PL&P

THE NATIONAL ARTS An Experience CENTRE Like No Other Rejuvenating a Beacon Toronto’s Samsung Experience Store for Canadian Arts & Culture Streaming into the City Coquitlam, BC’s Pinetree Way Enhancement Project

A Consummate Creative Professional In Conversation with LD Brent Clark

The 2018 Juno Awards, Carly Rae Jepsen & More

www.professional-lighting.com

Summer 2018 Summer Volume 22 No.2 CONTENTS DEPARTMENTS

09 News Flashes The latest from Canada’s lighting, video & production industries

15 Agenda Your industry event calendar 16 Northern Lights The 2018 Juno Awards, Carly Rae Jepsen & more 34 In Focus Mike Filsinger & Stephan Gotschel 36 Product Spots The newest products & technologies to hit the lighting, video & staging markets 41 Advertisers’ Index 44 Classifieds 46 Project Update Rocktopia at the Broadway Arkells onstage for the 2018 Juno Theatre, Don’t Let Daddy Know Awards broadcast, Pg. 16 Amsterdam & more.

Cover Photo: The National Arts Centre in FEATURES Ottawa by Trevor Lush

18. THE NATIONAL 26. STREAMING INTO ARTS CENTRE THE CITY Rejuvenating a Beacon for Canadian Coquitlam, BC’s Pinetree Way Arts & Culture Enhancement Project PHOTO: BOB GUNDU BOB PHOTO: By Andrew King By Andrew King The longtime Ottawa landmark is This signi cant urban development amidst a $225-million overhaul. Here, includes outdoor LED lighting that we explore the architectural and creates a owing eect through the illumination enhancements of the rst gateway to the city. of two phases.

22. AN EXPERIENCE 30. A CONSUMMATE LIKE NO OTHER CREATIVE PROFESSIONAL In Conversation with LD Toronto’s Samsung Experience Brent Clark Store By Kevin Young By Andrew King A new xture of Toronto’s Eaton Centre, The go-to designer for acts including the Samsung Experience Store is a The Tragically Hip, Stereophonics & “touch point” for the popular brand with others discusses his latest designs, The concept behind Toronto’s sleek new a design inspired by “in nity.” shares some industry outlooks & more. Samsung Experience Store, Pg. 22

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EDITOR-IN-CHIEF Andrew King [email protected]

SENIOR EDITOR Michael Raine [email protected]

CONTRIBUTING WRITERS Shanine Cook, Kevin Young

PUBLISHER Jim Norris [email protected]

PRODUCTION MANAGER Karen Bashura [email protected]

GRAPHIC DESIGNER Amanda Goncalves [email protected]

CONSUMER SERVICES DIRECTOR Maureen Jack [email protected]

BUSINESS MANAGER Liz Black [email protected]

TECHNOLOGY SUPPORT COORDINATOR Myriah Basta-Lloyd [email protected]

MARKETING SERVICES COORDINATOR Melissa Losier [email protected]

PLEASE SEND ALL PRESS RELEASES TO: [email protected]

ADVERTISERS’ INDEX For more information on products advertised in Professional Lighting & Production, please see page 41 or visit www.professional-lighting.com.

Professional Lighting & Production is published four times a year by NWC. All rights reserved. Contents may not be reprinted without written permission from the publisher. Subscription rates: Canada –1 year $19.00, 2 years $36.00, 5 years $82.00. Outside Canada –1 year $24.00, 2 years $46.00, 5 years $112.00. Single copies: $3.50. Canadian residents add 6% GST, HST (13%) to be added where applicable. To change your subscription address, please send your new address with your old address to Subscription Dept., Professional Lighting & Production, at least six weeks before moving. Unsolicited manuscripts, photos and artwork are welcome but Professional Lighting & Production takes no responsibility for the return of such items. Printed in Canada. PUBLICATIONS MAIL AGREEMENT NO.0040069300, RETURN UNDELIVERABLE CANADIAN ADDRESSES TO CIRCULATION DEPT., 4056 Dorchester Rd., #202, Niagara Falls, ON L2E 6M9 1A3, 905-374-8878, [email protected].

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Redefining Distribution Over the Decades SFM Celebrating 40 Years of Business in 2018 News Flashes News Flashes

By Andrew King When Sol Fleising formally incorporated SF year also saw Fleising take a step back in Marketing, his eponymous sales agency, in his role with the company, handing over 1978, it was a one-man operation with a cor- day-to-day operations to his executive porate headquarters that also happened to be team led by COO Randal Tucker, who its namesake’s house. has since also been given the title of Now, 40 years later, SFM occupies an president. impressive 80,500-sq.-ft. facility in the Greater “Distribution is an old business Montreal area that’s home to hundreds of model, so we’ve been rethinking what employees and a diverse distribution catalog that means,” shares Tucker about the comprised of some of the top brands in the company’s evolution in recent years. pro visual, pro audio, musical instrument, and “That involves continually asking a custom integration markets. lot of questions about what we do – SFM’s headquarters in Dorval, QC “I actually started my company with sometimes dicult questions, and we $1,000,” Fleising shares, recalling his ve-year don’t always get the right answer, but plan to raise enough capital as a rep to start we spend our time thinking, ‘How do importing merchandise. “I knew early on that we oer something that’s relevant and I’d be more successful as a distributor than a valuable to our customers, end users, rep, and it was actually just two years before and suppliers?’” I signed an agreement with König & Meyer The company’s current Pro [stands in 1980] to distribute their products in Visual catalog of lighting, video, and Canada.” production lines includes major brands That year, the company moved into a and leading innovators like ADJ, Antari, new 3,000-sq. ft. oce and warehouse space. Christie Digital, Elation Professional, ADJ exhibit at Expo-Scene 2018 Exclusive Canadian distribution agreements Global Truss, Leprecon, and Wireless with now-iconic brands like QSC and Neutrik Solution. market adapt to you.” soon followed, and in the ensuing decades, As Mike Gregory, director of sales, pro While they may not have always been the company saw its distribution portfolio business unit, explains, “The way we’re selling touted as loudly as they have been lately, grow in tandem with its overall pro le. is dierent now than it was 10 years ago, or the cornerstones of SFM’s business – always In 2012, the company ocially rebranded even ve years ago. We’ve adopted a systems- adapting to the market, adding value at every as SFM, formalizing an ongoing shift in its based approach on the integration side of the possible stage of a transaction, and continually approach to business that focuses more on business, where it’s been about building an reinvesting in the business – have existed end-to-end solution.” since Fleising was driving across the country That formula has proven to be a winning selling guitar amps and speakers to Canadian one, as SFM’s total sales have doubled in the music stores in the late ‘70s. Put simply, past decade, SFM’s ongoing success is based on a balance surpassing between its proven and continually re ned $70 million business practices and its rock and roll roots. in 2017/18. “We’ve always kept the customer at the In Gregory’s centre of our business,” says Fleising. “Everyone words, that has to win to do good business, and that’s success is what we strive for. I treat our employees, the result customers, and suppliers how I’d like to be of “being treated. It’s a very simple mantra.” SFM’s Pro Visual Team (L-R): Claudia L’Écuyer, adaptable to Marketing Project Manager; Franco Caruso, Brand the market, Manager; Nick Martino, Application and not trying Andrew King is the Editor-in-Chief of Specialist; Justin Gauthier, Brand Manager service and solutions than just products. That SFM Founder & CEO Sol Fleising to make the Professional Lighting & Production.

Summer 2018 | 9 Expo-Scène Musikmesse & Prolight + Sound Raises Bar Continue to Evolve for Fourth Annual Over 90,000 visitors from 152 countries made Edition their way to Frank- PHOTOGRAPHIE MILEMOT PHOTO: furt, Germany for the CITT/ICTS wel- Musikmesse and Prolight comed the North American live

+ Sound trade fairs and FRANKFURT MESSE PHOTO: entertainment conferences from April GUNTHER EXHIBITION/JOCHEN 10-14, 2018. industry to Montreal for the fourth annual Expo-Scène trade show and The reintroduction conference, which was held at the Palais des congrès de Montréal from of days reserved for trade March 28-29, 2018. visitors resulted in a This year’s sold-out show featured a bigger hall and more exhibit decline in the number of private visitors from Germany, which organizers had space, hosting more than 80 exhibitors and showcasing hundreds of new anticipated. On the other hand, there was a 10 per cent increase in the share products and technologies. For the rst time, Expo-Scène also featured of trade visitors and more visitors from outside Germany, which organizers say sold-out pre-show workshops. resulted in a seven per cent increase in the level of exhibitor satisfaction. “We are thrilled to see an increase in attendees, especially from neigh- One of this year’s focal points was immersive technologies, such as 3D bouring provinces and from abroad. The show is continuing to grow and is and spatial audio, holograph projection and 360-degree lm, and virtual and undeniably the major production and entertainment technology show in augmented reality. Held for the rst time this year, the Immersive Technology Canada,” says Monique Corbeil, CITT/ICTS national coordinator. Forum was given a positive reception by both visitors and exhibitors. Some Educational seminars in French and English were held on both days companies took advantage of the opportunity to give visitors a taste of their of the show. Among the educational sessions were one from A.C. Lighting future-oriented products in experiential demonstrations. on the myriad of technical and safety strategies regarding trussing, an- For 2019, Messe Frankfurt says it is fullling a wish it has commonly heard other from LS Media on Ethernet network and IP protocols, AMX Canada from exhibitors for the two fairs to be held in parallel for all four days, unlike this presenting on networked AV design, and XYZ Technologie Culturelle year where they overlapped for three days and each had an exclusive day. As presenting on control systems and interfaces. such, Musikmesse and Prolight + Sound will both be held from April 2-5, 2019. The fth edition of Expo-Scène is scheduled for April 17-18, 2019 at For more information, go to www.prolight-sound.com. the Palais des congrès de Montréal. For more information, go to www.citt.org/exposcene. PHOTO: COURTESY OF USITT OF COURTESY PHOTO: PHOTO: GUILLEMETTE LAFONTAINE PHOTO:

LR JAM’S MARTIN SZPIRO, STUART FRANKEL, MATTHEW GOLDEN & MARTY GOLDEN JAM Industries Named One of Canada’s Best Managed USITT Brings Together LR FRANÇOIS LEVASSEUR, GABRIEL DUSCHINSKY, JACQUES Theatre & Live Production Companies TESSIER & DOMINIC GALIEN Industry JAM Industries has been named one of Canada’s Best Theatrixx Now Managed Companies for 2018 by Deloitte. Award The 2018 USITT Show welcomed 5,429 attend- winners are recognized for overall business perfor- Distributing AV Stump ees and 315 exhibitors to the Broward County mance and sustained growth and are amongst the Projection Screens Convention Center in Fort Lauderdale, FL from best-in-class of Canadian owned and managed com- March 14-17. panies with revenues exceeding $15 million. Austrian AV technology manufacturer AV Stump Keynote speaker Wendall K. Harrington Founded in 1972 and based in Montreal, JAM In- has appointed Theatrixx as its ocial projection opened the conference with her take on modern dustries is made up of 16 divisions that serve the pro screen distributor for Canada. projection design and the relationship between and commercial audio, lighting, musical products, “Theatrixx have a great eye for detail, which designer and audience. and consumer electronics markets. With 250,000 sq. is not surprising given that they develop highly The outdoor stages were a rst for USITT ft. of warehouse space in Canada and an additional innovative AV equipment themselves,” says AV and were used for opening night and the new 350,000 sq. ft. in the U.S., its full-service capabilities Stump CEO Fabian Stump . “Our partnership products showcase, loudspeaker demos, outdoor include marketing and sales support, in-house started in 2017 when Theatrixx began to distribute safety sessions, and the Tech Olympics. technicians, after-sale service and repairs, in-house our media server technology in Canada. The trust Also new this year, the Dark Zone on the graphic and printing departments, and more. that what was built during the past year makes expo oor allowed lighting companies to show “We are honoured to be one of the 2018 this next step a natural development. We are con- o products in an ideal environment. winners… This is a re ection of the hard work and dent that Jacques [Tessier] and his great team The next USITT Show will be held in Louis- determination of our sta and we look forward to will be very successful in the Canadian market.” ville, KY from March 20-23, 2019. continued growth and success,” says JAM President For more information, contact Theatrixx: For more information, go to and CEO Martin Szpiro. 514-939-3077, [email protected], www.usittshow.com. For more information, contact JAM Industries: 514-457-2555, www.jamindustries.com. www.theatrixx.com.

