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Comic Relief with Vector
Comic Relief Does Fame Academy 2005 was a star-studded extravaganza in which 13 well-known celebrities went head-to-head in the ultimate singing competition that asks stars to reach every high note and scale every arpeggio to raise money for good causes in the UK and abroad. Console operator Roger Williams, working with lighting director Mark Kenyon, chose the Compulite Vector Blue console to control the comprehensive rig of moving lights and LED fittings on the main Fame Academy stage, along with a Compulite SparkTOP console, operated by David Bishop, to drive the conventional lighting.
A total of 107 different songs in 10 shows were programmed on the Vector over a two week period. A minimum of 80 minutes was transmitted live each night - two nights consisted of two full two hours live. The Vector was controlling 14 Martin MAC 2000s, 35 Martin MAC 500s, eight High End Studio Colors, 36 Pixel Par 90s, 100 AC Color Blocks, 96 Pulsar Chroma Strips and two High End Catalyst systems running six layers on each.
Mark Kenyon commented: “The show ran without a hitch. The Vector is the only console that can easily run eight full DMX streams, yet still remain extremely fast to program and able to adapt as the show develops. I was constantly amazed at how fast Roger was able to accomplish even the most complicated looks.”
Red Nose Night LIVE ’05 shown on BBC1 was presented by Chris Evans, Jonathan Ross, Graham Norton, Lenny Henry and Davina McCall together with a long list of comedy greats. Console operator Bill Peachment, working with lighting director Chris Kempton, used the Vector Blue system to control a total of 575 fixtures including 14 Martin MAC 2000 Performances, 38 Martin MAC 500s, 13 Clay Paky Golden Scan 3s, 30 Vari*lite VL2402s, 18 Vari*lite VL2416s, 72 Pulsar Chroma Strips, 36 James Thomas Pixel Par 90s, 12 James Thomas Pixel Line 1044s, 10 Martin MAC 250s and four High End Catalysts.
Bill Peachment commented: “Red Nose Night was a fast moving, complex show involving three stages and a wide range of different fixtures. The Vector handled the job with ease and ran consistently without a single hitch during the rehearsals and the live broadcast. There simply isn’t another console that is as fast and easy to program as the Vector on even the largest of lighting rigs, yet still remain completely stable.
21st March 2005
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