Production News Headlines
Brompton Technology’s LED processing power supports Creative Technology’s new Virtual Studio CT Virtual Studio
Virginia’s Soundworks Converts Entire Inventory to Wavefront Precision with investment in WPS and WPC
LIT Live Conveys Intimacy in the Word Alive Stream with Chauvet Professional
USA – Whether it was at a stop on one of their many appearances on The Warped Tour, or a festival appearance, The Word Alive has always managed to forge a direct laser-like connection with crowds. Waves of fans invariably push up against the barricades at the band’s shows and the metalcore masters send the magnetic force right back at them.
It is, of course, impossible to replicate this connectivity completely in all of its power in a livestream show, but Chris Brodman, Cody Lisle and their creative team came awfully close when the band performed a pay-for-view show at LIT Live on June 20. Helping them accomplish this feat was a collection of Chauvet Professional fixtures that included the Maverick MK 2 Spot, Rogue R2 Wash, Rogue R1 Wash, and STRIKE P38, as well as the Vesuvio II fogger.
“We had no physical crowd in the room, so our big challenge was to recreate the sense of intimacy you get at a live TWA show in a studio setting,” said Brodman. “Intimate camera shots were very important. Our team chose the angles very carefully to give the viewer the feeling of being very close to the band. I was very happy with how we pulled this off.”
Enhancing the very warm familiar tone of the camera angles was the evocative backlighting and redolent colour washes used by lighting designer James Simpson and technical director Cullen Noon. Rows of Maverick MK2 Spot units on the upstage deck and truss grid were used to back light band members from different angles, giving them a more rounded, personalised look in the online broadcast.
The Rogue Wash fixtures were flown at different points over the entire stage and positioned on the upstage grid. This made it possible to blanket the performance area in immersive colours. At other times, the fixtures were used to create a white glow that enveloped the whole band.
Adding to the impact of the backlighting and washes was the colourful fog from the rig’s four Vesuvio units. “We added the Vesuvios to our rig for this show, because we wanted to create an added sense of depth,” said Brodman. “A pair of Vesuvios were placed on either side of the drum riser, between the upstage grid of lights and the band. This gave us even coverage of the stage without being overbearing and it allowed the backlight from the upstage positions to play off nicely against the fog.”
Punctuating space throughout the design was the warm white light from the 90W single cell Strike P38 fixtures. Used to accent different songs, they gave the lighting a retro tungsten feel that added to the sense of intimacy that ran through the entire captivating show.
“This was our best production since we began livestreaming early in the pandemic,” said Brodman. “Our entire team, not just the lighting crew, deserves a lot of credit. “Sound Image, our audio partner, was great, as were Brian Roth, our steady-cam operator, Jack Watson on the roamer cam, Jared Gravin on the FOH cam, Robert Drew our Grip, and Tia Purcell on social media.”
The Word Alive was going to tour this year in support of their sixth studio LP, “Monomania.” Plans for that tour are on hold now, but with livestreams like this one, fans can still connect to the raw emotional power of this popular band.
8th July 2020
Brompton Technology’s LED processing power supports Creative Technology’s new Virtual Studio CT Virtual Studio
UK – During lockdown, and after closing their physical doors, agencies and clients have taken action to evolve their events into new, virtual, interactive broadcasts. Adapting to current safety practices, these companies are now introducing fresh solutions to stream content and connect to their audiences in an entirely new way, by hosting cutting-edge, fully interactive virtual experiences. An exciting example is from Creative Technology (CT) and aptly named Virtual Studio, which uses Brompton Technology processing to help ensure the best possible results.
By deploying LED screens as a physical base for such virtual studios, it is possible to create completely immersive, augmented virtual environments. To ensure that the screens are used to their full potential and have complete uniformity, it is essential to use reliable, high-performance processing technology designed for use on camera, and CT chose Brompton Technology’s Tessera LED processing products. Features including High Dynamic Range (HDR), ultra-low latency, and high frame rate make the leading LED video processing manufacturer a reliable partner for future-proof technology that goes hand in hand with the fast development of virtual production workflows.
CT’s Virtual Studio is a great example of how forward-thinking companies like CT are coming up with solutions that can place presenters, pundits, or even news anchors in a real-time rendered virtual world, complete with augmented reality pop ups and CG characters. Highlighted in the latest episode of TPi Talks, the Virtual Studio by CT uses a mixture of LED walls and an LED floor, all driven from Brompton processing, as well as live camera tracking and an augmented reality layer to create what is called ‘The Stage’, a platform that allows people to interact and augment the environment in real time.
“With the increasingly realistic environment that LED screens are able to offer, one can convert a standard content stream into a highly interactive experience, both for the presenter and for the viewer,” says Mark Elliott, managing director at Creative Technology. “Virtual production offers immense possibilities in terms of delivering fully immersive visual storytelling. Brompton processing products support this development by enabling beautiful, exceptionally realistic looking video playback, proving just how effective immersive LED screens can be for virtual production.”
8th July 2020
Helping Chicago Unite at Night
USA – Chicago-based Charles Ford and his business partner Brandon Clark from Creative Live Control have been busy using creativity and lateral thinking during the coronavirus pandemic to help maintain positive energies.