10 | Summer 2018 Solotech Integration Division Announces Four New Sales Appointments

Philip Gi ard, president of Solotech’s Integration Division, has announced four strategic sales appointments in an e ort to grow its Canadian market share in the coming months. First, Frédéric Senay has been named director of sales in the Montreal head oce. Senay has been with Solotech for over 10 years and will oversee internal and external sales with the objective of signicantly growing Solotech’s integra- tion business and market share. Second, Peter Chartrand is now the business development representative in the greater Ottawa region. Chartrand will be in charge of developing new and existing business accounts in the corporate, sporting, government, and theatre segments. Third, Philippe Giron is the business development representative in the greater Montreal area. He will be responsi- ble for developing new and existing accounts in the corporate, government, and institutional segments. Lastly, Alexandre Piquette is now the business development representative in the greater Quebec City area and responsible for developing new and existing accounts in the educational, recording, and musical instrument segments. For more information, contact Solotech: 514-370-5259, [email protected], www.solotech.com. SOLOECH’S FRÉDÉRIC SENAY

A.C. LIGHTING’S JF CANUEL

A.C. Lighting Celebrates 15th Anniversary

North American lighting distributor A.C. Lighting Inc. is celebrating its 15th anniversary in 2018. The company services the theatre, lm, television, wor- ship, exhibition, and commercial markets and also has in-house cable manufacturing facilities. A.C. Lighting began operations in 2003 to sup- port the growth of its U.K.-based parent company’s business plan to meet the specic needs of dealers and end users in the U.S., Canada, and Mexico. The Toronto-based company is the exclusive North American distributor of lighting and associated rigging and video technologies, including Chro- ma-Q LED lighting, Jands Vista lighting and media control, LumenRadio wireless lighting controls, ArKaos Pro media servers, and Prolyte staging and trussing. Continuing a trend of consistent growth, in 2017, A.C. Lighting announced the addition of Follow-Me, ProLights, and Luminex Network Intelli- gence to its portfolio. “We have achieved this milestone by the dedication and hard work of our team and the high level of customer and technical support that they provide to our customers,” says A.C. Lighting Managing Director JF Canuel. “We also attribute our growth and success to the strength of our customers and their dedication to our brands.” For more information, contact A.C. Lighting: 416-255-9494, [email protected], www.aclighting.com.

Summer 2018 | 11 Eric Druker Joins A.C. Lighting as Film & Broadcast Specialist

A.C. Lighting has hired Eric Druker in the role of lm and broadcast Elation Acquires M-Series specialist. Controller Range from Reporting to Harman VP of Sales PAG Canada Now Sales Rep Fred Mikeska, Elation Professional has acquired the M-Series Druker brings Firm for A.C. Lighting range of entertainment lighting controllers from over 25 years Harman Professional. The asset-based acquisition of experience A.C. Lighting has appointed PAG Canada as its will include a limited-term license agreement to selling profes- sales representative rm in Canada, which nds distribute current controller products using the sional lighting the longtime rep rm adding lighting products to name “M-Series,” as well as provide continued products into its portfolio for the rst time. technical support and warranty service for prior the lm and A.C. LIGHTING’S ERIC DRUKER According to PAG co-owners John McArthur Martin M-Series sales. Elation Professional is broadcast industry. and Mark Kulas, “We are more and more involved distributed in Canada by SFM. “In the last few years, we have been experi- in projects where [audio, video, and lighting] For more information, contact Elation Profes- encing a rapid growth in the lm and broadcast solutions are needed, and we are proud to have sional: 866-245-6726, [email protected], market,” says Mikeska. “Adding Eric Druker to the the opportunity to sell the very best in terms of www.elationlighting.com. team will allow us to better serve our customers. pro lighting equipment.” Eric has a deep knowledge of the industry and “Appointing PAG is part of A.C.’s global strat- has built a strong reputation over the years.” egy to get closer to the market. There are more Strong Lighting Takes on Druker can be reached at 416-255-9494 or announcements to come as we unfold our devel- [email protected]. opment plan for North America,” adds Jean-Louis Phoebus Followspots & For more information, go to Blanchard, VP of strategic business development Searchlights www.aclighting.com. for A.C. Lighting. For more information, contact PAG Canada: Strong Lighting and Phoebus Manufacturing 866-972-4226, [email protected], have announced that the full line of Phoebus www.pagcanada.com. followspots and searchlights will now be sold, serviced, and manufactured by Strong Lighting. Strong has now assumed all operations, sales, and support associated with the family of followspots and searchlights. For more information, contact Strong Lighting: [email protected], strong.lighting.

Rose Brand Acquires Automatic Devices Company

Rose Brand Inc. has acquired theatrical track and machine manufacturer Automatic Devices Com- pany of Allentown, PA. “We see signi cant potential in acquiring ADC, one of our long-time suppliers,” says Rose Brand EVP Josh Jacobstein. “They have a stellar product line of curtain track and equipment, strong customer service support, and a wonderful dealer network. We plan to keep it all intact so that the company can continue its operations as a separate business unit. If we can add some marketing mus- cle to what they already have, I think the business will grow substantially.” Rose Brand is represented in Canada by Tech- nically Yours Inc. For more information, go to www.rosebrand.com.

12 | Summer 2018 NAB Show Welcomes Broadcast World to Vegas

The NAB Show returned to the Las Vegas Convention Center from April 7-12, 2018. Encompassing what organizers call The M.E.T. E ect, the convergence of media, entertainment, and technology, the show welcomed around 103,000 attendees and more than 1,800 exhibi- tors from areas of the global broadcast industry. Among the hundreds of educational sessions was a main stage session featuring key people from Lucaslm’s VFX and animation studio, Industrial Light & Magic, who discussed the visual e ects in Star Wars: The Last Jedi. The Futures Park had demonstrations of high-tech media developments in progress, prototypes, and products not yet available for sale, from academic, government, and commer- cial research laboratories in the United States and around the world. On the show oor, the Immersive Storytelling Pavilion displayed the most advanced companies paving the way for the creation and commercialization of immersive content. For more information, go to www.nabshow.com.

Mega-Stage Contributors Acquiring the Company … Thinkwell Group and Réalisa- Quebec-based staging sales and rental company tions-Montréal have announced a Mega-Stage has been sold to ve former employ- strategic partnership, which allows Réal- ees and renamed Mega. Majority shareholder and isations-Montréal to further develop its new CEO Stephane Vezina spent nearly 30 years with the company. The other new shareholders creative laboratory for both multimedia are Benoit Langlois, Alexandre Robichaud, David content and interactive and video map- Lussier, and Jean-Philippe Provost. ping technologies for projects initiated Mega will now focus on renting staging by both companies. It will also provide equipment in Quebec and Ontario, while former Thinkwell with a direct point of access to Mega-Stage President Stephane Berger will now the research and technology initiatives focus on Deck TO/GO, his staging manufacturing driven by Réalisations-Montréal. and rental company. For more information, contact Mega: LR MEGA COOWNERS BENOIT LANGLOIS, ALEXANDRE ROBICHAUD, www.realisations.net. 514-838-3440, [email protected], www.megainc.ca. STEPHANE VEZINA, JEANPHILIPPE PROVOST & DAVID LUSSIER

Summer 2018 | 13 CITT Rendez-vous Trade Show & Conference Heading to St. Catharines LFI Brings Architectural & Commercial Lighting

CITT/ICTS will be hosting World to Chicago its 28th Rendez-vous trade The 29th edition of Lightfair Interna- show and conference at tional (LFI), the world’s largest an- the Meridian Centre and nual architectural and commercial Marilyn I. Walker School of lighting trade show and conference, Fine and Performing Arts in took place at McCormick Place in St. Catharines, ON, from Aug. Chicago, IL from May 6-10, 2018. 15-18, 2018. Tens of thousands of attendees Rendez-vous oers from around the world navigated three days of sessions, work- the exhibit halls to experience the shops, backstage tours, a products, technologies, and trends trade show exhibition, social impacting the future of the industry. events, and networking Preceding and setting the opportunities for professionals in the theatre and live production industry. stage for the trade show opening, the LFI Innovation Awards highlighted the The opening day will include a course on pyrotechnics safety and legal issues industry’s most innovative products and designs introduced during the last and that evening will host the popular Junk Challenge. On Thursday, there will 12 months. The opening day Impact Speakers were Anastasia Su and Martin be the New Product Show and Tell Breakfast, as well as a site visit at the Shaw Lesjak, co-founders of product design rm 13&9, who spoke about “New Festival and a tour of the performing arts centre. Friday features a tour of the Holism - A Transdisciplinary Approach to Human-Centered Design.” Scottish Rite Theatre in Hamilton, ON, as well as conference sessions on archi- The HUB lounge oered a central meeting space for events in the South tecture, standards, stage machinery, and wardrobes. The Saturday conference Hall, with networking opportunities taking place throughout the show, in- sessions include the Ladies of the Backstage Forum, the Education Forum, cluding featured speakers, exhibitor presentations, receptions, and giveaways. and other courses on video and projection, network integration, lighting, and Likewise, the Networking Reception brought together attendees in all stages of their studies and careers in the industry. health and safety. Next year’s edition of the LFI show will be held in Philadelphia, PA from As well, ETC will be holding pre-conference Ion Xe console training courses May 19-23, 2019. on Aug. 14th and 15th. For more information and award winners, go to www.lightfair.com. For more information as it becomes available, go to www.citt.org.

Which of the following do you and/or your company specialize in (select all that apply):

Lighting/video design for live shows and events 38% Lighting/video design for permanent installations 13% Lighting/video equipment sales/rentals 25% Lighting/video installations/integration 8% Other 17%

What level of collaboration do you prefer with the client for which you are designing and/or supplying a lighting/video package?

Complete autonomy to design/package what I see t 20% Mostly autonomy with some general guidance from the client 13% A 50/50 collaboration with the client 40% Signi cant guidance from the client with some of my own ideas & suggestions 20% The entire concept coming from the client 7%

Professional Lighting & Production recently surveyed lighting and video designers, sales and rental reps, integra- say it’s ideal 53% 53% that a client 40% tors, and others to find out about has a general their histories and preferences idea of the want to have a com- say they always wel- with regards to client/customer look and feel they plete, fully-formed come constructive want but leaves it to working relationships. vision of what their criticism from clients the designer to ll in clients want the details. . .

14 | Summer 2018 PROLIGHT +SOUND NAMMRUSSIA exhibition.hk.messefrankfurt.com www.guangzhou-international-lighting- June 9-12,2018 Guangzhou, China www.infocommshow.org 703-273-7200, FAX 703-273-5924 June 6-8,2018 Las Vegas,NV www.tideconference.com/las-vegas June 5,2018 Las Vegas,NV [email protected], www.eei.org 202-508-5000 June 4-7,2018 San Diego, CA [email protected], www.palmexpo.in 31-JuneMay 2,2018 India Mumbai, www.smartlighting.org 30-31,2018 May Hamburg, Germany LIGHTING EXHIBITION GUANGZHOU INTERNATIONAL INFOCOMM 2018 TIDE CONFERENCE LAS VEGAS EEI ANNUAL CONVENTION PALM EXPO INDIA 2018 SMART LIGHTING CONFERENCE CHECK OUT EVEN MORE INDUSTRY EVENTS AT WWW.NOR.COM/EVENTS. 06 05 18 18 [email protected], www.citt.org 514-504-9998, FAX 514-504-9997 August 15-18,2018 St. Catharines, ON www.tecnomultimedia.com.mx August 15-17,2018 City,Mexico Mexico CITT RENDEZ VOUS 2018CITT MÉXICO 2018 TECNOMULTIMEDIA INFOCOMM 08 18 [email protected], www.iald.org 312-527-3677 11-13, 2018 October Seattle, WA www.led-professional-symposium.com [email protected], +43-5572-394489 September 25-27,2018 Bregenz, Austria www.infocomm-india.com September 18-20,2018 India Mumbai, [email protected], www.plasashow.com +44-0-1323-524-132 September 16-18,2018 London, U.K. [email protected], www.cediaexpo.com 317-328-4336 September 4-8,2018 San Diego, CA CONFERENCE IALD ENLIGHTEN AMERICAS 2018 EXPO LED PROFESSIONAL SYMPOSIUM + INFOCOMMINDIA 2018 SHOWPLASA 2018 CEDIAEXPO 2018 10 09 18 18 PL& CITT RENDEZ-VOUS P 15

Agenda Northern Lights 16 directors andAlexNadonofInFrame Designs didtheproduction,lighting, andvideodesign. tion Company inassociationwithCARASandtheCBC.ShaunForbes andJoel Weiss were thelighting Cans, andaspecialreunion by BarenakedLadies.Jerry The show wasproduced by Insight Produc The PL& P Daniel Caesar, Lights, Reyez, Jessie DianaKrall, Shawn Hook(picturedbelow), The ArenaRogers in Vancouver. Performers includedArcade Fire (picturedabove), Arkells, 2018 JUNOAwards were aired across allCBCplatforms onMarch 25

th from the -

PHOTO: CARAS/IPHOTO PHOTO: CARAS/IPHOTO Canadian pop singer Carly Rae Jepsen counted on 14 High End Systems HEX fixtures for different stage lighting looks for her supporting act on Katy Perry’s Witness: The Tour across

PHOTO: CARAS/IPHOTO PHOTO: North America. LD Charles Ford’s challenge was creating a design in the space – or “iris” – of Perry’s cat’s eye-shaped set. Deploying eight HEXs vertically on trusses and another six on the floor positioned horizon- tally, Ford’s flexible rig gave an illusion of having more fixtures. PHOTO: LEWIS LEE LEWIS PHOTO:

With the winter season in full in 12 of GLP’s large Air Dome were the only domes that could swing, Ontario production compa- 850s supplied by GLP’s Canadian accommodate their larger Elation ny Ottawa Special Events (OSE) distributor, AVL Media Group. Platinum HFXs, and they were put increased the scope of its service OSE Production Manager Joel to immediate use during the to corporate clients by investing Deslauriers says the Air Dome 850s Ottawa Winterlude Festival. PHOTO: CARAS/IPHOTO PHOTO:

