moving lights were decided upon fixture that consumes very little power,” had a low ceiling, no flying facilities for the venue, for which Controllux says Nick, adding that they also find and seriously restricted creativity. Now proposed 12 Robe DL7S Profiles and the colour temperature correction very they can offer clients and visiting artists 12 Robe BMFL Spots as the most useful. and companies the very best. practical and flexible premium-brand The BMFLs they both love for the The old house did actually have some options for the theatre. The project brightness, colours, smooth and even old Robe fixtures as well, ColorWash was managed for them by Kuno van output, striking gobos, etc. and the fact 250s which were purchased second- Velzen. that it can double as a wash fixture. hand six years ago and are still going The construction company completing The BMFLs and DL7Ss have already strong and in “very good shape”. the build is also responsible for the been used extensively on a wide Jan, who’s worked at the Emmen building’s maintenance for the next 20 theatre for 25 years, can remember years, so reliability was key to choosing variety of events and they are a “great combination” confirms Nick. The Atlas even further back than that, when they kit. had fixtures badged as other brands, The technical team led by Koos Maris Theatre is a busy receiving house for theatre shows and tours and also hosts which were made by Robe, back in the and including Nick Unij and Jan days they were an OEM manufacturer Honouwer, both also involved with numerous major conferences, amateur and community productions as well with big dreams! the old theatre, were delighted with “Their units were always exceptionally the choice of Robes. The original plan as an annual singing contest which is televised locally. It’s in use almost well made and it’s great to see the way was to have 24 BMFLs, but they hadn’t things have developed, the growth and seen the DL7S Profile at that point as it every day of the year. The new Robes are the envy of many the commitment to quality continuing. had not been launched. However when As a brand, Robe is always innovating, of the guest crews, and right now they did see them at PLASA 2015, there is never a still moment,” he the Atlas theatre is one of the best explained Nick and Jan, they decided stated. equipped in the Netherlands. They to test them thoroughly, were pleased They are also seeing increasing also have cutting edge audio, video with the results and were then able to amounts of Robe coming in with visiting and rigging kit and facilities making tweak the specification so that 12 could productions on their touring packages, them totally self-sufficient in all the be included. and especially in the last couple of production elements. Specially designed for theatre and years with leading rental companies The technical team provide the full television applications, low noise was a like Ampco Flashlight and Rent-All lighting service to any show that does feature making the DL7S an attractive making large investments in the brand. choice, especially for classical events not have its own LDs or technicians, In picture: Nick Unij (Atlas Theatre), Kuno where you can hear a pin drop and which accounts for around 20% of the van Velzen (Controllux) and Jan Honouwer musicians have super-sensitive ears. incoming work, and they work closely (Atlas Theatre). So quietness together with the excellent with the 80% which do have their own photo: Louise Stickland colours and the framing shutters, handy touring crew, who will also generally be www.robe.cz
23 August 2017 features
PRG XL Video Supports Peter Mumford with Theatre Lighting Technology for The Ferryman Produced by Sonia Friedman Productions, Neal Street Productions and Royal Court Theatre Productions, The Ferryman not only has multiple 5-star reviews to its name, but also the accolade of being the fastest-selling play in the history of the Royal Court Theatre. Now the play, written by Jez Butterworth, and directed by Sam Mendes, has transferred to the West End’s Gielgud Theatre where it will run until January 2018. Olivier Award and Knight of Illumination Award-winner Peter Mumford has lit Rob Howell’s set for both runs of the production. The play is set in rural Derry in the early 80s, where the Carney farmhouse is a hive of activity preparing for the annual harvest. A day of hard work will be followed by a celebration of the harvest, but this year they are interrupted by a visitor. The entire action takes place across two days, with an introductory scene then leading to the remainder of the action unfolding in the kitchen of the Carney household. With a single set used for the majority of the play, the lighting becomes key in transporting