First off, the two have been helping light up different areas around Chicago embracing the “Unite at Night” initiative, with Robe moving lights from their rental partner, JRLX.
This nightly sing-along, make-some-noise and DIY light show – interpreted as bring what you can: fairy-lights, glitter-balls, LED battens, etc. – started spontaneously in and around the city to bring communities together in uncertain times and celebrate the efforts of all heroes on the frontlines helping to keep everyone safe.
Immediately when Charles and Brandon saw what was happening they thought: “Let’s do this and get some real lights out and about,” explains Charles.
They chatted to JRLX and worked out a good deal for what they could fit into their car which was two MegaPointes and two Spiiders.
They then turned up over two weekends at different locations including two neighbourhood ‘hot spots’, one in the South Loop adjacent to the downtown area, and the other in Lakeshore East just north of Millennium Park.
Both locations are replete with tall buildings, so about half a mile away from the main structures they set up, using the Spiiders for general wash lights and the MegaPointes to blast spectacular razor-sharp gobo patterns which climbed up and down the buildings to the delight of onlookers and residents as they whooped and partied.
The gobos included some custom designs, like hearts, supplied by their friends at Rosco.
“We were delighted to be involved, and it’s great to see light generally celebrated during this time as something that’s positive and a sign of hope for the future,” enthused Charles, adding that the mood was shared by local media who were happy to report some uplifting news!
Charles and Brandon have also set up a two-person socially distanced professional live streaming service to deliver lighting, sound cameras and broadcast to artists wanting to look amazing on screen during their streams. This is currently available in a pop-up studio or as a mobile system.
photos: Creative Live Control
7th July 2020
SSLRent Creates Simple Elegance for BMW Event with Chauvet Professional
Belgium – Less is more. Frank Appeltans points to this well-proven aphorism when discussing his design philosophy. It’s an approach that has enabled him to come up with subtle, beautiful and evocative creations while avoiding unnecessary distractions.
Recently, Appeltans followed this balanced philosophy to highlight a renowned high-performance vehicle that was created in accordance with his own design principles, when he and his team at SSLRent lit a product introduction event for the BMW 2 Gran Coupé at the showroom of car dealer, BMW Beliën Neerpelt.
“We have had the privilege to work for BMW Beliën Neerpelt already for three or four years now, said Appeltans. “Since the beginning of our partnership we have organised multiple BMW reveals and releases. With all of our work, we focus on keeping the brand identity in mind.”
Key to reflecting this identity were the lush blues and reds that Appeltans bathed the vehicles in. A collection of six Chauvet Professional Rogue R2 Wash fixtures positioned on overhead truss, provided the elegant palette.
“We relied on blue and red to obtain a cool and sportive mix of colours,” said Appeltans. “The colours made the car stand out from its surroundings. At the same time, it also created a cool, sophisticated look that represent the brand identity of BMW.”
A collection of four Maverick MK2 Spot fixtures, hung on the same overhead truss structure as the Rogue units, was used to draw attention to the vehicle by providing special effects and gobo patterns. The 440W moving LED fixtures created a ring of light around the BMW 2 Gran Coupé.
Working in conjunction with a 'curtain' of laser light, the bright shafts from the Maverick fixtures created a magical aura around the luxury car, accentuating the futuristic vision at the heart of its design. A small dark space between the lasers and the vehicle, set the car even further apart from its surroundings.
The vehicle itself was located on an elevated platform in the middle of the dealership building. To add an extra dimension to the exhibit, Appeltans positioned Chauvet DJ Freedom Par Quad4 uplights below the platform and matched this light with low lying red fog that was itself co-ordinated with the wash light.
“Our idea was to make the car look like look like it was behind ‘bars,’ as if it were something you can’t touch yet,” said Appeltans. “This made it even more appealing, because we all know that we want what we can’t have!”
A deep thought? Yes, but it evolved out of a lighting design that was beautiful in its simplicity.
7th July 2020
Ayrton WildSun K25-TC light up Iceland’s Hallgrimskirkja Church
Iceland – At 75m tall, Hallgrimskirkja Church in the centre of Reykjavik is the largest church in Iceland and one of the tallest buildings in the country. Its sweeping frontage and steeple dominate the skyline of the city both with its height and its dramatic architecture. The design is the work of state architect, Guðjón Samúelsson, who was inspired by the crystalline structures of the basalt rock that is so prevalent in this volcanic country.
First commissioned in 1937, the edifice took 41 years to build with the iconic spire completed in 1974. On 16 January 2020, Hallgrimskirkja formed the stunning backdrop for the celebrations marking the centenary of the Icelandic Midwives Community.
Icelandic full-service sales and rental company, Exton, was called upon to illuminate the huge façade of the church for the evening with a brilliant white light that would symbolise the bringing of new life into the world.
To achieve the required drama and brightness, Exton’s lighting designer, Erling Þorgrímson, chose 12 Wildsun K25-TC LED fixtures as the sole lighting fixtures for the project: “The WildSun units were the only ones capable of covering such a large expanse at the required intensity,” he said.