Summer 2018 | 17 18 PL&P

National Arts Centre 1 Elgin St. Ottawa, ON K1P 5W1 613-947-7000 THE www.nac-cna.ca NATIONAL ARTS CENTRE

ince o cially opening its doors space for patrons and the public. in 1969, the National Arts The rst of two phases of this signicant Centre (NAC) has welcomed a overhaul is the recently completed, $110.5 rejuvenating diverse and unparalleled array million Architectural Rejuvenation phase, of Canadian and international a collaboration with Toronto’s Diamond a beacon for artists and performers to its Schmitt Architects that included the Svarious stages in the National Capital. addition of a transparent, fully accessible The NAC was one of several high-prole lobby and atrium that reorients the facility’s canadian arts projects launched by the Federal Govern- main entrance to Elgin Street and adds new ment to commemorate Canada’s centenary spaces for education and performance. & culture in 1967, and so it’s tting that, as part of the The idea was to make the NAC more Canada 150 celebrations that swept across inviting not only to world-class performers By Andrew King the country in 2017, the NAC was amidst a and productions, but especially to the gen- federally-supported $225-million architec- eral public as a place to create connections tural and production renewal project that is and build community through a variety of transforming its architecture with the goal programming and activities. of creating a more inviting and engaging

18|Summer 2018 PHOTO: ROY GROGAN ROY PHOTO:

CANADA ROOM O'BORN ROOM

In 2015, the NAC secured funding from the feder- the project. LED xtures,” Gazalé con rms. al government for what would be the Architectur- Gazalé has been with the NAC for nearly Peter Eady, sales account manager with Chris- al Rejuvenation phase of its planned overhaul. 30 years, occupying a range of dierent roles tie Lites Ottawa, says that while the vast majority of Whereas the NAC’s main public entrance throughout that time. Needless to say, he’s thrilled the spec’d systems were from ETC, the production previously faced the Rideau Canal, the key com- about this series of enhancements to his longtime xture complement is a mix of Martin and Robe ponent of the project was a modern and sleek professional home. moving lights, Chroma-Q Color Forces, ETC Source addition to the facility that would relocate the He says the roots of this project extend back Four LED Series 2 Lustr lekos, and others. A com- front entrance to Elgin Street while signi cantly several years prior to funding being secured. About pact ETC Gio @5 console was sourced to drive that increasing the size of the lobby, adding new com- ve years ago, the NAC hired some architectural series of xtures. munal spaces and meeting rooms, and expand- and engineering rms to look at its campus as a “There was lots of stream-crossing during the ing the onsite food and beverage options. whole and report on its architectural, electrical, process,” Eady acknowledges about the dierent It also included the addition of the Kipnes mechanical, and production infrastructure. The sub-contracts Christie was to ful ll. “We realized Lantern – the signature, public-facing feature goal behind that assessment was to develop a plan fairly early on that, regardless of whose path it of the Architectural Rejuvenation phase. By day, and outlook for the NAC for the next 50 years. was going through, architectural or theatrical, we it’s a three-storey hexagonal glass tower that “Very quickly, those dierent projects merged were going to make sure it worked for Alex and anchors the project’s central theme of “transpar- into one,” Gazalé explains. “There was no way to the team.” ency” and ties in seamlessly with the rest of the talk about what was de cient in one spot without In virtually every design aspect, including the new addition and the existing brutalist struc- talking about where it stemmed from, so we did lighting, great care was taken to ensure that these tures comprising the NAC campus. By night, the this massive study and integrated it so the entire new enhancements married seamlessly with the ex- transparent LED screens lining four of the tower’s design team of architects and engineers were isting campus and its facilities. While the glass walls six faces light up to display spectacular imagery working together.” of the atrium space contrast with the bare concrete of Canada’s leading artists, productions, and more of the original brutalist buildings, the continuity for anyone with a clear sightline. Toronto’s Diamond Schmitt Architects was the rm with unique geometric shapes and a general lack Inside the expansion’s glass walls are: a sig- that piloted the Architectural Rejuvenation portion of 90-degree angles makes for a seamless aesthetic ni cant overhaul to the Fourth Stage, a small but of the project, working with various collaborators, that strikes a beautiful balance between old and versatile performance space; the sizeable Canada including PCL Construction as the general contrac- new. Ballroom, which can be subdivided into smaller tor, Crossey Engineering, New York’s Fisher Dachs Similarly, the lighting design for the new spaces public spaces; the O’Born Room, an elegant space Associates as the theatre consultant, and a number is consistent with those in existing spaces while with a stunning panoramic view of the surround- of other rms for speci c subsections. taking advantage of LED and other recent tech ing city; the Lantern Room, which, as the name The various house, architectural, and per- innovations. implies, is the multi-purpose hexagonal room formance lighting system specs that occupy the Gazalé references the signature “points of light” on the second oor of the Kipnes Lantern tower; expanded spaces came from dierent sources. motif throughout the campus, noting that there the smaller City Room; more washroom facilities; Christie Lites ended up being the successful bidder are 1,967 individual lamps in Southam Hall’s house improved access to the NAC’s main performance on several of those, including: the architectural lighting system alone (remember, the centenary), space, Southam Hall; a relocated box oce; and lighting control systems as spec’d by Crossey (for and likely upwards of 3,000 throughout the build- public drop-in space where people are welcome xtures spec’d by Montreal’s Lightemotion), perfor- ing. “So we wanted to recreate the idea of points of to sit, eat, meet, and even host small performanc- mance venue power and control systems for the light in this new design, but not necessarily to that es, lectures, and other activities. Fourth Stage, Atrium and City Room, O’Born Room, degree.” When Professional Lighting & Production and Lantern Room as spec’d by Fisher Dachs; and a As such, the points of light theme is consistent speaks with Alex Gazalé, the director of the direct-to-owner entertainment xture package for throughout the house lighting in the new areas NAC’s Production Renewal Project, he’s watch- various public and performance spaces, including between each line in the coered ceilings. Those ing someone give a presentation at the foot of the terrace-level Rossy Pavilion, G&T Staircase, and lights are tied into a control system that can cater the atrium’s wide Glass & Thorsteinson Staircase City Room. the intensity to suit holidays, special events, or even connecting the street level with the terrace level Almost the entire complement of lighting programming taking place in one of the perfor- – an intended use for that particular feature as products for the new addition is LED-based, the mance venues. indicated by some production lighting xtures main exception being dimmers at the Fourth Stage overhead. “Anywhere can be a stage,” he says of to accommodate incandescent xtures. “Every- Up until this point, the networking infrastructure an underlying theme of where else it’s relay panels, and all new xtures are throughout the NAC campus was copper-based

Summer 2018 | 19 PHOTO: JAMES PELTZER JAMES PHOTO: 20 PL&P

LANTERN ROOM

and nearing the end of its lifespan, Now, in addition to its lauded When they were onsite, it didn’t and so a signi cant portion of the performance spaces, the NAC matter which of the two systems Architectural Rejuvenation phase boasts multi-purpose facilities just they were here to commission; “From the outset, we put involved a switch to digital. What’s as suited to parenting classes and they worked with both and made together a solid commu- more, spaces like the communal small artistic performances as they sure everything was moving in the nications and project plan food and beverage area in the are to major corporate functions right direction as a whole. They lobby are future-proofed with a and even special events like a also pointed out issues that might with the NAC stakeholders backbone for a theatrical lighting dinner for the heads of state and emerge later while the walls were and Christie Lites team. system. diplomats from the G7 nations still open, to make sure nothing was We were very clear with all “Underlying that, we decided when they convene in Ottawa. overlooked, and that was far above stakeholders of the line of we also had to make sure the and beyond.” communications between electrical infrastructure under all “We decided a long time ago that Eady elaborates: “Wayne of that new sound and lighting with both [the Architectural Reju- [Korhonen] and Nelson [Anselmo] all parties and their equipment is redone,” Gazalé venation and Production Renewal and the Field Service team did a individual scope and were shares, speaking to components of phases], we would not shut down complete walkthrough with the able to effectively keep both the Architectural Rejuvena- operations save for brief periods of owner and electrician, pointing out control of the information tion phase and the ongoing $114.9 time,” Gazalé notes, and impressive- loose ends in terms of program- flow throughout the project million Production Renewal phase ly, they managed to stick to that. ming between the two systems that will see the refurbishment of “One obstacle we hit and that and coordinating with electrical from beginning to end, the NAC’s performance halls and we learned from was that some of contacts to get wiring in the right which lead to a successful production facilities. this was an architectural project places and ensure circuits are joined outcome for all.” As Gazalé previously men- and was contracted one way where they’re supposed to be – tioned, the goal behind both and the rest was theatrical and basically, noting everything that Justin Kim – Project phases of the NAC’s renewal is to contracted that way, but it still had should be corrected to get these make the space more inviting and to come together in the end,” Gazalé systems working as designed and Manager, Christie Lites appealing to the general public candidly explains. “Field Service .CA, desired by the client.” in hopes of fostering community the [programming, commissioning, He acknowledges that his team and an increased appreciation of and training rm subcontracted by faced an aggressive set of deadlines. the arts. Christie Lites], was phenomenal. “As you can appreciate, there’s

20|Summer 2018 PHOTO: TREVOR TREVOR LUSH PHOTO:

a lot of background work by the consultants to get these packages designed, and then there’s budget allocations, so by the time it gets on the street, you’ve got to close it and start drawings and delivery right away. Fortunately, because THE we work in the industry we do, we’re used to aggressive deadlines and know the show has to happen regardless.” Another challenge pertained to the NAC’s unique geom- KIPNES etry. “It’s a 50-year-old building, and they’re adding new ele- ments and getting things through walls and around existing infrastructure,” o ers Eady. “That can certainly be tricky for an LANTERN electrical contractor – especially with pretty much everything in the building being an angle. If there’s a square room in that building, it’s probably a small oce,” he jokes. “I expect it took a fair amount of research just to nd where things were going and how they got there. It’s one thing for me to say something has to go from this device to this device to this device; on the ground, that might be a very complex task.” Those challenges were compounded by the fact that 2017’s Canada 150 celebrations included a sizeable number of construction and renovation projects – especially in the national capital. Subsequently, there was a signicant labour shortage, with professionals from various trades ying in from far and wide and still unable to meet the demand. Gazalé praises Christie Lites Project Manager Justin Kim for his work throughout the process. “He kept the information A new architectural icon in the heart of the National Capital, the owing back and forth between the various organizations, which was understandably challenging considering the scale Kipnes Lantern is the signature element of the NAC’s rejuvenation. of this job.” The three-storey hexagonal glass tower frames the facility's new en- Eady adds that Christie Technical Project Manager Sean trance on Elgin Street and features the largest transparent LED screen Stephens was integral to the later stages of the installation. in North America. “He brings a depth of knowledge on the equipment side to A collaboration between Toronto’s Diamond Schmitt Architects and bolster Justin’s expertise, focusing on interconnectedness of Montreal-based multimedia entertainment studio Moment Factory, devices and liaising with Field Service to make sure the work the Kipnes Lantern features dynamic visuals that bring the range of the was done as drawn.” NAC’s programming to life. It showcases artistic tributes to the worlds Christie Lites has enjoyed a long partnership with the of dance, theatre, and music; content celebrating special events or NAC as a go-to production resource for service, support, and occasions; and promotes upcoming productions at the NAC along with equipment procurement, so Eady stresses the importance of properly servicing an ongoing client throughout the performances from stages across the country. construction process. The see-through LED displays are an extension of the transparency “I’ve been going into that building for over 25 years now,” that de nes the new public wings of the facility, designed to provide a Eady shares. “I’ve known Alex and a lot of his colleagues for a close connection with downtown Ottawa. number of years and we’re really invested in these institutions The team from Diamond Schmitt, led by senior associate Jennifer and the people working for them.” Mallard, considered projection and a number of other potential display solutions for the Lantern before settling on transparent LED technology. Following nearly 20 years at the helm of the NAC, longtime An RFP was issued for the hardware, with Burnaby, BC-based rm CEO Peter Herrndorf plans to step down from his role this ClearLED – a world leader in transparent LED displays, screens, and video summer; undoubtedly, the refreshed campus will be a walls – submitting the winning bid. cornerstone of his legacy. His vision was an inviting space in the heart of the nation’s capital that inspired an appreciation The displays are mounted inside of the structure, negating the need for both community and culture, and Gazalé points out for a solution that could withstand the elements and allowing for in- examples of that vision being realized by simply examining creased transparency and a higher resolution. Ultimately, they were able his surroundings. to achieve a 16 mm pixel pitch for the approximately 4,300 sq. ft. display “We’re really growing into the use of these spaces,” he that covers four sides of the Lantern. There are also four smaller and solid says, pointing to patrons conversing over co ee at Equater portrait-oriented LED screens lining the building’s Elgin Street façade. Co ee, people coming in to eat lunch and play board games The system includes daylight sensors that automatically adjust the during the week, and the joyful sounds that emanate from image brightness, which can reach a maximum of 8,000 nits. the City Room on Toddler Tuesdays. Christie Digital’s Pandoras Box Server, a 3D content compositing, “I love the idea of people crossing paths on their way to rendering, and scheduling solution, drives the system. Moment Factory a symphony performance in Southam Hall or an improv class in a studio and making connections,” he says. “That’s what not only provided custom content packages, but also created templates we wanted to achieve with this project, and we’re denitely that will allow the NAC to load its own content going forward. The door is getting there.” open for future collaboration as well. The Kipnes Lantern was rst lit as part of the NAC’s Be Here for the New Year festivities on Dec. 31, 2017, ocially celebrating the comple- Andrew King is the Editor-in-Chief of Professional tion of the architectural rejuvenation phase of the NAC’s overhaul and a Lighting & Production. tting end to a year of Canada 150 celebrations.