the audience into the kitchen setting, and in transitioning through the day as the sun rises and shines through the window. Lighting designer Peter Mumford explains his initial approach to designing for a show: “Once I have familiarised myself with the material – opera score/script/musical composition etc. – and met with the director and designer for initial concept and design meetings, I tend to concentrate on creating a palette that will enable me to create my work alongside and in tandem with the direction of the performance and the surface design. Whilst I will almost certainly have imagery in my head, I regard my real creative process and application to happen in the theatre with all the other elements present because they are basically the Peter did not work alone on lighting for units behind the window to maximise the canvas on to which I work. The Ferryman, bringing with him lighting way I could move both colour and light He continues: “My approach is more like programmer, Cat Carter, and production around the room, creating the feeling a complex preparation – creating a shape electrician, Matt Harding. He was supported that the natural light from outside was for the lighting rig, choosing the right by assistant designer, Rachel Cleary, who the dominant light in the room. To that equipment, making decisions about colour, Peter describes as “brilliant! I’m sure she’ll extent, the ceiling actually helped to but I never commit to the number of cues be seen working as a lead designer in her show the feeling of a sun setting and the or precise pre-planning of lighting states – own right before very long.” light moving across the space. Here the that is something I create in situ.” With the play mostly taking place in a ETC Lustres were invaluable because I For his design for The Ferryman, Peter single room, over many hours, the imitation could create smooth colour changes over first read the script and met with Sam of natural daylight, sunrise and sunset was cues that were as long as 12 minutes in Mendes and Rob Howell, attending read- a key feature of the lighting. Peter explains some places. I wanted to create seamless throughs and following the evolution of how this was achieved within the set: “Rob changes where, in fact, the light goes on a both the script and set design. Alongside Howell’s design gave me a ceiling over considerable visual journey, without being this, Peter began to map out the lighting the whole room, but he also gave me a too apparent.” design: “I had to design and draw it, work window, thank goodness! I never mind sets Internal room fixtures were essentially out the technical specifications to fit into with ceilings, but it does, to some extent, cosmetic, but were part of the story. Peter the theatre. In this case we knew that it had define how one approaches the lighting. explains: “To some extent they give me a to work for both the Royal Court, and later Peter explains how the light seemed to reason to create a pool or glow of light in The Gielgud, so that became an additional move within the room as the light changed different areas of the room, for example, technical consideration as well.” ‘outside’: “I had a considerable number of there is a moment when Caitlin enters 24 Issue: 294 features after the sun has gone down and the room has become quite dark. She switches on the centre pendant light, and that gives me licence to completely change and transform the room lighting with the snap of the switch, while still being within a completely naturalistic narrative.” Some scenes in the play include candlelight, creating an eerie mood and calling for a very different lighting effect. Peter used Par 16 Birdie lights to achieve this. He explains: “I hid little Birdies in corners and crevices of the room influenced by the idea that the candles used in Act 3 would be distributed around the room, and would naturally send a variety of random shadows up on to the walls and ceiling. Of course, the candles by themselves would not be bright enough to illuminate a long scene in a big theatre, so I amplified this quality in a controlled way.” For night-time scenes the room has a hearth-like warmth, Peter explains how he created the effect using both colour and the lighting angle: “Whilst the Birdies relating to candlelight were set mostly on the floor, I used another layer of units low slung from the front of house, in particular a couple of (quiet) moving lights that could imperceptibly track action and maintain intimacy.” “I had to use good old VL1100s because of the noise factor. They are still the only usable moving light in drama situations like this, and I still haven’t found another moving light which will allow the absolutely smooth introduction of diffusion