The Wildsun K25-TC were placed at ground level approximately 20m from the front of the church, from where they were able to wash the full length and breadth of the tower and wings with a brilliance that could be seen across the city.
“The power of the Wildsun K25-TC is unprecedented compared to other brands,” confirms Exton’s technical Sales manager, Vignir Hreinsson. “We were able to supply our clients with a fixture that delivers a massive amount of light with a zoom that no other brand can match. WildSun K25-TCs are very specific fixtures with a defined kelvin colour temperature and we have also used them successfully in productions at our City Theater. On all occasions they have been extremely reliable and without any issues what so ever.
“Ayrton is the only brand that could supply us with this kind of luminaire. Today, with Ayrton’s fabulous line-up of fixtures, we feel very lucky to have them in our inventory and they definitely help us win projects in Iceland.”
7th July 2020
Get ready for innovative live stream concerts with Mamas Gun, Lindsey Webster, and DJ Fly.
It’s Summer in the Northern hemisphere and Sennheiser’s #DontStopTheMusic series of online concerts is providing the soundtrack! Lindsey Webster and DJ Fly will be offering live concert streams, whilst Mamas Gun, a five-piece London based band, will be live streaming their performance via an innovative platform called Tin Pan Studio, which combines ultra-low latency server-based monitoring, so all band members can play together remotely.
Lindsey Webster (@lindseywebster):
Monday, July 6 at 17:00 UTC (20:00 London time, 15:00 New York time, 21:00 Berlin time)
DJ Fly (@djflyone):
Wednesday, July 8 at 15:00 UTC (18:00 London time, 13:00 New York time, 19:00 Berlin time)
Mamas Gun (@mamasgun):
Monday, July 13 at 18:00 UTC (21:00 London time, 16:00 New York time, 22:00 Berlin time)
Please also check out http://www.sennheiser.com/anniversary for a great selection of music videos to watch and listen to. Just put on your headphones (or turn up the speakers) and immerse yourself in immersive jazz club recordings, electro sets, or live takes from recording studios.
At Sennheiser, they are delighted to be working with these fantastic artists to help spread positivity by putting on exclusive concerts. They’re totally free, but if you do want to say thank you, do consider supporting the WHO in its fight against the coronavirus:
7th July 2020
Afterlife 2020 Debuts in Dubai with 100 Claypaky Sharpys
UAE – The Afterlife series of worldwide electronic music festivals arrived in Dubai, UAE for the first time in February at the Hangar 4 industrial warehouse event space. Lighting designer Pascal Bach of VEM Visionemotion GmbH utilised 100 Claypaky Sharpy fixtures to deliver the evening’s signature Afterlife look within the monumental space.
Italian DJ duo Tale of Us were the hosts of the show, which featured performances by Âme, Mind Against, Fideles, Kas:st and Innellea. Pascal Bach created the lighting design and handled the operation of lights and lasers during the show.
“The main part of the design was a 60 metre truss in the centre of the 100 metre hangar. The truss was filled with 50 Sharpys and additional wash lights,” says Bach. “The idea was to create a massive array of light beams that behaved as one single object in an organic way. In general, the Afterlife shows are more relaxed and focused on nice looks and moods instead of crazy and hectic effects. People should feel the music in combination with the visuals and lights without everything making them crazy.”
The set-up contained 50 fixtures on the main centre truss and 25 more on each of the two side trusses. Additionally, 30 ClayPaky B-EYE K10s were used to create a side glow and illuminate the hanging Afterlife man, the iconic visual element of the show.
“Sharpy is a widely used fixture and was the only one available in the quantity I needed for a reasonable price,” Bach notes. “It also had everything I required for the show. It needed to be small, fast and not too heavy. Furthermore it has a nice colour selection, thin beams and a frost.”
The functionality of Sharpy, its stability, and compact size and weight were decisive in the fixtures’ selection, Bach emphasises. “There aren’t so many fixtures on the market which can produce a super strong, thin beam in a small body like Sharpy does,” he reports.
Afterlife Dubai 2020 was produced by encodetalent with stage design by Andrea Cuius of Nocte, visuals by Michael Titze, art direction by Roberto Rosolin and technical direction by Christopher Lundie.
LighTech in Dubai was the equipment supplier for Afterlife.
7th July 2020
ROE Visual Delivers 70 Million Pixels for Hyperbowl Virtual Showroom
Germany – ROE Visual is selected as preferred partner to provide all LED screens for the installation of a huge virtual studio in the Expo Munich, a concept by ACHT and NSYNK, realised by TFN in corporation with Fournell.
Trying to find alternative platforms for trade shows and live events while the COVID-19 restrictions are in place for large scale events, companies are offering inventive solutions that involve a mix of live presentation with virtual audiences, so-called hybrid events. ROE Visual LED screens are increasingly used to create large, visual displays for these types of events, due to their perfect on-site as well as on-camera performance.
Early April, TFN set out to present their format to several interested parties, after which they were contacted by the Expo Munich. The Expo Munich fortified its interest, based on feedback from several of its clients, some of which from the automotive industry, and continued the conversation with TFN. The decisive factor being the Expo Munich providing a 10.000 sqm venue to build the virtual environment.