Summer 2018 | 21 22 PL&P An EXPERIENCE Like No Other The Samsung Experience Store at Toronto’s Eaton Centre

By Kevin Young. Photos by Bob Gundu.

relatively new fixture of Toronto’s Ea- ton Centre, the Samsung Experience Store is a “touch point” for the pop- ular brand. When it formally opened to the public in 2017, it also became Athe largest of Samsung’s Canadian outlets. Rather than create the typical environment you’d associate with a large technology store, however – ultra bright lighting and wall-to-wall product on corridors of shelves – Quadrangle and Alula Lighting Design (part of The HIDI Group) adopted a minimalist approach and subtle lighting aesthetic for this high-profile project. The result is an uncharacteristically relaxing tech store that, despite comprising a substantial 21,000 sq. ft. over two storeys, boasts an atmosphere that bears striking similarities to a boutique, high-end audio shop. The watchword for the overall design was ry by illustrating the potential that various then made sure we designed the light levels “infinity.” “We kept the scale of everything products can offer to consumers, whether to be just enough.” large and the backgrounds soft and mono- they’ve come to look at mobile devices, The intention wasn’t to blow customers chromatic to highlight Samsung’s technolo- home electronics, appliances, or other away with the lighting’s look or intensity, gies,” shares George Foussias, design director technologies. “For example,” Foussias offers, but rather provide a comfortable envi- at Quadrangle. “I’m a photographer, so the Samsung phone ronment and essentially remain in the Although the store is inside the mall, its is interesting to me, and the areas that background. “It’s not in your face,” Ho-Dion footprint and expansive two-storey glass display the phone also display camera gear, says. “It’s about helping you to experience façades – one facing east towards Yonge St. VR goggles, and lenses, so they’re creating a the environment.” Consequently there are and one facing west into the mall proper story by showing what you need to create no showy, extravagant lighting elements, no – make it look more like a standalone retail with, along with accessories.” decorative chandeliers or futuristic clusters By Kevin Young. Photos by Bob Gundu. space. Consequently, as important as set- The concept of “infinity” drove the choices of bulbs. Instead, the focus was on general ting the mood inside the store was, because of the light fixtures and the overall quality of illumination, subtle accents for product of its location, projecting that atmosphere light in the store. “The architecture is a major displays, and reinforcement of the “infinity” outside was also a major concern. “It was driver of the mood,” says Ho-Dion. “There are concept. vital,” Foussias explains, “considering we are on a corner right at Dundas Square.” Frankly, everything outside is competing for attention – lights, video screens, and just plain old downtown Toronto shopping chaos. Ultimately it was decided that the best way to compete with all that flash was to offer an alternative. “We wanted the space to be the strong, silent type on the corner,” Foussias says – a means to showcase Samsung’s brand identity and set the store apart from other technology outlets and nearby retail outlets inside and surrounding the Eaton Centre. The view of the interior from both inside the mall and outside on the street was an early consideration. “We were very aware of how it was going to look from the outside, because, even though it is within the mall, it’s a hybrid – not fully a mall store, but almost a standalone store. When we lit this we had a strategy to make sure all the lights were properly integrated so you don’t see visible fixtures.” Typically, the lighting in other retail outlets – like the nearby H&M, for example – is extremely bright. Samsung wanted to a lot of cove elements in the store.” Flow was key. “We wanted the lighting present a contrasting atmosphere and en- In lighting, she elaborates, “cove” refers to to show the feel of the place,” Foussias says. ergy and convey more of a café or boutique an architectural condition concealing the “We wanted the walls to be curved and vibe. “And I think that makes it stand out,” light source and requiring indirect illumi- the customers to have a journey that never says Alula Lighting Design Director Rebecca nation. “So many of the light sources were stops, so we don’t have any dead ends. Ho-Dion, who created the lighting design hidden – integrated in a way that’s similar Everything flows around the space, up the – “far more than stores that are over lit and to how, I think, Samsung is promoting their stairs, across the upper area, and back down where you’re blinded by surgery lights.” products as integrated into life. again. You never feel like you’ve got to stop Foussias and his team sculpted an “We specifically chose 3,000 Kelvin as the and backtrack.” environment that encourages customers colour temperature throughout – basically There are few hard angles evident; in fact, to connect via shared experiences. The warm light. The store is immediately across viewed from most angles, various features goal, he says, is for them to visualize how from others that are very brightly lit and meld together sculpturally as a unifying the technologies on offer can positively have an alert kind of feel. We used cove feature of the interior design – the central enhance their lives. “The most important lighting strategically and a lot of down light curvilinear staircase and avocado-shaped thing they tasked us with was to create an because we needed a certain light level for counters and displays, for example, or the environment where the journey [through general merchandising. We used high- green wave-like cove design on the walls lit the store] happens naturally.” quality down light luminaires with good above and below by hidden LED strips and Consequently, each area had to tell a sto- cutoff angles for glare-free illumination and sandwiched between grey fabric.

Summer 2018 | 23 Immediately upon entering you notice that the quality of light is dramatically different from the mall itself, and how illumination is used to accentuate the space’s soft angles and sculptural interior design. “The entrance space and the stairway were highly coordinated with George’s design. For the staircase, we used flexible LED Linear fixtures that are encapsulated and bend rotationally and up on a spiral,” Ho-Dion says, adding that, beyond the challenge of tucking fixtures in so they aren’t a distraction, finding a lighting product that could rotate as it goes up on essentially a compound curve wasn’t easy. “If you stand in the middle of the stairs and look up through the opening, you’ll see a star-like array of down lights that are pushing a pool of light straight down towards an oval table in the middle of the Light is also used to highlight the curvilinear stairway’s underside, ground floor. We had to find specific LED down lights that were high which flows naturally into a seating area tucked in below it. Across power. You may see them and say, ‘These are all just down lights,’ but from that is a service/sales desk – a lengthy wooden and white bar, we were very specific – there are different areas and different ceiling with the upper part lit substantially to display product and facilitate heights and so we needed different fixtures with more output for interaction with staff and the lower shaded for a low-key look. higher ceilings, for example.” Cove illumination is provided by various LED luminaire brands All of the ceiling lights deployed were sourced from Gotham chosen specifically for the type of space illuminated: LED Linear in Lighting of U.S.-based parent company Acuity Brands. Others used the wall and stair coves, GVA lighting for ceiling coves, and Feelux in the project include Sistemalux track lighting, Axis linear fixtures fixtures to create a halo effect for small display coves. Several kinds of for the store’s offices and meeting rooms, and a futuristic FLOS light LED strips were deployed according to the need for a brighter or less fixture as a central decorative element – the only one of its kind in powerful fixture. Generally speaking, the more indirect the lighting, the facility – in the main boardroom. the more output was required. The second floor houses several distinct product areas – the TV Great care was taken in choosing lamps and fixtures, Ho-Dion experience zone, the household appliance area, a demonstration notes. “For example, the lights that are mounted vertically in the kitchen, and a service centre among them. Here, accented by LED columns are a different fixture from those used in the walls and Linear products, the curved grey and green walls again reinforce staircase. For the columns, we used a straight LED product that’s less Foussias’ infinity theme. powerful so you could look at it because it is directly visible. On the The fabric on the walls also factored into the lighting design, walls and stairs we needed a flexible product to follow their geome- Ho-Dion notes. “That’s one piece we played with quite extensively try. We did lots of mockups with George and looked at every fixture and investigated with George and his team. We brought in different in person to ensure nothing was too bright. It’s easy to over light fixtures and mocked them up with the material that’s on the wall things. We were trying to fine-tune this to get it just right.” and made sure there was smooth lighting and no flickering, especial- Overall, shadows are equally as important as light, given that light ly when they’re being dimmed.” – whether it’s ambient and coming from the coves, directly from Throughout the store, Samsung’s LED displays and televisions also overhead, or from rectangular Samsung-branded lighting units placed play a lead role, but are placed to complement the décor and design above some display tables – is focused on individual elements. rather than detract from it. In other words, there’s no massive TV “We designed the interior space to be very soft, very textured, corner with dozens of various-sized screens playing the latest Disney and worked with Rebecca to design the down lighting to provide mega-hit competing for your attention. even illumination with no shadows above 2 ft. off the floor,” Foussias “We designed the curved wall to be flat enough to accommodate explains. “So, with no shadows at that height, you can move the desks and tables anywhere if Samsung showcases new products or a new line, for example.” That flexibility also allows various areas to be reconfigured as necessary for special events, demonstrations, and workshops. Similar flexibility is provided by the store’s Lutron Quantum VUE digital control system, which Ho-Dion describes as offering powerful control functions while still being very user-friendly and allowing for real-time fine-tuning of lighting levels for all of the elements in the space. “Its capabilities were very well-suited for this project,” she says. “All of the lighting can be controlled via a Samsung tablet, with lights grouped into different zones so if they want to throw a party – which they have – they can log in, bring one zone up and another down, adjust it, save it, and then when the party’s finished, go back to a regular daytime setting.” On the ground floor, Samsung rolls out the welcome mat with interactive VR zones and the aforementioned avocado-shaped desks and counters to display the Galaxy line of tablets, phones, and acces- sories, as well as the customer service desks.

24 | Summer 2018 screens where needed and, in some areas, with a specialty in designing and manufac- ments, the end result was a highly collabo- we purposely flattened the walls a bit for turing solutions for corporate exhibits and rative process involving constant verbal and larger displays,” Foussias explains. Other museum environments. The eye-catching visual communication between the various backlit printed screens, while rectangu- features resemble smooth tree trunks and collaborators. “We designed the interiors lar in form, do have rounded edges. “We extend from the ground floor up through and then Rebecca designed the lighting separated those from the wall curvature by the ceiling and onto the upper floor. They’re and in response we adjusted the design of making them look vertically rectangular, immediately visible upon entering the store the interior,” Foussias shares. “Rebecca was yet on the plan they have eased corners and also from the outside. invaluable. She figured out how to put it all throughout and match the respective tables “The space has a massive steel structure together, make it work, and have the effect they are above, thus looking like a graphic that goes right through the retail space and that we wanted.” continuation of that element all the way up holds up the actual roof,” Foussias explains. Other firms involved in the project to the ceiling.” “We wanted to make sure we don’t see that included Structure Corp, RJC Engineers, The additional illumination provided by structure, so we needed to hide it. When we and The HIDI Group’s mechanical/electrical those screens was addressed early on in started to work with the client, we talked engineering division. Alula’s process, Ho-Dion adds. “We consid- about the idea of a beacon – a light installa- “Having the mechanical and electrical ered that heavily during the design process, tion that would speak to the brand, almost engineers in house was a huge help on and made sure areas where they are selling like a Nuit Blanche installation.” this project because, as you can see, this is TVs weren’t over-illuminated – so again, it’s It became clear, however, that the feature not a standard store. Everything is custom,” warm, white, comfortable light. would not be ready for the store’s grand Ho-Dion says. To run the lighting and other “It’s very balanced,” she continues. “Usually opening, which prompted Quadrangle to infrastructure they needed to, particularly in in a store the lights are all focused on the come up with another interim solution until the ceilings, coordination was essential. “It products. They don’t really light the people the beacon is further developed down the was constant,” she adds. “If I had a question at all. Balance was a key theme that Sam- road. Given the space was designed with or needed to coordinate something, the sung had in mind – a perfect mix of modern a grand scale and no overly ornate details, engineers were right there, which played and organic elements.” She references the and that it showcases relatively small dis- into the whole integration and collabora- touches of wood in various places. “Even plays of product, the pillars – branded with tion theme throughout the project, both up in the kitchen zone, there are similar a floral pattern that glows softly courtesy of in the way we work and the final product. materials but in a modern form, and that, white flood lights placed inside – only add When we went back to the site and did our combined with the lighting, just gels. It’s to the relaxed atmosphere meant to invite end-of-project fine-tuning, it matched our about the people and the space, not just customers to comfortably experience the design perfectly. The end result turned out merchandise.” technologies on display. pretty much exactly as we had imagined.” One of the most striking features in the store is a large pair of purple stretch fabric A product of the seamless integration of Kevin Young is a Toronto-based musician faux pillars created by kubik, a company systems, lighting fixtures, and design ele- and freelance writer.

Summer 2018 | 25 26 PL&P

LED light column at Streaming Coquitlam City Hall into the City project. The rm tapped Vancouver’s Eos Lightmedia to design the various Coquitlam, BC’s Pinetree Way creative lighting features that, in addition to the city hall light column and its identical counterpart at the other end of Pinetree Way, include envi- Enhancement Project ronmentally-triggered guideway lighting, the illumination of a structural By Andrew King sculpture dubbed The Branches, and more. Ultimately, the end result is a streetscape that’s equal parts appealing and functional and that invites Coquitlam’s residents and visitors to walk, cycle, explore, and gather in this central location, balancing the area’s natu- he eye-catching 15-m light column that currently graces ral beauty with development, technology, and human creativity. the main entrance of Coquitlam, BC’s City Hall is a perfect embodiment of the Pinetree Way Enhancement Project Coquitlam is one of the 21 municipalities comprising Metro Vancouver of which it was a part. and, like many urban centres in the lower mainland, is wrapped in B.C.'s The cast aluminum cladding at the base of the pristine landscapes. As Eos Lightmedia Senior Designer Steve Bedard column closely resembles the bark of a pine tree, though explains, the Pinetree Way Enhancement Project’s overall theme of “Nature Textending from it is a sleek, curved cylinder of 360-degree LED lighting – in the City” extended directly to the various lighting features, which play on essentially a hybrid of nature and human engineering. the themes of trees, water, and generally, a natural ow for the guideway Fittingly, the central concept of the $14-million Pinetree Way En- lighting and everything motion-based. hancement Project was “Nature in the City,” with one of its central goals “ISL had the idea for illuminated features along the corridor, and illumi- being the creation a greener, more attractive, and welcoming gateway nating the guideway itself with a unique eect,” Bedard shares. “We worked to the city centre. Coinciding with the TransLink Millenium Line’s Ever- with them and their electrical contractors, Bay Hill Contracting, to create green Extension and its new Coquitlam Central station, the project was and implement these special events that happen along the way.” also intended to improve tra c ow and safety for pedestrians, drivers, Some of those events are automatically triggered by variables like the and transit riders going through the community hub. type and ow of tra c; others – specically The Stream – are deliberately ISL Engineering and Land Services, which boasts o ces throughout triggered by passersby. In either case, the eects are remarkably engaging, B.C., Alberta, and Saskatchewan, was the landscape architect behind the and increase the level and lifespan of intrigue for the project as a whole.