to the beam, one of the main factors that allows me to move light around the set imperceptibly.” Lighting the performers, capturing their movements and facial expressions, has its own specific requirements. Peter explains: “The keylight for me was the light coming through the window, and wherever I could, I used that light to edge and shape. Similarly, another source was that which I got into the space through the stair well, along with runs of GLP X Bar 20 strip lights that I had hidden behind the ceiling beams. Much of the front of house lighting was rigged as far left and right as possible, to maintain ‘shaping’ and not give too much flat light. “There were, of course, units coming straight in to give facial clarity, but hopefully working more as ‘fill light’ on an actor who was already benefiting from the more three dimensional quality from the side light.” With Rob Howell’s set design presenting some interesting challenges for the lighting, Peter sums up how his work on The Ferryman differs from many other productions: “It’s not a huge rig, by any means, and it’s what I would call an unusual focus. Each light has pretty much its own job, and there are not really any basic washes as one might normally have.” PRG XL Video account director, Jon Cadbury, worked with Peter to supply the fixtures required for his design. photos: Johan Persson www.prg.com/uk
25 August 2017 features
New Ayrton fixtures for Tom Petty and the Heartbreakers 40th Anniversary Tour
Classic American blues rock band Tom Petty and the Heartbreakers celebrated its 40th anniversary and 13 studio albums with their current five month (53-date) tour of the US and Canada, with an additional date in London in July. The band’s long-term lighting designer and director, Stanley A Green, who has worked with Petty since 2001 in various roles, chose Ayrton LED fixtures as the backbone of his lighting design. He is one of the first to use the new MagicPanel-FX and MagicBlade- FX units, which he incorporates alongside Ayrton’s MagicBurst and MagicDot-R fixtures to form a palette of rich colours and variety of looks and textures that reflect the musical diversity evident in the band’s long history. “I first experienced Ayrton’s MagicPanel 602s when acting as LD for John Legend a few years ago,” Green says. “I wanted to use them again so I used both MagicBlade-R and MagicPanel-R on Tom Petty’s Mudcrutch tour in 2016. When Mark took advantage of MagicBurst’s graphic any other fixture. Fetto at Morpheus Lights told me about capabilities to create effects he had never “As always with Ayrton, the units are the new ‘FX’ versions, I went and took a used for the band. The MagicBurst units built right, with plenty of control protocol look right away, and I knew I had to have have proved themselves irreplaceable in choices. They have succeeded in keeping them for my next tour. The zoom and extra the complete line up of Ayrton fixtures for the traditional value of a strong lighting brightness makes them incredibly versatile several reasons. instrument crossed with a modern edge fixtures.” “It is important to Tom to bring the crowd and extreme usability. Green chose to use 12 MagicBlade-FX in,” explains Green. “He likes to see the “For years, I’ve been trying to make this units rigged on the downstage of each entire audience, especially in the farthest tour 100% LED as Tom gets really hot on overhead rectangular truss for audience possible seats, and the people back in the stage, so a conversion to LED helps a lot. washes, effects and a nice rich, even wash 270° area. With the MagicBurst I can have There are many LED products out there, on the band, and also at downstage left a full pulse strobe at one moment, and the but Ayrton fixtures really are the best. They and right positions from where he uses next minute give him a huge, bright, solid are versatile and easy to program, and them as low sidelight on Petty. wash of the entire audience for as long as the build-quality makes them truly road Fourteen MagicPanel-FX fixtures are Tom wants. worthy fixtures. These are real lighting ‘sprinkled’ throughout the overhead rig and “During ‘Forgotten Man’, a newer song with instruments.” used as main high sidelights for Petty, and a really cool guitar effect here and there, photos: Todd Kaplan as backlights for the whole stage. “I use I was able to create the visual version of them as a theatrical lighting instrument and that sound perfectly using MagicBurst’s I rarely use them as an effect,” says Green. 