The virtual studio could be employed at least till September 2021, encompassing the date of the annual car show, normally planned at this time. This interest in a virtual studio environment for an extended period, opened doors to look at the actual investments needed and parties to involve in the implementation and execution of the work involved.
Appointed to supply the LED screens and further technical infrastructure Fournell turned to ROE Visual to provide the screens for this project. With ROE Visual’s sales representative Erik Baum based in Germany, the contact was easily established. “With short communication lines and extensive knowledge of the German market, this project has both been rewarding and fun to work on”, comments Erik Baum. “I’m very pleased that a project off this scale kicks off in Germany, especially now, when the whole entertainment industry is suffering from the COVID-19 measures.”
The virtual studio comprises of one continuous, huge curved LED wall of 5.5m high, consisting of ROE Visual Diamond DM2.6 panels, divided in 40 columns, creating a circular event space with a diameter of nearly 20m. On top of the curved video wall is a LED ceiling, also composed of Diamond DM2.6 panels, supported with a huge trussing substructure. Thereby creating a seamless LED environment.
In order to make the whole structure compliant to the strict German safety regulations, special structural reports were issued for the ballast needed for the support wall and for the ceiling structure. Working closely with a German Engineering Bureau for the static calculations, building the complete set in compliance to the regulations proved to be no problem at all. Having full documentation available on all its products ROE Visual is capable of acting swiftly in this respect.
Following the first initial ideas and meetings, a demo was planned to see if the image quality, viewing angles and processing capabilities would meet the required demands. During the demo Fournell, the AV company, TFN, the technical planner, ACHT, responsible for content production, NSYNK, responsible for the set design and build and the advertising producer were given the opportunity for extensive testing, using cameras with different shutter speeds, etc.
All these tests resulted in a positive outcome, meaning most potential usages of the virtual studio being feasible within the demanding quality restrictions. The Diamond LED screen gave high scores on image performance on recorded short films, with the image looking “real and credible”, viewing angles, and color representation. This resulted in a go for the studio set-up for broadcast applications and advertising studio usage as well as live events.
Before the final build, a team of LED technicians from FOURNELL was invited to the ROE Visual showroom in Leek to perform an initial training.
“The training really touched on all the basics, from how to build the stacking system, aligning the wall and all the specific tips and tricks that make building easy. It gave us confidence to build the huge complicated, curved LED wall on-site,” commented Nikolaus Schmidt, AV technician at Fournell. “The training was very interesting, Victor Kortekaas, technical director for ROE Visual, is an easy-going guy who really can explain the technology very well, he knows what it takes to makes things work on-site. This made the training to the point and fun! We have learned many new things about LED technology.”
Schmidt continues: “The ROE LED screens are easy to work with, the high-quality of the wall makes setting up relatively hassle-free, even for this complicated and huge LED wall.”
With over 70 million pixels at work, excellent support before and during installation and set-up is crucial. Technical engineer Tim Hamberg supported the team during the build with technical supervision, advice and support.
“The in-depth knowledge of the technical team at ROE Visual was indispensable during this project,” Frank Förster, managing director for TFN. “Taking on a project of this scale without being able to rely on the unrelenting support of the LED screen manufacturer is inconceivable. ROE Visual have been instrumental and very supportive throughout the whole process.”
The Hyperbowl studio has just opened its doors at the Expo Munich. Offering the largest virtual production space in Europe and working with partners like Unreal Engine, the Hyperbowl studio and welcomes live events, film and photo shoots and broadcast productions.
7th July 2020
Virginia’s Soundworks Converts Entire Inventory to Wavefront Precision with investment in WPS and WPC
USA – One year on from taking delivery of the world’s first Wavefront Precision Longbow (WPL) system, Richmond, VA’s Soundworks has now switched its entire inventory to Martin Audio, purchasing both 8-inch WPS and 10-inch WPC systems.
Founded in 1976 by Steve Payne, Soundworks has long benefited from a working relationship with Southard Audio, led by Mike Southard in neighbouring Harrisonburg, VA. In 2019, the two companies jointly chose Martin Audio for the first time, becoming the first WPL users in the world with each company purchasing 24 WPL cabinets, 12 SXH218 hybrid subs and 12 iKON iK42 amps.
“We used WPL for the whole of last season and we were just delighted with it,” says Payne. “We looked forward to every opportunity we had to use it but for smaller events we still had to use a smaller, older system that we had in our inventory. That was hard! We did one very large jazz festival where we had 12 boxes per-side of WPL for the main PA but an eight box hang of this older system for delays. I asked our system tech, Bryan Hargrave, to check if the delays were working and when he came back he said ‘they’re working, but they sound like they’re broken!’ They just couldn’t match WPL.
“I knew then that we needed to invest more in Wavefront Precision. There was no hesitation, no doubt in our minds that it was the right thing to do. WPL totally sold us on the possibilities.”