26 | Summer 2018 The translucent light columns at both ends an outer layer of acrylic with light-altering lm ing the eect they envisioned came when they of the corridor were an early cornerstone for applied to its interior. decided to pull some pixels out for contrast – the Pinetree Way project. “Coquitlam is very “The big thing for this was maximizing the basically, adding black to bring more depth out wooded and known for its natural beauty, impact by maximizing the pixel pitch, though of the active nodes. “It started to look like it was but has been growing pretty quickly with the we didn’t want it to look like just round pixel generating natural light, rather than just being SkyTrain and other major developments, so it screens,” Bedard explains. “We didn’t want to see a pixel screen. You could see the pattern of the was about combining those two ideas in one the nodes or the individual pixels, so that diu- pixels, but when we only had 60 or 70 per cent sculpture,” Bedard reinforces. sive lm was important to create that continu- of the nodes on in a kind of continuous slow “The fabricator did a pretty spectacular ous light spectrum within the column.” motion, it had more of a natural and ephemeral substructure of rigid steel armature, and it’s not Programming for the features was done look to it.” easy to get acrylic in that size [for the lit upper in Madrix 3D in order to realize the desired 3D The colours, movement, and intensity of portion] in a way that made this serviceable and eect. “This was the rst time we were working the lights are triggered by motion- and ob- UV stable and all of that, so actually, there are with three-dimensional eects in virtual ject-tracking via a complement of IP cameras two access hatches at the bottom built into the lighting, as we wanted a way to create a base and based on the type of transit that triggers bark that can open up for electrical connections colour with motion where we could still add a it, with dierent themes for pedestrians and to all of the LED strings.” sparkle that seemed to be on top of it, moving cyclists on the sidewalks, motor vehicles on Color Kinetics’ iColor Flex LMX gen2s, through it,” Bedard explains. “We had a 3D patch the roadway, the SkyTrain travelling along which are exible strands of large, high-inten- of the lights inside the columns, and were able the guideway, or a multi-modal feature for sity LED nodes with intelligent colour, deliver to get independent motion between the colour multiple stimuli. the eect. The nodes are aligned in channels wash and sparkle, so it was basically like having Eos Lightmedia’s Director of Design, Shaun and run up a structural frame wrapping the two layers to manipulate, and the eect was August, developed a custom software platform central internal column that routes the leader enhanced by the holographic lm that adds a that reads the camera input, denes control cable. Surrounding the nodes is a thin light- whole new element.” parameters based on the desired stimuli, and re ecting screen, which itself is surrounded by Bedard says the “aha” moment in fully realiz- sends that information to the cue servers.

Pinetree Way guideway column lighting

Summer 2018 | 27 28 PL&P

The Branches

The lighting on the guideway columns is incorporated into the concrete between the that people enjoy moving in and out of.” based on the same technology. In this case, columns that activate the feature, basically cre- The xtures are mounted to the branch the direction of the SkyTrain (north or south) ating “splashes” of light overhead. The pads are structures and are on the same circuit as the triggers a speci c colour pattern that ows intentionally discreet and unassuming to create nearby street lights, so they come on at the down either direction of the guideway on one a type of “easter egg” reaction from visitors. same time and don’t require any elaborate side of the posts. Additionally, the eects can “There’s not a sign on the street to tell you control. be programmed to coincide with a holiday or what to do, so it’s more of a little secret feature During the installation, over the course of special event. for people to discover,” Bedard elaborates. “We a single night, one of Bay Hill’s electricians was “We started by looking at the physical size like that type of thing, where not everything up on a lift with Bedard and a few others below, of the columns to gure out how much light is spelled out – where you’re kind of invited playing with variables like direction, focus, and we needed to cut through the streetlights, how to explore and gure things out. It gives it a shadows to optimize the overall eect. to get even coverage, what the best lens length longer lifespan for the public, where people get The last of the special lighting features is would be, and which xtures would do the best excited and might tell their friends or guests to also on the east side of the development, right job and still be robust enough,” Bedard shares. check it out, so it gets more people engaged.” beside the City Centre Branch of the Co- “The xtures do take some shaking and abuse. The Branches feature on the east side of quitlam Public Library. Informally dubbed “The They’re outside, so birds and animals…” Pinetree Way stemmed from ISL, who had the Guideway Mover” by the city, it’s an SGM G-Spot The eight-sided guidway columns called idea of reinterpreting trees that once occupied IP65-rated LED moving head discreetly mount- for a mix of Color Kinetics ColorReach Compact the space being developed for the SkyTrain ex- ed atop a standard streetlight pole. The xture Powercore and ColorBlast 12 xtures for even pansion. “They wanted to pay homage to all the can project custom messaging and signage coverage and good saturation. greenery around there with a kind of ‘ gurative onto a host of nearby surfaces. The Stream is located at the southeast forest,’” shares Bedard. “They have the guideway there, which corner of Guildford Way and Pinetree Way. It Eos’s task then was to liven up the sculp- crosses the street, so we can project onto that, uses lighting and coloured concrete to create tures with illumination, and ultimately, the best the north and south sides of the sidewalk, the water-inspired eects surrounding a comple- approach was to use an old theatre lighting parkway, and the library,” oers Bedard. “Those ment of public benches. Lumenbeam LEDs trick and incorporate basic spot xtures with are all dierent canvases, and we can change it from Lumenpulse are axed to the benches plant-themed gobos. from event to event. Sometimes you’re looking and project onto the underside of the guideway “I love creating with light and shadow and up, sometimes down, sometimes beside you, between the columns to create the illusion of a contrast out in an urban environment,” Bedard sometimes across the street, so it’s a lot of stream’s reection. enthuses. “It’s just a little more fun and dramatic variety from one lighting position.” What’s more, there are three pressure pads than standard street lights. It creates a space Bedard says Eos has been working with

28 | Summer 2018 the G-Spot in other applications of late and the team has become very familiar with its performance and ability to withstand the elements. Considering the rm’s reputation with outdoor lighting applications, that level of con dence is critical. “We want things that we know can perform in this kind of envi- ronment,” he states. “For example, the CK [iColor Flex LMX] nodes are the only thing that work like they do and last like they do. We’re not interested in taking a leap of faith with a new product without very rigorous testing.” An advantage of working on the west coast is that, while rain and fog are in no short supply, it typically enjoys milder summers, and as Bedard points out, LEDs and electronics in general fail more so from overheating than being ex- The Branches posed to splashing water and rain. Their other constant B.C.-based foe in exterior projects, salt water, isn’t a concern in the lower mainland.

As Bedard summarizes, the goal behind Eos Lightmedia’s role in the Pinetree Way Enhancement Project from the outset was to ensure that every individual component they designed would become an inte- gral part of the city – not just ashy lights for the sake of ashy lights, but features that would enhance the environment and engage the community. “There’s a lot of technology out here, and these ideas wouldn't have come to life without the work and support of ISL Engineering and Bay Hill Contracting,” he says, giving credit where it’s due. Ultimately, the new Pinetree Way has been well received by the city and its residents as a welcom- ing community hub, embracing growth and development while complementing the area’s unique and charming geography.

Andrew King is the Editor-in-Chief of Professional Lighting & Production. The Branches

Summer 2018 | 29 30 PL&P A Consummate Creative Professional In Conversation with Lighting Designer Brent Clark

By Andrew King

Brent Clark “Always willing to listen, the last Glorious Sons show in Kingston and that is hopefully going always willing to try to be a tour in the fall. I always get excited designing new stuff, so every challenge new things.” gets me excited. I really like trying to find new technologies and So begins Brent Clark’s professional biography, and a quick look figure out a way to be inventive in production design. at his design credits throughout his career as a lighting designer indicates that’s an attitude he’s kept central to his work. PL&P: You’ve been doing this since the mid-’80s, and have Clark is a longtime fixture of the Canadian live production in- worked with a number of high-pro le artists in that time. dustry. In a career dating back to the mid-’80s, he’s lent his creative What was your rst tour where you were predominantly touch to an enviable variety of tours by artists including Jeff Healey, working in arenas, or maybe more speci cally, the one Our Lady Peace, Jann Arden, Avril Lavigne, Stereophonics, and of where you might have said to yourself, “Now this is what I’ve course, The Tragically Hip. In fact, it was Clark’s design that framed been working towards?” the iconic Canadian rock band for The Tragically Hip: A National Cel- ebration, the live broadcast of the last stop of the band’s final tour BC: The first tour where I realized what I had been working towards enjoyed by over 11 million viewers around the world. was when I was out with Jeff Healey in 1989 and the LD, for lack Clark was kind enough to take some time amidst a lengthy of a better term, got fired and I had to step in and LD the tour and global run with U.K. rock band Stereophonics to speak candidly then realized that it was all on my shoulders. I thought it was pretty with Professional Lighting & Production about designing, listen- cool, but was scared out of my mind! ing, learning, collaborating, and yes, trying new things – all of From there, the next big tour would’ve been in 1997 with Our which have helped to cement his status as one of Canada’s most Lady Peace on the Clumsy tour. That was the first really big arena sought-after creative professionals. run that I got to design. It was so much fun but extremely stressful. That’s when I realized that I had started to achieve my goals. PL&P: So you’re currently out on a global trek with Stereo- And I am still trying to achieve my goals. I think that’s what phonics, which we’ll get into shortly, but in the meantime, keeps me going – I am always trying to better myself and trying what else is keeping you busy of late? Anything in the recent to learn every chance I get. I am still looking for the big break. As I past or the near future that has you excited? always say, I will become an overnight success soon…

BC: Well the Phonics have been keeping me pretty busy. Just on PL&P: There’s been a lot of industry discussion in recent years tour right now in Australia with stops in Singapore and Dubai. about the increasing convergence between lighting and video, What I have been up to is designing the upcoming Barenaked though I understand you’ve been working with media servers Ladies tour that will go out in the summer. The tour is called Last and video content for close to 15 years now. Has that been a Summer on Earth, so that’s been keeping me busy. I also designed signi cant competitive advantage for you over the years? Stereophonics’ Scream Above the Sounds Tour

BC: I think it’s put me at a very significant advantage. It’s much eas- it’s been necessary for the video team to run the video content. For ier for a client to come and talk to one person about [their overall] example, we had to do that on the Avril Lavigne tour in 2008 be- vision than to talk to a video person and the LD. And you when you cause the video content we had was way beyond what we had for a get on tour, it’s much easier to have one person that deals with it media server, so we had to have a video team to run it. than having to corral different departments. I really like the idea of being able to run the video and lighting PL&P: While you’ve done some theatre work, much of your at the same time to make sure all the cues happen in time. It just design and direction over the years has been concert-related. makes sense in my mind that the lighting desk should run the video What is it you enjoy most about concert lighting vs. lighting content, but that being said, there have been certain shows where for other disciplines and applications?

Stereophonics’ Scream Above the Sounds Tour

Summer 2018 | 31 PL&P: You also collaborated with Gord on his Secret Path shows. I’d love to hear a bit about your cre-

PHOTO: MIKE HOMER MIKE PHOTO: ative approach for that, considering the album’s vivid narrative and its accompanying graphic novel and lm. To what degree did the fact that there was an extensive visual component associated with those songs inform your design?

