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Germany Searches for a Superstar with MA Lighting
It was the seventh show of the fourth season of “Deutschland sucht den Superstar” (DSDS) (Germany searches for a Superstar) and it was totally dedicated to the 70’s. While the candidates were performing songs from that period, everything technical happening on, behind and above the stage was light-years in advance. The MMC studios in Cologne furnished this show, and all the other shows of this season, with 150 moving lights and conventionals, Barco O-Lite and I-Lite LEDs and scores of plasma screens.
Twenty-two MA mediaPCs with the grandMA video software handled the extensive video content. This comprehensive media server installation was absolutely unique for German television. Two grandMA full-size consoles control the show, each with an identical console as backup, and five MA NSPs. The lighting concept was organised by lighting designer Manfred “Ollie” Olma and his company mo2 design. The set design was realized by Florian Wieder of Wieder Design.
grandMA operator Stephan Flören of mo2 design used his grandma to handle the video content, assigned it to the different screens and programmed it. The content design was by Falk Rosenthal of Wieder Design. “We only used 1024 x 768 content with 25 frames per second,” said Flören. “Because of grandMA video we got a very reliable, comfortable and fully integrated platform to work with. If I created a new folder on the media server, it is not only displayed on the server but also on the console. This is a huge advantage regarding a show like DSDS with its regularly changing video content. But also the possibility to shutdown or reboot the media servers from the console demonstrate how far ahead grandMA video already is.”
In use were 22 MA media PCs which all got a video input to display every live camera picture on all of the screens and by doing this include them into the show. Each LED Barco O-Lite ring as well as the moveable LED Barco I-Lite rear panel in the centre of the stage were addressed by a single media server. “It was important to Manfred ‘Ollie’ Olma to have the possibility to include all screens into a uniform picture to underline the artwork. From a technical view you needed at least 22 media servers who could display parts of the picture, a whole picture or pictures in groups to fulfil the requirements of a consistent set design. The enormous number provided an exquisitely flexibility, which in collaboration with the moving lights and conventionals created a brilliant harmony of the stage as a whole,” explained René Berhorst of MA Lighting.
The many plasma screens are controlled in groups. The output signal of the six MA mediaPCs, which were controlling the plasma screens, was first going through a Scanconverter. In use were a Folsom ImagePRO HD and a TV-One. By this method the output signal could be adapted to the conditions of a TV show. Also it was possible to use the signal from the stage direction for the output equipment. There was only one backup server for the whole production which was assigned to the Barco I-Lite wall in the centre of the stage. Due to the fact that grandMA video is fully integrated into the MA network it was possible to keep the show running in the session via one mouse click in case of an emergency.
By using colour moods were generated, content was underlined and assignments were created. To achieve this there were Schnick-Schnack-Systems LED strips integrated into the floor and ceiling edges of the lounge, into the “Superstar-logo” as well as the catwalk and stage boundaries. In the lounge there were also five squares, consisting each of four Pulsar ChromaPanels and one flatscreen, providing new scenes continuously. To underline the harmonic design of the stage it was possible to display identical content on all screens (including the ones in the lounge). There was the possibility to display one whole picture by triggering all LEDs.
Manfred “Ollie” Olma created with his design for DSDS an interaction of pictures, videos and live-input which satisfied the needs of a TV show as well as the needs of the audience in the studio. It offered a diversified show via the many opportunities for design, which never looked “too much”.
Grundy Light Entertainment was responsible for the production. Manuel da Costa and David Kreileman, as LD assistant, did the visual composition of each show. Oliver Heidingsfelder controlled the conventionals. Chief electrician was Christoph Dahm.
htpp://www.malighting.de
14th May 2007
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