Having sold his previous system, Payne was faced with the choice of adding either 8-inch WPS or 10-inch WPC enclosures to his inventory. “The WPC was the safe bet; that was the box that convinced us to buy the WPL,” Payne recalls. “But then we went down to Florida to hear the first WPS coming into the States and we were stunned. The WPS is not your daddy’s 8-inch box, it is a different animal! The whole series is seamless when you move from one box to the next, the voicing is so similar. So my solution was to buy both WPS and WPC. We bought 16 of each plus another eight SXH218 subwoofers.”
Payne continues: “All three of these systems are top-tier and designed to complement each other. How much noise do you need? We’ll plug in the appropriate box and the sound will be the same, the fullness will be the same, it’ll just have more oomph. Further, because the voicing of the systems is so complementary, they can be happily integrated into a main hang, out-fill, front-fill and delay package capable of covering very large venues. Now we feel like we can go toe-to-toe with any system out there today.
“With many line arrays, when you walk the field and go further and further out, you can hear the change between zones. The changes can vary from subtle to quite noticeable to downright unpleasant, depending on the system. With Wavefront Precision there is simply no discernible change. It is smooth everywhere. It is not only consistent, it’s consistently really good.”
7th July 2020
G.I.S. Sound and Light Brings Rijeka’s Town Centre Back to Life with Help from ChamSys
Croatia – For centuries, Trg Rijecke Rezolucije has stood as the “town square,” and cultural hub of this bustling port city, hosting events, concerts and rallies. But with the outbreak of COVID-19 and the ensuing ban on public gatherings, the picturesque plaza fell eerily silent.
All that changed recently, when it hosted “All For Our Kids,” an annual charity concert that raises money for the medical care of children. The crowd was small, and people sat 1.5 meters apart in observance of social distancing rules, but music rang out, followed by cheering, laughter and applause at the historic venue for the first time in months.
Supporting the on-stage performances with a rich mix of hues and soft glows that played off against the lemon meringue masonry background of the Municipal Palace, a former Augustinian monastery, was a supple a varied Mateo Kustić MattGarret design powered by his ChamSys QuickQ 20.
A ChamSys user for five years, Mateo, who works for G.I.S. Sound & Light, decided on the compact control console because its size and versatility made it well-suited for this application. “I have been lighting this event for some time,” he said. “This year, we had a small audience, perhaps 150 people, and fewer performers, so a compact console fit my plans nicely. Its small footprint was perfect.”
However, Mateo was not willing to give up performance for the sake of compactness. His 21- piece rig was made up primarily of RGBW fixtures, and changing colour gradients was critical to his plan to reflect the varied moods of the show. Being able to achieve precise control of LED colour mixing was important to his design plans, as evidenced by the vivid palettes he used to create visual separation between different performers and speakers at the event.
Also essential was the QuickQ 20’s ability to, detect and patch RDM-compliant fixtures using the QuickQ app. “The remote app was one of the most important features to me in this job,” said Mateo. “It made the process go a lot easier, given that we had a small crew because of social distancing. The large screen and simple ways I could scroll and zoom were also helpful.”
When all was said and done the 2020 version of All For Our Kids was not the biggest show in the history of this event. But it raised much needed funds for local children’s hospital, and for the people of Rijeka, it was a hopeful sign that their beloved cultural hub was indeed gradually coming back to life.
6th July 2020
Nation’s favourite Captain Sir Tom Moore’s story preserved by Sennheiser
UK – At the end of April, British war veteran and beloved walking hero, Captain Sir Thomas Moore, raised more than £32m for NHS charities by walking 100 laps of his garden before his 100th birthday on the 30th of April. On his birthday morning, thousands of people worldwide offered their well wishes to the former tank commander. Joining the widespread celebration, Captain Sir Tom Moore thanked the public for their overwhelming generosity from his home in Bedfordshire. Speaking to the BBC Breakfast team, his voice was heard loud and clear thanks to Sennheiser’s rock-solid Digital 6000 wireless microphone system.
Broadcast sound engineer, Paul Cutler, who has been working with clients such as the BBC, ITV, ITN and Sky for over 23 years, was in charge of audio on the day.
“I have worked with BBC Breakfast on several other interesting large scale outside broadcasts and special features,” says Cutler. “This particular project gained momentum very quickly and it also grew technically.”
Cutler explains that, after having an initial Zoom meeting with engineering managers on both BBC Breakfast and BBC News, he immediately left his home and went straight to the house of Captain Tom Moore to do the recce that afternoon.
“I did that so that I could physically see the site for the outside broadcast and meet Captain Tom Moore in person, with safe distancing adhered to, of course,” continues Cutler. “At that time, it became apparent to me that the kit I needed was going to be fairly large scale, due to the nature and complexity of the OB and that was when I made the call to Presteigne Broadcast Hire.”
Presteigne Broadcast Hire is well-known to Cutler. He is familiar with their product inventory and high standards of service. “I have complete confidence that the equipment they provide always works and is in excellent condition,” he adds.
After consulting with Dan Somogyi, Senior PPU and RF hire manager, about what he needed to achieve, Cutler had a consultation with David Handley, Head of Audio at Presteigne.