BC: The Secret Path shows came right on the heels of the Man Machine Poem tour. I think it was maybe three weeks after the Hip tour was done that Gord and I were talking about doing the Secret Path shows. The direction from Gord was always that the film would be the centrepiece and that the band was more like a band from a silent movie in the ‘20s that just plays the soundtrack. The film is very stark, The Tragically Hip’s Man Machine Poem Tour very blue, very cold looking, so I tried to re-create that on stage. It was all about BC: Well, I went to theatre school in the early ‘80s, so that’s where my training is, so it was the film, so there was no haze, there were very interesting to dip my toe back in the water last year and design a theatre tour. The no followspots, very minimalistic lighting hardest part about doing the theatre tour was the hierarchy. I’m not used to the design team – side light and floor light so that nothing being the end answer, because when you’re doing a live concert, it’s the band that you have can interfere with the film. to answer to, so it just took a while to get used to that. My goal in the shows was to try and The thing about a live concert that still gets me to this day is when the house goes black make the audience feel that they were on and the crowd erupts. That sends a shiver up my spine every time that happens. I still get the railway tracks with Chanie [Wenjack] butterflies every night and I look forward to that first cue all the time. It’s the adrenaline rush I and the band. The stage did not look like love and the crowd response that is immediate when you throw up a great cue that’s perfect- an inviting place to be; I tried to make it ly in time with what the band’s doing. cold and stark. Those shows were so hard emotionally PL&P: You were a go-to collaborator for The Tragically Hip for many years and did to do. It was really like nothing I’ve ever the design for their nal tour – the Man Machine Poem run – that was immortalized done before. You could feel the emotion in the CBC’s A National Celebration production. How did it feel to be able to help cap in the room every night. Again, I was just such a storied career, and what does that tour mean to you looking back now? so honoured and felt privileged to be involved. 2016 was a very interesting year BC: First off, to have been able to collaborate with Gord [Downie] and the Hip has been one for working, that’s for sure, and one that I of the best things to happen in my professional career. I love all those guys like brothers and will never forget. can’t say enough good things about them. They are some of the best bosses ever. Gord was my friend above all. Miss him every day. PL&P: You’re amidst a pretty lengthy Designing the Man Machine Poem tour was pretty hectic. After meeting with the man- run right now with Stereophonics, agement team, I had come up with a design that was based on a normal arena sell for a tour. who you’ve been collaborating with Then, at the 11th hour, it was decided to sell 360, so that design was scrapped. So over the for well over a decade. How did that course of the weekend, I had to redesign the tour and at the same time the Stereophonics creative relationship rst come to be? were in the midst of a stadium show in Cardiff, so it was a little busy [laughs]. I was very lucky to have help from Tyler Pigeon. He came out and directed the tour for me because I was busy BC: Well their management is Nettwerk with the Stereophonics in Japan and Asia. Management out of Vancouver and their It was a great collaboration between Gord and Nick [de Pencier] and Jen [Baichwal] manager is an old friend of mine. He was at Mercury Films. The idea all along was to create different looks for every album and to tour managing Avril Lavigne in 2003 and I represent the band from their beginnings in the clubs to the rise of the great arena band that was working for the support act in Europe, they’ve become. who was Our Lady Peace. He really liked In the end, I think it was an amazing tour and has a special place in my heart. A National how I lit OLP and a few years later, Stereo- Celebration ended up winning a bunch of [Canadian Screen Awards], which I am very proud phonics were looking for an LD and he of. All departments got recognized, which was awesome. It was a once-in-a-lifetime event. I called me up and offered me the job. That don’t think it will ever be re-created and I just feel so honoured to be a small part of it. was 2005 and I’m still kicking around.

32 | Summer 2018 carte blanche to put your experience to work as you see t.

PHOTO: MIKE HOMER MIKE PHOTO: BC: I love doing both, but that being said, there is something about a collaboration which is awesome because a lot of times, people will see things that you don’t see or have a new idea that you never thought of, so I really like that part of it. I always like other people’s ideas on things. I’ve learned so much from just listening to people about their different ideas on how things should be lit. The biggest influence on how I light shows comes from Raine Maida [of Our Lady Peace], Gord Downie [of The Trag- The Tragically Hip’s Man Machine Poem Tour ically Hip] and Kelly Jones [of Stereopho- nics]. I always like input because I always They are a great bunch of guys. I think I added in three video screens on the want to make sure that the artist feels of them all as great friends and amazing downstage edge of the thrust to basically comfortable on stage, so even if I’m given bosses. They are a lot of fun to light and a do away with the side screens. carte blanche, I still seek [input from] the great band live. This was also the first tour for me to artist to make sure they are comfortable. It’s always been a challenge with them use the Follow-Me spot system, which was because I think of them as The Tragically awesome. It was great to be able to just PL&P: I know it’s a wide net to cast, but Hip of the U.K., where the Stereophonics pick any light I wanted in the rig to follow to cap us o, outside of the technolo- play arenas and stadiums in the U.K. and any band member. It really freed me up gies themselves, what would you say is then go to North America and it’s clubs from the normal followspots. I always try the most notable dierence between and small theatres, much the same as the and do something new in the design and the lighting industry you entered back Hip were in Canada and in Europe. something that I have never done before. in the mid-‘80s compared to today’s? The basic cue structure stays the same, but PL&P: Tell me a bit about your overall I’m always trying to come up with different BC: Back in the ‘80s, it was pretty much fly design for this tour and how it came ways to light the same songs. by the seat of your pants. We had a truck, together. Is everything “new,” or are some lights, PA, and some back line, and there some elements of the design that PL&P: Outside of the Follow-Me, are we just did shows wherever we could. We build on what you’ve done for previous there any xtures or systems you’re us- were just working on our craft and trying tours? ing for the rst time on this trek? If so, to do the best job we could. We had six how did they earn the spot in your rig? moving lights, which was awesome back BC: The overall design for the last tour was then and so unheard of, and it took all day based off of trying to do something a bit BC: The Follow Me System has been great. just to set up those six, mostly. So jumping different with video, so I came up with this It really works quite well. Along with it I ahead to where we have an entire rig of idea for an upstage video wall that could had a bunch of [Robe] Spikies, which are moving lights that you can set up in hours disappear. The idea behind that was that great little punchy lights I think. I also had a is a huge change. Also, how much LEDs it can go completely horizontal and then bunch of Space Force lights from Chro- have changed our world is amazing. To go move into a vertical plane and can also act ma-Q. These are on a Kinesys [automated] from three 400-amp services to a 200-amp like a roof. So then I came up with the idea system and controlled via wireless DMX to run 300 LED lights is just mind-boggling. of two trusses upstage and down stage so they would come in at different points I am really looking forward to seeing where of the video wall that flank, and when the in the show to really kind of close in the it’s going to go in the future and I love video all goes away, they become their space. We use these when the band is on all these new products that are coming own scenic elements. We move them into the B stage on the downstage edge of the out. I just find it very hard to keep up with all sorts of crazy angles and make the show thrust. I was also using the Hippotizer Bo- what’s new and exciting. That’s become very awesome and asymmetrical for a realis media server for the first time, which the biggest challenge. I would also say bunch of songs. I loved. Such a great server with so many the attitude has changed for the better. Over the past while with the festivals options. It really is a great tool. It’s become much more of a business now that we have been doing, the band has than what it was before, which is awesome. really liked the idea of a centre thrust, so PL&P: Your bio says you’re “always will- I think it’s cool that we can still do art and we added in the centre thrust that’s about ing to listen, always willing to try new business at the same time. 10 m long that had a lift on the end so we things.” That made me curious about could lift small bits of backlight up for the whether you prefer getting direction stage along with mic stands, etc., and so from clients and working towards a Andrew King is the Editor-in-Chief of I got to try and do things a bit differently. collaborative vision vs. being given Professional Lighting & Production.

Summer 2018 | 33 In Focus 34 potential for danger”. interesting,” Filsinger says. oneoftheoddest places, asfar “That’s heading into Israelandreturning to Europe. Eastern figurative mapoftheworld. Currently, at Three Days Graceislooking andhe’sof thislinework, gotanimpressive numberofpinsinhis better than you mightexpect.” with achuckle. beachallenge, butit’s“Touring Russiacancertainly far Europe andRussia. like The BeatlesinRussia,”“They’re Filsinger says andreaching stature god-like inothers,markets includingEastern Mountain,” matching arecord setby Van Halenyears earlier. number onesongon F demand rock outfitsintheworld, having recently their13 earned bigger venues placesaround innew theglobe. through theirway upto itallwiththeband, biggerand working remains acareeralbum cycle high pointfor Filsinger. He’s beenthere The Cult Jared andactor Leto’s band, to 30Seconds Mars. doing,” more heenthuses. recent rockers Other clientsincludeBritish hasn’t backsince. looked “I’ve nomatter whatIwas always comeback, curve. without itslearning establishedhimasasought-after collaborator,that quickly butwasn’t the consoleandonroad. ofgoodfortune Headmitsitwasastring April superstarZucchero,Wine, andItalian logging hourat hourafter about five years now, soit’s great to seehe’s goneonto dowell.” his lastname, Xenidis, spelledbackwards. He’s beenwithBonJovi for bandcalledSidinex,whichis ofsplitoriginal-cover withakind touring leadguitardutieswithBonJovi. on to take together started “We time findinggigs andgettingbusy. of getafoothold inthisbusiness,” heshares, andhedidn’t waste any intheindustry. to gethisstart goesto kind where everyone “That’s and mostprestigious venues andfestivals around theworld. group’s success, goingfrom By Shanine Cook “I didIsraelwithSimplePlan around 2008andit was pretty Travelling to destinationsisoneofFilsinger’s new favourite parts The band’s ongoingsuccessmeansthey’re stillpushing into new Now, Three Days Graceisoneofthemostsuccessfulandin- showsDesigning new for Three Days Gracewitheachnew 2004,he setoffonhisfirsttour with In Three Days Grace, and into Saga, hiscareer,Still early like withartists hewasworking firstmajor clientwasguitarslingerPhil X,whohassincegone His Filsinger ON,butendedupmoving to inOrillia, wasborn Toronto PL& or nearly 15 years, Mike Filsinger 15years,or nearly light Mike hasbeenthego-to entertainment industry hasgrown intandemwiththe industry entertainment debut albumbackin2004,hiscareer inthelightingand theirself-titled withthebandwhilesupporting Starting ing designer for hard-hitting rock outfit Three Days Grace. P Billboard’s clubs Mainstream Rock chart with chart Mainstream Rock “The to theatres to someofthebiggest Mike Filsinger th

- exciting tours to follow it. the charts,” sohere’s hechuckles, numberoneandsome to thenext withtheseguysandwatchingtouring theirsinglescontinueto goup the Three Days Gracecrew. “As farasfuture plans, it’s justto continue onthehorizon for experiences to placesandnew forward thenew StonesRolling to aclubto headliningafestival.” be prepared for production wise, from everything, openingfor The been quite achallenge,” headmits. “You know, you’ve justgotto we inwithzero couldbring set-up andteardown time, andthat’s theheadliner,directly supporting soIhadto design asystem that hundreds ofthousandspeople. and show environments, from clubdates to arenas to festivals for different placesandcanfindthemselves inawiderangeofvenues to abandlike is important Three Days Gracethattravels to somany are relying more andmore onvideocontent thanlighting.” requirements,” hesays. “You’ve probably noticedthatalotofbands manipulation. “It’s gotalotto dowiththechanging ofproduction been expandinghisprofessional palette withvideocreation and As for what’s comingupfor therest of2018,he’s justlooking we’re“Sometimes orsometimes headliningorco-headlining Adding more videoto theshow well works for scalability, which Lately, many ofhispeersinthebusiness, like Filsinger has Shanine Cook isanEditorial with Assistant Professional Lighting & Production.

Stephan Gotschel

By Shanine Cook

tephan Gotschel has a wide and favourite cities in the world. In each case, he varied career in the lighting indus- was onsite for a few weeks to design, program, try and some of its related disci- and oversee the look of the show leading up plines, from odd jobs at nightclubs to opening night. to music and theatrical tours to film He’s also covered much of Canada and andS television. That breadth of experience is the United States in addition to trips to serving him very well in his current role – or, Scandinavia, Switzerland, Germany, Austria, rather, current roles – with Rain: A Tribute to The the U.K., South Africa, and Japan. “It’s been Beatles. truly great – very exciting and very rewarding,” A Montreal native, Gotschel moved to he shares. Toronto with his family when he was 11. In The production keeps him plenty busy. high school, he got heavily involved with the From a typical 6:45 a.m. wakeup call through drama program and started down a path 16 to 18 hour days, Gotschel finds himself in that would eventually lead him to study at one of the most challenging but rewarding Ryerson’s Theatre School in Toronto and then environments of his professional career. into a career in the entertainment industry. He isn’t only the lighting designer for the His first job out of school was at the Grand “Music was my thing. I know it sounds tour, but also its production manager and, as Theatre in London, ON, and looking back, kind of hokey, but every time I listen to music, of last summer, the production designer and Gotschel humbly admits he found himself I kind of ‘see’ it,” Gotschel shares. “With the a one of two video designers. “I need to keep my professionally overwhelmed. “I was very green cappella aspect [of The Nylons], that brought brain active and keep learning,” he says. “I’ve and new to the industry and, you know, I about an interesting challenge of lighting a been in this industry since pretty much 1992. made a few mistakes and was really just too show without drums or instruments – just Got to keep it moving…” inexperienced for the job.” four guys on stage making these sounds As much as life on the road still excites Disappointed but not discouraged, with their voices. It really made me respect Gotschel, he certainly enjoys spending Gotschel recognized it as an opportunity to the music industry and especially those guys. downtime at home in Toronto, close to family learn and grow. “It made me realize, ‘Hey, learn They’re just very talented.” and friends. Having just come off the road in your bounds, set your goals high, and then get Following his journey with The Nylons, early May, he’s taking the opportunity to relax to work towards those goals. That’s really been he anchored himself in the concert touring and reconnect with those close to him but my motto for my entire career.” industry and joined the crew at Canadian also getting caught up on the city’s music Following his stint at the theatre, he got Idol for three years before embarking on scene, working on some events and festivals involved in film and television production. tours with a wide array of artists, including throughout the summer. After days on set, he’d spend his evenings Daughtry, Michelle Wright, and The Tea Party, “Since I travel so much, I really enjoy at nightclubs, learning to program moving to name just a few. spending time at home,” he shares. “I’ve got my lights and generally getting acquainted with Currently, Gotschel is amidst his 13th year putting green, I’ve got my smoker, and I’ve got performance lighting rigs. He found himself of working with Rain and is still getting to visit my neighbours and friends that come over for at home lighting for music performances, new and exciting places. That includes his drinks and we sit there and have a good time and soon cemented his status as a concert LD work prepping an iteration of the production and put some steaks on the grill and relax. To and operator with iconic Canadian a cappella called Let It Be for runs on Broadway and me, the perfect vacation is staying at home outfit The Nylons – a client for nearly 12 years. the West End of London – one of Gotschel’s and spending time with family and friends.”