68 individual cells in each unit, with an “I love the thick beam I get with them. At individual delay time on each one. A fast, times I use them like truss spots to follow bright, random checker-board strobe on Mike Campbell during some of his solos, all 14 of them is a big moment; add the and the continuous tilt and pan is a great fixture’s continuous tilt-spin and it’s huge!” way to do ‘big ending’ looks for songs. For the stadium dates, Green augments the “At one point I recreate the band’s rehearsal inventory with an addition 40 MagicBlade-R space on stage using only the MagicPanel- units and 20 massive MagicRing-R9. “We FX, widened way out in a nice CTO. It’s chose these because the stadiums are a theatrical backlight but it reproduces huge and, not only does Tom once again the warm work-light feel of the rehearsal need to reach every corner of the venue, space. They really are a great, versatile but we also need to fill the space and give fixture.” the cameras a reference as to the size and Forty MagicDot-R fixtures act as ‘perfect’ the location.” as truss warmers: “In this case actually Green is happy with his choice of fixtures truss border warmers,” confirms Green, for Petty’s largest tour yet: “As a designer “as well as basic accent fixtures located I’m always looking for new ways to do everywhere in the rig and have proved very an old job, lighting an event, focusing useful in completing and filling out a lot of the audience’s attention, enhancing the the looks.” audience’s experience. And the nice wide Green introduced 14 MagicBurst LED beam plus the new zoom from both the strobe fixtures to replace all the tour’s old MagicPanel-FX and the MagicBlade-FX strobe fixtures and audience blinders, and really give a look you can’t achieve with 26 Issue: 294 features
5 Star Cases Area Four Industries Tel: +44 (0)845 5000 555 Tel: +420 416 837 846 www.5star-cases.com www.areafourindustries.com AC Entertainment Technologies Ltd Artistic Licence Tel: +44 (0)1494 446000 Tel: +44 (0)20 8863 4515 www.ac-et.com www.artisticlicence.com ADB Lighting Technologies Aurora Lighting Hire Tel: +33 1 41 17 48 50 Tel: +44 (0)20 8813 2777 www.adblighting.com www.auroratv.co.uk Ambersphere Solutions Avolites Tel: +44 (0)20 8992 6369 Tel: +44 (0)20 8965 8522 www.ambersphere.co.uk www.avolites.com
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27 August 2017 web directory
Backstage Warehouse Doughty Engineering Tel: +44 (0)20 8123 9293 Tel: +44 (0)1425 478961 www.backstagewarehouse.co.uk www.doughty-engineering.co.uk Bose tert i e t ec o o y oo
Tel: +44 (0)3330 142545 iew t e e tire boo c t o e www.pro.bose.com t www etboo co
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28 Issue: 294 web directory
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ee y ew e d i e e i ter MA Lighting or ee to d te by i i Tel: +49 (0)5251 6888 6510 t www et ow co ete re www.malighting.com Igus (UK) Ltd Martin Professional Tel: +44 (0)1604 677240 Tel: +44 (0)20 7084 5396 www.igus.co.uk www.martin.com J&C Joel Mobiled Tel: +44 (0)1422 833835 Tel: +33 (0)1 48 79 80 92 www.jcjoel.co.uk www.mobiled.fr
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29 August 2017 web directory
Northern Light Robe Lighting s.r.o. Tel: +44 (0)131 622 9100 Tel: +42 0 571 751 500 www.northernlight.co.uk www.robe.cz
ee y ew e d i e e i ter Robe UK Ltd or ee to d te by i i Tel: +44 (0)1604 741000 t www et ow co ete re www.robeuk.com Penn Elcom Robolights Tel: +44 (0)1424 429641 Tel: +44 (0)1392 823040 www.pennelcomonline.com www.robolights.com Pharos Architectural Controls Ltd Rope and Rigging Tel: +44 (0)20 7471 9400 Tel: +44 (0)7886 584628 www.pharoscontrols.com www.ropeandrigging.co.uk Philips Rosco +31 (0) 534 500424 Tel: +44 (0)20 8659 2300 www.seleconlight.com www.strandlighting.com www.rosco.com PixelRange RVE Technologie Tel: +44 (0)1905 363600 Tel: +33 (0)1 60 61 53 00 www.pixelrange.com www.rvetec.com
To be listed here e-mail Point Source Productions Ltd [email protected] Tel: +44 (0)20 8254 2620 or call 01223 550805 www.pslx.co.uk for details of our on-line and magazine advertising package Prolyte S+H Technical Support Tel: +31 594 851515 Tel: +44 (0)1271 866832 www.prolyte.com www.starcloth.co.uk Push the Button SA Europe Tel: +44 (0)117 370 2626 Tel: +33 (0)142 741793 www.ptb.co.uk www.stateautomation.com RMS Rental Management Systems SGM UK Tel: +31 (0)416 695021 Tel: +44 (0)1233 460400 www.rmsplanning.com www.sgmlight.co.uk
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30 Issue: 294 web directory
To be listed here e-mail Robe Lighting s.r.o. Silicon Theatre Scenery [email protected] Tel: +42 0 571 751 500 Tel: +31 (0)297 382944 or call 01223 550805 www.robe.cz www.stsonstage.com for details of our on-line and magazine advertising package Robe UK Ltd Smoke Factory UK Unusual Rigging Tel: +44 (0)1604 741000 Tel: +44 (0)7540 701138 Tel: +44 (0)1604 830083 www.robeuk.com www.smoke-factory.de www.unusual.co.uk
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