“Collectively, we decided on using Sennheiser’s Digital 6000 Series,” says Cutler. “These radio mics were chosen because I needed 100 per cent reliable performance. Also, the mics needed to work on a fairly short local range as the receivers were close to where the action was taking place. In radio mic terms ‘less is more’. What you don’t want is lots of high power when you’ve got multiple frequencies plus IEMs and Captain Tom Moore’s Bluetooth hearing aid all radiating in local proximity, so low power output was important, combined with battery consumption and the crystal-clear audio quality.”
Another important requirement for Cutler was for the radio mics to be intuitive. “This was the first time Jamie Dunn, my sound crew for the day, had used these particular mics and this was a live situation, going out to over seven million people,” exclaims Cutler. “There was absolutely no room for an error, so it was crucial to have the mics that are very user friendly, allowing him to quickly and easily change frequencies or gain settings, if needed.”
Due to safe distancing guidelines, all contributors had to be able to mic themselves. Everything was sterilised, with Dunn laying the microphones out on the table so the contributors could clip their mic onto themselves following Dunn’s demonstration.
“The age range of the contributors was really varied, from Captain Tom Moore’s grandchildren, to the centenarian himself,” says Cutler. “This meant that ergonomics was very important; the mics had to be nice and small, easy to clip on and robust, really robust!”
Another important consideration was battery life as, once the mics were on contributors, there was no way to change batteries.
“We were on air from six in the morning until just gone nine,” says Cutler. “However, even before then we did a lot of checks, so the radio mics were fired up from five. We had to know the batteries would last the distance. This was another why Presteigne suggested Digital 6000.”
The inventory for the day consisted of eight SK 6212 digital miniature bodypacks, which have a battery life of up to 12 hours, plus ten channels of 6000 series and 9000 series capsules on two SKM 6000 transmitters. Four Sennheiser MKH 416 mics were also provided, which were used as ambient mics for the RAF flypast and two further Sennheiser MKH 416 mics mounted on poles for ultimate standbys.
With the story having huge momentum behind it, both in the UK and globally, technical failures were not an option and all equipment needed to be entirely trusted.
“D6000 was the obvious choice for us,” says David Handley, head of audio at Presteigne. “It is known for its outstanding audio quality and rock-solid RF wireless transmission, so it was perfect for a demanding live production such as this one. Additionally, the latest software update now allows even more channels to packed into an already congested environment, which was great to have in case it was needed.”
"It had to be Sennheiser," confirms Cutler. "The microphones had to work perfectly, as any technical issues would mean losing the creative feel of the programme and the momentum to carry the story."
Comparing standard outside broadcast practice with how the team approached social distancing requirements on the day, Cutler describes the additional precautions put in place.
“Normally, I would sit in the van with production, mixing in a fairly open gallery,” he explains. “With the current situation, the risk assessment had to be watertight. I used a separate vehicle just for audio, which I set up myself, receiving feeds from the radio mics, which were then sent to the satellite truck.
“There are always challenges for outside broadcasts, like RF interference from other broadcasters turning up. Luckily, BBC Breakfast had exclusivity that morning.”
Following his remarkable fundraising success story, Captain Tom Moore was made an honorary Colonel, as well as an honorary member of the England cricket team. The milestone occasion was marked with an RAF flypast and birthday greetings from The Queen and Prime Minister. The following month, Captain Tom Moore was awarded a knighthood for his fundraising efforts.
Cutler shares how extraordinary it was for him to meet Captain Sir Thomas Moore, now referred to as the nation’s talisman, in person and be part of such an incredible celebration of generosity and kindness.
“Working in the audio industry for over two decades has given me a unique opportunity to be part of many worthy events. This one definitely topped my list of most memorable projects,” concludes Cutler. “It brings me enormous pleasure to know that such a cherished story can be preserved thanks to the top-quality audio equipment, and that we can keep our memories of Captain Sir Tom Moore alive for many years to come.”
3rd July 2020
Robe Helps Play It Forward with Oooth
South Africa – Play It Forward, an incendiary new live show by South African rockers Oooth – well known for their love of high production values and visual stage presentations – was part of a dynamic live stream designed as a fundraiser for tattoo artists across the country and freelance technicians via #FeedOurCrew who have been left high and dry and without any income during the Covid-19 lockdown.
The broadcast, which was shown on YouTube and Facebook Live, also included interviews, features and panel discussions, and was staged at leading SA rental company MGG’s Studio B facility, one of two such facilities at their HQ in Johannesburg, complete with a full Robe lighting rig.
While Play it Forward was airing and reaching around 6,000 fans, South African president Cyril Ramaphosa announced that the following day tattoo artists and studios would be able to re-start their businesses. On hearing this fantastic news, they in turn made a collective decision to donate the proceeds to #FeedOurCrew, an NGO which is providing basic needs and essential relief for event industry freelancers whilst large gatherings and shows are still banned.
MGG’s Johannesburg Studio B is the largest of the two at around 16 x 16 metres and has been set up in their structures warehouse since the lockdown, as the company has reorganised and re-purposed itself to deal with radical changes in its current business. With a decent amount of headroom, it's ideal for rock & roll style streamed shows, which have been produced there since SA instituted level 3 lockdown on 1 June.