Shanine Cook is an Editorial Assistant with Professional Lighting & Production.

Summer 2018 | 35 36 PL&P

Chroma-Q Studio Force II Tuneable White Wash Light

Chroma-Q has introduced the Studio Force II, a high-intensity tuneable white wash light. Using a homogenized LED source capable of delivering variable colour temperature, plus/minus green shift control, and the ability to produce deep saturated colours when needed, the Studio Force II is specically designed for TV broadcast and lm applications. It also per- forms well in other situations demanding Product Spots high quality tuneable white light, such WorkPro LightShark LS-1 Console as touring key lights, exhibitions, corporate events, and theatre lighting. WorkPro has released the LightShark LS-1 console. The LS-1 The Studio Force II uses the same o ers unique features from the world of software-only lighting ColorSure technologies found in control and marries them to an intuitive, ergonomic hardware other Chroma-Q xtures to deliver control surface. consistent colour across xtures. The LightShark range currently comprises two independent For more information, contact A.C. hardware products – the LS-Core and LS-1 – which have the Lighting: 416-255-9494, FAX 416-255-3514, LightShark engine software built in. The LightShark cross-plat- [email protected], www.aclighting.com. form lighting control system has up to eight DMX universes and a fast web-based user interface. The LS-1 is able to connect up to three devices at the same time to create a customized multiscreen control system, making for a plug-and-play solution that avoids the inconvenience of having to install any software or drivers on a computer. A web browser is all that is needed to have complete access to the software, no matter the operating system (iOS, Android, Linux, Windows, macOS). For more information, contact AVL Media Group: 514-400-0110, FAX 514-457-0575, [email protected], www.avlmediagroup.com.

Philips Vari-Lite VL2600 LED Moving ETC Element 2 Console Heads ETC has released the Element 2, an upgrade of the entry-level Eos Philips Vari-Lite has launched the family console. The Element 2 hardware features the same hardkey VL2600 range of LED moving head layout as the other Eos desks, bringing the console closer to its luminaires, which are designed to be bigger siblings. smaller, brighter, and lighter LED alter- The Element 2 o ers control of the Eos software with an inter- natives to the VL2500 Spot and Wash face and price point that is accessible to a broader range of users moving heads. and venues. Novice users will nd that commonly-used functions All three models in the range – the are brought to the surface, while experienced programmers can VL2600 Spot, Prole, and Wash – o er dig deeper to access advanced controls. The console’s 40 pageable an updated, more saturated, but familiar playbacks can be used for hands-on, latest-takes-precedence Philips Vari-Lite CMY colour mixing control of individual channels, or turn a switch and map them to system with variable CTO colour submasters, IFCB palettes and presets, or manual timing or global correction, high-colour temperature e ects masters. Users can also build their own customizable graph- (7200 K) output, a zoom range of seven ic control interfaces with Magic Sheets or record looks to Element to 48 degrees, and a at and even eld of light at all beam angles. 2’s cue list for streamlined playback. With the new luminaires, the company says it has exceeded the The console boasts 1,024 or 6,144 outputs, 32,768 channels, output of the VL2500 while expanding the available package and ve USB ports, four DMX ports, two individually congurable Eth- its potential applications with the addition of a dedicated prole ernet ports, support for up to two standard or multi-touch external xture, plus the added advantage of a beam-shaping system displays, and full, synchronized backup options via ETCnomad, within the wash xture. At the same time, the compact form factor ETCnomad Puck, or another Element 2 console. has been retained. For more information, contact ETC: 608-831-4116, For more information, contact Philips Vari-Lite: 214-647-7880, FAX 608-836-1736, www.etcconnect.com. FAX 214-647-8038, www.vari-lite.com.

36 | Summer 2018 ArKaos MediaMaster 5.2 Software Robe Tarrantula LED Beam/Wash/E ects

ArKaos has launched the MediaMaster 5.2 software, the latest edition of Fixture its signature real-time video control platform. Robe has released the Tarrantula LED beam/wash/e ects xture. Embedded in MediaMaster 5.2 software is ArKaos’ new architain- It is powered by 36 30-W and one 60-W high-powered LED chips, ment-orientated control product called An-Ki. An-Ki is a remote control and providing 20,000 lumens of output. A versatile optical system o ers digital content adjustable beam angle from a 4-degree spot to a 50-degree wash. The management LEDWash 800 inspired Beam Shaper accessory solution. With it, creates a traditional oval beam that can be video-mapped or indexed for precision coverage of the LED installations stage or performance area. can be maintained Central to the Tarrantula’s from anywhere in features is Robe’s exclusive the world through ower e ect, which adds another the ArKaos cloud. eye-catching visual dimension. Other new Driven by the 60-W RGBW features include multichip, this creates sharp, DMX Merge, speed-controlled spikes of light which combines that can be rotated in either di- parameters like pan and tilt from a lighting console with video sources rection. Intense, fully saturated co- from MediaMaster. It also features Pixel Blending, which utilizes the Blend lours plus a range of subtle pastel function so the colour output of a lighting console can be blended with tones with very smooth transitions the video output of MediaMaster via DMX from the lighting console. The are possible due to the integrated Kling-Net Draft Devices feature allows a show to be prepared remotely 18-bit LED dimming system. Vid- and disconnected from the physical devices. With Extended Fixture eo-driven e ects can be achieved by mapping the Tarrantula’s individual Creation, MediaMaster 5.2 supports complete DMX devices like moving pixels via a DMX console or a media server and utilizing the onboard heads with pan/tilt. With 64-bit support for all applications, MediaMaster sACN with internal HTP merging via DMX or Kling-Net protocols. 5.2 enables quicker and more responsive operation. For more information, contact Robe Lighting: 954-680-1901, For more information, contact A.C. Lighting: 416-255-9494, FAX 416- FAX 954-680-1910, [email protected], www.robelighting.com. 255-3514, [email protected], www.aclighting.com.

Summer 2018 | 37 GLP Impression FR1 Litepanels Gemini Soft Panel GLP has released the Impression FR1, which brings more versatility to the company’s Litepanels has released the Gemini 2x1 soft panel, as well as a new rm rm- lineup of compact automated lighting ware update that expands the panel’s lighting eects. packages. The Gemini is designed to deliver precision colour control and Using one high-powered 60 W homogenized RGBW LED at its core, icker-free light in a highly portable LED panel. The new Gemini rmware the Impression FR1 features colour mixing across a wide spectrum and includes a new Lighting Eects mode for adding lm and TV lighting at the same time projects a crisp and punchy white light, with a full eects, such as emergency lights, lightning, re, hue burst, paparazzi, range of colour temperature control. reworks, party lights, pulsing, square, and strobe. All eects are fully The xture is designed to provide a clean, homogenized output customizable, giving users the ability to control rate, colour, depth, and at all angles, with a clean beam from centre to the extreme edge. This other factors to craft a unique look. Eects can be saved to presets for consistency and detail allows the Impression FR1 to be used in a wide simple recall, and the presets can be saved to a USB drive. range of applications. In addition to the new eects, the Gemini includes four additional A fast 3.5- to 34-degree zoom range gives full beam control over lighting modes: Correlated Color Temperature (CCT) mode for bi-colour both short and longer throw distances and the FR1 can project over a (daylight to tungsten) with +/- green adjustment; an RGBW mode that long throw. allows independent adjustment of red, green, blue, and white; HSI (hue For more information, contact AVL Media Group: 514-400-0110, FAX saturation and intensity) control for full-colour and saturation control; 514-457-0575, [email protected], and Gel mode, providing the ability to dial up a variety of popular gels. www.avlmediagroup.com. For more information, contact Litepanels: 203-929-1100, [email protected], www.litepanels.com.

38 | Summer 2018 Acclaim UDM-W Wireless Universal Dimming Module

Acclaim Lighting has released the UDM-W wireless universal dimming module, which complements the company’s wired UDM Claypaky Zac-Eye Followspot Device and features DMX, 0-10V, and line voltage dimming ability for a Claypaky has introduced the Zac-Eye, the rst stand-alone follow- wide range of applications. spot to use articial intelligence. The UDM-W is a multi-protocol driver designed to allow The movements of any Claypaky xture can now be controlled conversions between popular control systems, and allow for max- automatically by the Zac-Eye box. The box is an external device that imum control exibility and integration with xtures. The UDM-W can be connected to any Claypaky moving light via Ethernet. Its op- gives users a choice between a wireless and wired DMX input by natively adding Acclaim’s Aria Wireless DMX technology. tical 3D sensor detects all the objects on the stage, and a specialized Both the wireless and wired UDM units support DMX/RDM algorithm distinguishes human shapes from the rest of the environ- and 0-10V inputs, while its outputs are DMX/RDM, 0-10V, and IGBT ment. No ne tuning is needed by the operator. It is designed to be digital line voltage dimming (compatible with forward and reverse simple to install and use, completely reliable, and aordable. phase xtures). For more information, contact A.C.T. Lighting: 844-996-0884, For more information, contact Rite Lites: 514-472-0443, FAX 416-628-8406, [email protected], www.actlighting.com. FAX 514-472-0586, [email protected], www.ritelites.com.

Summer 2018 | 39 Epson Pro L25000U 3LCD Projector ChamSys QuickQ Series Global Truss Silencer Consoles Epson has released the Pro L25000U agship Global Truss has introduced the truss Silencer, laser projector with 25,000 lumens of colour ChamSys has released the QuickQ series of lighting a rubber damper that is easily pushed onto brightness and 4K enhancement, designed for consoles, designed to put more powerful lighting con- the end of a truss pin to reduce noise when use on live productions. trol in the hands of students, theatre/house of worship assembling truss structures. The Epson Pro L25000U uses advanced volunteers, and programmers, regardless of experience edge blending and auto image calibration level or budget. The consoles are also designed for more The Silencer is designed to decrease to create immersive looks for the audience. It experienced professionals when running smaller-scale the volume when hammering truss pins by combines a laser light engine with inorganic shows. around 50 per cent while dampening the high components for improved brightness and Available in three models – the QuickQ 10, QuickQ pitch frequencies signi cantly. The company 24/7 operation for up to 20,000 hours. 20, and QuickQ 30 – they feature an intuitive smart- says a special rubber blend is used in pro- Epson’s Pro L Series projectors also feature phone-like interface and a large 9.7-in. touchscreen. duction to make the Silencer exible yet hard a sealed optical engine, 3G-SDI connectivity, Helpful prompts and videos accelerate the learning pro- enough to transfer the force of the hammer and true 360-degree projection exibility. The cess, making it easier for inexperienced users to set up, eectively while preserving the material of the Epson 4K Enhancement Technology accepts program, and operate the console. Among the console’s pin and the copper hammer. The Silencer has 4K signals and enhances 1080p signals for an features are easy-to-understand buttons and faders, a been designed to be left on the truss pins while output that surpasses full HD image quality. simple colour selection menu, accessible intensity con- tted to the truss, providing protection to the The projector is compatible with Crestron trol tools, and ngertip controlled zooming and scrolling. truss but also the surface it is sitting upon. An- RoomView, AMX, Extron XTP, Control4, and The QuickQ consoles feature wi- capabilities that other added feature is that it oers camouage Art-Net Lighting Control systems, plus an Em- allow them to be controlled from a tablet or phone, both when silver pins are used on black truss. ulation Mode to accept basic control codes of of which can also serve as a second external monitor. For more information, contact SFM: 800- other projector brands. For more information, contact Erikson Pro: 866-916- 363-8855, 514-780-2070, FAX 514-780-2111, For more information, contact Epson 4660, FAX 888-918-2244, [email protected], [email protected], www.sfm.ca. Canada: 800-807-7766, www.epson.ca www.eriksonpro.com.

40 | Summer 2018 ADVERTISERS’ PL&P 41 INDEX Summer 2018

PG. ADVERTISER WEBSITE E-MAIL

43 A.C. LIGHTING www.aclighting.com [email protected]

2 ADJ (SFM) www.sfm.ca [email protected]

40 AVL MEDIA GROUP www.avlmediagroup.com [email protected]

6 BOURNS www.bourns.com/pro-lighting [email protected]

7 CHRISTIE LITES www.christielitessales.com [email protected]

37 CHAMSYS (ERIKSON PRO) www.eriksonpro.com [email protected]

13 CHROMA-Q (A.C. LIGHTING) www.aclighting.com [email protected]

47 ETC www.etcconnect.com [email protected]

11 EXPO-SCENE 2019 www.citt.org/exposcene.html [email protected]

3 INFOCOMM 2018 www.infocommshow.org/eventproduction [email protected]

45 LIGHTING BOOKS PLUS www.lightingbooksplus.com [email protected]

8 NWC PRODUCTION www.nor.com [email protected]

12 ONTARIO STAGING LIMITED www.ontariostaging.com [email protected]

38 QOLORFLEX (CITY THEATRICAL) www.citytheatrical.com [email protected]

48 ROBE www.robe.cz [email protected]

40 ROLAND PRO AV www.proav.roland.com [email protected]

39 SCENEWORK www.scenework.com [email protected]

42 SOLOTECH www.solotech.com [email protected]

6 THE LIGHT SOURCE www.thelightsource.com [email protected]

4 ULTRATEC www.ultratecfx.com [email protected]

To view the digital version of Professional Lighting & Production, please go to www.professional-lighting.com/online. Chauvet Rogue R2X Spot & R1X Spot

Chauvet Professional has added to its Rogue series of moving xtures with the introduction of the 300-W LED Rogue R2X Spot and 170-W LED Rogue R1X Spot. The R2X Spot has an output of 11,000 lumens and features a 16.5-degree beam angle, two variable scrolling colour wheels with seven colours and split colour capability, as well as a three-facet prism and smooth gobo morphing between its dual gobo wheels. The Rogue R1X Spot has an output of 6,700 lumens and features a motorized iris and focus for beam shaping, 16-degree beam angle, and a colour wheel that features eight colours, split colour ability, and continuous variable-speed scrolling. It also has dual gobo wheels with seven interchangeable gobos, as well as a three-facet prism for aerial eects and 16-bit dimming for smooth fades. Both xtures are RDM-enabled for remote addressing and troubleshooting, and both feature Neutrik powerCON power input/output connections for power linking. For more information, contact Erikson Pro: 866-916-4660, FAX 888-918-2244, [email protected], www.eriksonpro.com.

