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German Pop Idol Relies on MA Lighting Again
For the fifth time, German Pop Idol (Deutschland sucht den Superstar or DSDS) featured MA lighting and video control. Staged at the MMC studios in Cologne, the multi-screen video control was a huge challenge. mo2 design GmbH, was responsible for the lighting design, represented by Manuel da Costa and Manfred "Ollie" Olma, and they chose the brand-new MA VPU (Video Processing Unit) software. In addition to this, the control set up also consisted of six grandMA full-size lighting consoles, six MA NSPs (Network Signal Processor) and 20 MA mediaPCs.
Manuel da Costa, working for mo2 design as lighting designer and moving light operator, explained: "What makes DSDS special is the synergy between lighting and video. The interaction of both visual mediums creates the unique look of the show. Our task was to produce a creative concept for 120 songs that always looked fresh. With this design we were able to make both the stage and audience areas appear different every time. The LED screens offered us huge latitude and many possibilities for altering the stage and the entire studio, bringing new moods and emotions into the space."
Video operator Stephan Flören reported his experiences with the new grandMA video: "Thanks to the new Colour-Key and Colour-Boost functions, it was possible to modify the colours of each clip. If there was too much green for example, it was really quick and easy to adjust. The function can be used either for individual 3D video layers or the master layer. By using the Frame-Blending function I could alter the speed of clips without them starting to judder."
"Although grandMA video can deal with 32 3D video layers I only used a maximum of ten," explains Flören. "This was sufficient for our needs, and gave us more than enough scope for design changes with the 15 different groups of screens. The screens utilised 18 MA mediaPCs running the new grandMA video software. Additionally, an MA mediaPC was based at FOH for content upload. All content was specially created for the show by Falk Rosenthal."
Matthias Allhoff, technical director of lighting and media servers, gave his account of the show: "We worked with separate sessions and networks for video and lighting, with back-up consoles for video, moving lights and conventional lighting control. The system was very stable and highly flexible. The different resolutions of the screen groups was an essential texturing element, which - apart from the different spotlights - enabled us to vary each show dramatically. With grandMA video fully integrated into the network, we could rapidly switch from one mediaPC to another if a back-up situation occurred. One mouse click and the back-up server could take over the functions of any other server. This is another reason why we chose an MA Lighting solution."
Barco LED modules dominated the stage. Two towers were built from 2,200 O-Lite modules, with 180 modules of I-Lite screen centre stage and 1,260 MiTrix and 780 MiStrip panels providing DSDS with a completely customisable set. The MiTrix modules were assembled in 'belts' left and right of the I-Lite screen, which stretched to the fringes of the stage. The MiStrips were installed in the stage floor and the studio ceiling, reaching far into the audience area. Pulsar ChromaPanels were used for further colour in the set design."
Martin and Robe moving lights as well as GLP Impressions and Impressions XL were used. PAR 64s and fresnel fixtures were the main part of the conventional rig, provided by De Sisti Lighting and others.
mo2 design was responsible for the lighting design, operating and the mediaPCs. Florian Wieder created the set design. Lighting cameraman was David Kreilemann, moving light operator was Manuel da Costa, conventionals operator was Oliver Stemplinger and video operator Stephan Flören. Björge Block looked after the servers, and Grundy Light Entertainment was the production company.
http://www.malighting.com
7th August 2009
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