MGG’s talented and resourceful resident lighting technicians Sipho Kekana and Hein Ströh worked together to design the lighting for both Johannesburg studios (MGG has a third at its Cape Town branch), and their input included specifying the 50 Robe moving lights.
It includes six of MGG’s new Robe ESPRITE Profile LED units with the transferrable engine, purchased just before Covid-19 brought the industry to a standstill, together with Pointes, Spiiders, Spikies, LEDBeam 150s, LEDWash 600s, DL4S Profiles, CycFX 8 and Tetra2 moving LED battens, all of which were picked for their versatility and multifunctionality.
Most of the fixtures are LED light sources to save on daily running costs and assist with keeping temperatures lower and more comfortable without having to crank up the AC excessively.
The ESPRITES are the principal key lighting and are used for accurate framing and sharp shuttering work, and their range of colour temperate whites works superbly on camera.
The LEDWash 600s are the studio’s workhorse wash lights together with the Spiiders which can also add extra pixel effects and work as both beams and washes.
The CycFX 8s provide front fill light and footlights to help eliminate eye and nose shadows, while the little Spikies are upstage on the floor punching away with vibrant, dazzling beam effects projected behind the artists.
The Pointes are rigged in the roof grid alongside the LEDBeam100s for additional beam effects and gobo to evoke the vibe of performing on an authentic live stage.
All of these are controlled via a grandMA2.
“There has been no better choice of light for us here than the Robe LED-based fixtures,” commented Sipho.
Studio B has four Canon HD camera kits installed to catch every angle, all mixed on a Barco FSN switcher with the band all utilising Shure PSM 1000 in-ear monitors engineered via a DiGiCo SD12 audio console in a totally separate control room together with a pair of L-Acoustics 108Ps for the reference mix.
MGG’s studio technical crews are working in “bubbles” so they are fully Covid-19 compliant, and as with all employees and in fact anyone entering the building, there are regular temperature checks, social distancing imposed, compulsory mask-wearing and abundant sanitising facilities throughout.
Oooth are a four-piece band with some serious attitude, fronted by Jason Oosthuizen, who is a multi-instrumentalist and a drummer in several other bands which he also manages. In Oooth, he swaps his backstage comfort zone, adds a guitar, and struts his stuff front and centre! The change in perspective keeps him fresh and energised.
Not that there are many dull moments in his schedule. He also has his own wine, coffee and clothing brands (and plenty of tattoos) which is where this project started: to highlight the incredible skills, creativity, and philosophy of body art.
Jason also takes a keen interest in production and ensuring that his bands always look and sound fantastic: “It’s all part of the audience experience.” Oooth have their own PA and some lighting and are hoping to invest in further lighting when the industry gets moving again.
He was delighted with the results of the stream. “It looked and sounded amazing,” he commented after the show, really appreciating the “skills and professionalism” of the MGG crews and technicians plus all the energy and enthusiasm that everyone put into making it memorable.
Not having played properly for a couple of months, after an animated set, he admitted to a few aches and pains the following day!
As well as MGG supporting this fundraiser, Robe’s South African distributor DWR was extremely proactive in the realisation of Play It Forward and has also been an avid contributor and supporter of Feed Our Crew.
#FeedOurCrew was established during lockdown by MGG’s Tamsyn Strydom and Kagiso Moima from Blackmotion. It is a non-profit organisation that has distributed hundreds of grocery vouchers to assist theatre and technical freelancers left stranded by the government’s current relief programmes. The SOS Charity fund, an initiative started by Robe’s South African distributor DWR, has also financially backed this project.
photos: Jerome Van Zyl
3rd July 2020
Special Event Services hosts The Gray Room Sessions with Elation lights
USA – The Gray Room at Special Event Services’ headquarter facility in Winston-Salem, North Carolina, is usually abuzz with activity as the live production and touring company preps gear for upcoming tours and festivals. With the COVID shutdown in March however, the warehouse area turned eerily quiet. Nevertheless, the downtime provided Special Event Services vice president and co-founder Jeff Cranfill the chance to realise a long held ambition for the space.
“I had been looking at this spot in our warehouse for literally 30 years,” Cranfill shares: “An area with wood columns and brick wall, thinking how beautiful it is. Over the years, I always thought that if you light it up the right way, it would look really cool, an ideal space for an intimate performance. When our social media and marketing director Rebekah Carney came to me with the idea for music sessions in order to help furloughed SES crew and local musicians who don’t have work, I had it all in my head and knew exactly what to do.”
Cranfill and his SES crew used their inventory of gear, including Elation lighting fixtures, to turn the space into a performance area worthy of any intimate live venue. “Winston-Salem is a city of the arts with a lot of talented musicians and artists, and I worried about them,” said Cranfill, who is a local musician himself and grew up in the local music scene. “I watched many of our local musicians, many my friends, prop their phone up on their kitchen table and struggle to produce a quality video for Facebook. I thought, we have the audio, lighting and video here and we have this beautiful space. We can give these artists the opportunity to perform in a more professional environment.”