Roland V-60HD Video Switcher

Roland Professional AV is now shipping the V-60HD compact, integrated video switcher and audio mixer. Its feature set is well suited for live event productions and broadcast, recording, and streaming. The V-60HD supports SDI camera inputs plus scaled HDMI inputs for data, computer, tablet, and other video sources via a variety of video connections, plus a program and independent aux bus for con dence, downstage monitor, or side screens. The V-60HD also oers multi-channel embedded audio, XLR/TRS and RCA analog inputs, and multichannel embedded audio to two SDI outputs, plus comprehensive dynamics and auto-mixing. The V-60HD supports six video channels from a variety of inputs, including 3G-SDI, HDMI, and RGB sources with scaling on HDMI and RGB inputs to support both video and VESA resolutions from 480i up to WUXGA. A de-interlacer enables 1080i and 1080p SDI video sources from multiple xed-lens, PTZ, or ENG-style cameras to be used simultaneously without the need for an external signal converter. The V-60HD also supports still image capture and import with two dedicated cross-points. For more information, contact Roland Pro AV Canada: 604-270-6626, [email protected], http://proav.roland.com.

PR Lighting Omega Moving Zoom Bar

PR Lighting has released the Omega mov- ing zoom bar eect xture, which features six RGBW four-in-one 60-W LEDs. The Omega is designed to produce a powerful, zoomable blade of light. Each pixel can be controlled individually and the light output can easily be converted into rays of mid-air micro beams. The Omega features mechanical dimming (linearly adjustable), electronic strobe (0-25 fps), 540-degree pan and 270-degree tilt, and each colour is individually pixel controllable. Other features include a colour touchscreen, adjustable brightness, over-temperature protection, and wireless DMX control. For more information, contact L.C. Group: 450-755-6091, FAX 450-753-5298, [email protected], www.lc-group.ca. 42 | Summer 2018 NovaStar NovaPro UHD 4K LED Display Controller

NovaStar has released the NovaPro UHD LED display controller, which integrates video processing, 4K sending, and system control. It is designed to ensure clarity on LED displays while providing any special eects. With the NovaPro UHD’s integrated 4K sending, faults are minimized and the internal software is designed to make things easy on the end user. Eight-layer independent processing also allows for seam- less switching of special eects. Supporting both wired or remote operation, either a PC or mobile device can be used to control the system. For more information, contact NovaStar North America: [email protected], www.novastar.tech.

Elation Smarty Hybrid Spot/Beam/Wash Luminaire

Elation Professional has launched the Smarty Hybrid, a full featured CMY colour mixing spot, beam, and wash hybrid luminaire. The Smarty Hybrid features the new Philips Platinum Flex 200 lamp with Flex technology, which uses a smartly designed discharge lamp/ballast package to produce high output and compact performance at an e cient, long life solution of up to 10,000 hours. Features include: motorized zoom ranges of 2-20 degrees in beam mode and 3-25 degrees in spot mode; a full CMY colour mixing system; a frost lter for wash eects; 13 dichroic colours including CTB, CTO, and UV; eight rotating interchangeable glass and 12 static-stamped metal gobos; 16- and eight-fac- et independent rotating prisms; multiple CMY colour, gobo, and prism macros; motorized focus and auto-focus; high speed shutter and strobe; and lamp hibernation mode. For more information, contact SFM: 800- 363-8855, 514-780-2070, FAX 514-780-2111, [email protected], www.sfm.ca.

Summer 2018 | 43 Classifieds 44 Responsibilities: to customers new andprospects. business by providing Creative Event Solutions Your goalwillbeto grow theEvent Management establishing relationships customers. withnew role willconsistofprospecting, solicitingand to change. engage withcontent asthelandscapecontinues theway audiences to support of services staffed by more than700full-timeemployees. with operationsin21Canadian cities and conventions, specialevents andtradeshows through theproduction ofmeetings, withamultitudeof audiences connections power oftechnology meaningful to make organization, Freeman Audio Visual usesthe oftheworld’sAs part largest brandexperience MontrealClient Director Solutions We are presently recruiting for: Visual Canada? Why work for Freeman Audio events, tradeshows, andconventions ofallsizes. audiovisual rental solutionsforservice corporate by providing marketing full- power offace-to-face Freeman Audio Visual Canada the supports EMPLOYMENT As part oftheMontreal Salesteam, your As part Freeman Audio Visual provides afullrange the Operations department theOperationsdepartment • Communicate allevent information to organization • ofthe Work closelywithalldepartments • Post-event customer service functions association • Attend related industry • Attend Salesmeetings relationships successfulcustomer• Develop salestargets• Overachieve • UseofCRMsystem • Customer presentations faceto face customers • Preparing sales proposals for your • Prospecting customers new creative concepts, meetingcustomers • Proactive sellingof personalized and PL& eoe laatwrig program. environment andaninteresting benefits • We offer apleasant working development opportunities. • We promote individualcareer planning technical trainingprograms. hands-on • We provide themostcomprehensive through many recognition programs. • We recognize employee contributions Professionals inCanada. • We have thelargest team ofAudio Visual P nationwide for technical stageequipment. regarded today astheleadingmanufacturer an establishedcustomer base, thecompany is products andsolutionssoldworldwide. With in Canada, aswell asdeveloping innovative world’s leading manufacturers ofitsindustry industries.touring A/Vand arts, equipment for theperforming developer oftechnical anddistributor company hasestablisheditselfasaleading based salesrepresentative. for anOntario- islooking and lighting sector A well-respected distributor inthevideo resumes to: to relocateand ability isaplus. Please send light technicians. Commercial Drivers License crew chiefs, dimmertechnicians, andmoving field.touring must have astrong background intheconcert technician.position oftouring Candidates resumes from individualsfor experienced the Creative StageLightingisalways accepting Lighting Technician according to ourcustomers andemployees is whatdifferentiates usfrom ourcompetitors, isincomparable! team where theservice This role memberof ourgreat to becomethenext Take thefirststep today by applyingfor this Requirements: Montreal based, thecompany represents With over 15years ofexperience, the [email protected] Or emailto: NY12853 Creek, North PO Box 567 Creative StageLightingCo. Inc. as technicians withexperience Seeking Visit: http://www.freemanav-ca.com/ entertainment to customers entertainment promotion ofcreative solutionsand • Coming from amiddleadvocating the related industry andpresentation technology orfrom a inthefieldofaudiovisual • Knowledge coordination oflarge events • Notablemanagementachievement/ ofAutoCAD• Knowledge isanasset • Bilingualisamust Suite ofMSOffice knowledge • Good • Professional andorganized • management Time andpriority skills • Strong communicationandinterpersonal required • Audio Visual Design knowledge/Event • Creative mindset(thinking) technical andcreative field inB2Bsalesa experience • Relevant Human Resources D.Alexandra Tessier are passionate abouttheirwork. peoplethat withlike-minded fast-paced industry ina and proactive candidates whoenjoy working Entertainment Lighting,Entertainment 4 Concert Lighting – andBusinessof The Art PRODUCTS www.professional-lighting.com. can alsosubmityour classifiedonlineat [email protected], e-mail: for details. You Maureen Jackat905-374-9012,FAX 888-665- your company level!will take Call to thenext HERE! Usethisspaceto findthepersonwho need to fillby placingaclassifiedadRIGHT Find personfor thepositionyou theperfect NEED ADYNAMITE EMPLOYEE? 514-939-3077 [email protected] olwd sipn. it etfiae Available! Certificates Gift shipping. worldwide Secure onlineordering, guarantee, 30-day & FibreTV, Standards. Optics andElectrical to applicationsinConcert, Theatrical, Film tures books covering lighting asitrelates www.lightingbooksplus.com –Fea- WEBSITES plus S/HandHST. 800-265-8481 www.lightingbooksplus.com FP641$77.94 industry. inthetouring aboutworking needs to know a show, adesigner thisbookcovers everything thebestequipmentto useto designknowing Cosmo Wilson, andSarahLandau. from master designers suchas BruceRodgers, world,the corporate highlighted withadvice lighting techniques infilm,video, theatre, and also explores thecross-media useofconcert communication andcollaboration. This book lights, problems, DMX,Ethernet anddesigner automated lighting, solutionsfor moving mapping, projection options, mediaservers, informationnew onLEDtechnology, pixel and technology, anddesign, andcontaining revised sections, covering history, equipment into three comprehensive andthoroughly and technology. lightingdesign ofconcert in thecomplexworld readers withanupdated lookathow to succeed Lighting, 4thEdition providesEntertainment andBusinessof Lighting: The Art Concert Please Contact: forThe company creative, islooking dynamic Order Today at Plus, Lighting Books From precious to securing contracts The authorshave reorganized thebook

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, comprises one half of the duo. Kames worked double duty on and owner doubleduty ofAustrian-based rental worked andproductioncompany onehalfoftheduo., comprises MartinKames.com Kames CueStack asuccessfullighting designer Austrian Kames, electronic/metal/popart-project recently produced ofdebutmusicvideos. astring Martin audience. each withninePointes on-board over –plussixstaticstructures the as well asonfour large flown above moving objects theaudience – oftrussesabovepositioned onaseries andto thesidesofstage, LED screen atthebackandsurrounding thestage. The were fixtures punch andcreative optionsto holdtheirown over large amountsof Rent-All together withvideoandsound. Pointes ofalarge and40MegaPointes suppliedby lightingrig aspart from Live Netherlands-based specified122Robe Legends. Knappers forDome nights withcreative two lightingdesigned by BasKnappers 2018 Amsterdam edition,produced by Dutch7,returned to theZiggo for production values. spectacular dance phenomenonknown The roots andtransitioning into itsIbiza aworldwide EDM events, taking Don’t Let DaddyKnow isoneofthebiggestinternational (DLDK) PHOTO: ELDRID DE BOER, E&A EVENTS Project Update 46 2 Broadway production,” shares Stiller. the singers, band, 20-pieceorchestra, and30-memberchoirinthe for ourtour andspecialsfor to includededicated backlights, keys, S5LEDtiles,Chauvet PVP allsuppliedby BML-Blackbird. Professional madeupof andavideoarray fixtures Rogue designed lightshow thatfeatured ofChauvet acollection Stiller- itsmusicalmixwasaMichael andpunctuate narrative phases oflife. Providing the textured visualsto richly support asitexaminesthe traditional notionsaboutplotandcharacters thateschews and wrappingthemaround story afree-flowing tic dimensionsby weaving rock andclassicalmusictogether thatexploresof Rocktopia artis- new , aninnovative concert York’sNew historic Knappers wanted bright, powerful beam lights with plenty of beamlightswithplenty powerful wanted bright, Knappers “We expandedwhatwasmostlyascenographic lightingplot “We PL& P Broadway Theatre hosted asix-week run

grandMA2 consolefrom MA Lighting. 210 LEDwashes, and12URC MAC Martin Viper Performances, 36 Viper Profiles,’s 64of Phlippo URC special scrim. one scene, utilisinga30KPanasonic laserprojector shootingonto a the theatre’s APepper’s mainauditorium. Ghosteffect wassetupfor ofvideopanelsfitted totity arches three structural above thestageof stairs, andaquan- running thedepthofstage, setsofLED-clad two large 8mmLEDscreen upstage, longsidescreens two 4m.highand posed largely ofdigital scenicelements. featuresThe digital a scenery Hall inAntwerp, Belgium. Zoo,years oftheAntwerp QueenElizabeth beingstagedatthenew for Zoo ofLife,aproduction directed by Luc Stevens to celebrate 175 Painting withLight hasproduced avibrant,inventive visualsolution PHOTO: MATTHEW MURPHY 1 The lighting rig comprises around comprises The 130fixtures, lightingrig including24 With weeks onlytwo to buildtheproduction,setwascom- PHOTO: TOM ZONYGA 20 Paladin hybrid effects. Line 8and10Chorus16pixel barwashluminaires, and panels, 360LEDbeam/spotluminaires, 16DARTZ 48Chorus lights, 40Lumina LEDmatrix 36 Sniper2Rmulti-effect Matrix of fixtures, including 170Elation Professional luminaires: ontheproject. fixtures The set-up several groups comprised hadalarge numberofintelligentvideos, lighting Kames ing andeffects. Usedasthemainvisualsinallfive music stage madeoutofrisers, andlotsoflight- trussing, setparts, and theninfront ofthecameraasvocalist andsynthplayer. the videoshoots, operatingbehindthecameraonlighting The set-up features theduo’s logobuiltasagigantic zoom LEDbattens, allcontrolled viaa 3

PHOTO: ELKIE BRIERS