The SES headquarter facility is housed in an old tobacco auction warehouse with a striking brick wall full of character that runs all the way around it. Lighting the brick wall and wooden columns made it possible to create a warm, cosy look, something akin to a relaxed coffee-bar feel. Cranfill says he was pleasantly surprised how easily they achieved a great look, a simple setup that puts the focus on the artist. “I wanted to keep everything very warm so we decided to shoot at 3200 Kelvin colour temperature,” he explains. “I looked around our shop for non-incandescent sources and realized we had a lot of Elation products that are 3200K base LED. I then started metering them to find they all matched in colour temperature, which was great.”
Used to graze the brick wall are Elation DTW Bar 1000 variable white LED battens. “They are extremely smooth and throw great shadows that allow you to see all the detail and imperfections of the brick,” Cranfill said. “In this type of more 'clubish' or coffee-bar setup, the shadows are welcome. They accentuate those little imperfections versus trying to make it look like a TV studio.”
In order to emphasise the fact that the performance is taking place in a warehouse, beautiful vintage wood columns are uplit using Elation Cuepix Blinder WW2 lights with their warm white 3,200K COB LEDs. They give the room a bit of ambient light as well and although considered more of an audience blinder, at low intensity levels the light is highly appealing and brings out the character of the wood, Cranfill says. “Sometimes when you get down into lower dimmer values with LED it’s not very stable but these fixtures are just spot on. The colour of the light is what makes the difference. I’ve used these two fixtures in a lot of projects and knew they’d work great.” Another pleasant surprise, according to Cranfill, was the ADJ Z100 3K LED Par, which provides keylighting and backlighting. “Its 3200K matched perfectly with the Elation lights, making setting up the cameras much easier.”
SES released the first of The Gray Room Sessions on YouTube in early May with a new session posted every Friday evening at 8pm EDT in the US. All sessions can be viewed here and feature different artists in a 15-25 minute format. Viewers can follow the artist, share their music and even tip.
SES is also raising funds for others in the live music industry by collecting donations through a local non-profit organisation. Tax-deductible donations can be made to the charitable foundation MusiCares and SES through Pure Heart Ministries at Paypal link https://bit.ly/3hpSQlJ. Half of all proceeds go to MusiCares with the other half going to employees of SES who have lost work during the pandemic. As an additional help to each artist, SES gives each performer a free copy of their video that can be used for his or her own promotional purposes. “Many artists who have been around for quite a while have never had the means to book a recording session with high def video,” Cranfill said. “Our early beginnings of SES were built on our home town and music scene which has contributed to our success. Now we want to give back to the city and music scene anyway we can. This is just one possible way we can do that.”
SES plans to continue The Gray Room Sessions after COVID and hope to branch out into other forms of entertainment like visual artists, dance, etc. “Another thing that’s been great about this is that we’re learning so much as a production company about how to do something that isn’t a regular practice for us. It’s a new skill set and I get excited that we’re doing something new and innovative with technology,” concludes Cranfill, adding that SES are working to partner with a local radio station to play The Gray Room Sessions on a regular weekly radio program with a podcast also in the making. “We’re venturing out into all these streams to see where it takes us.”
SES has also recently sponsored two other online music events using Elation fixtures. The Clubhouse Live is an EDM music festival streaming 26 and 27 June on YouTube and other platforms (with plans for future events), using Elation eNode-4 network nodes. Hellooo TV is a series of full- production online concerts out of Nashville, TN, using Elation SixPar 200s.
2nd July 2020
Garth Brooks Returns to the Stage with Bandit Lites
USA – Garth Brooks returned to the stage in true spectacular fashion, as only Garth can, in a co-ordinated live concert at over 300 drive-in theatres across North America. Nothing like this had ever been seen before, and Bandit Lites provided the lighting for the special event, where more than 350,000 fans were entertained while safe in their own vehicles.
"This time, I was the fan and the people were the entertainment. Watching people all night from coast to coast, in Canada and here in the US, laughing, dancing, and singing, made me smile," said Garth Brooks in a statement. "It reminded me how much I miss the crazy, happy, and unpredictable life we lead as entertainers. For one night, things seemed … right."
The event was produced by Encore Live and recorded in Nashville with a full band. Brooks’ long-time lighting designer David Butzler modified his original in-the-round lighting design from Brooks’ current world tour, all at a breakneck pace while programmer Aaron Swetland reworked the show.
“We only had a week to put this together before he wanted to load in, so without a lot of time, we used the same lighting rig. We just hung it differently,” explained Butzler. “Dizzy Gosnell was the mastermind behind all of the CAD work.”
“We had to reign in some focus positions that just didn’t work for this layout,” said Swetland. “No big deal, really. Just like an odd festival day! Second, some of the elements of the rig didn’t fit and that forced us to create some new looks to augment moments from the missing fixtures.”
With the drive-in wall being the key focus of the event, Butzler kept the video wall the main key element. Substituting a studio venue for what is normally a massive arena meant the lighting team had to do a rare thing for a Garth Brooks show: turn the lights down.
“We had more light than what was needed, but that’s the normal way for Garth,” said Butzler. “we just cheated by only having a couple of focuses that we put around the band instead of on them, but of course they walked in and out of hotspots.”
Bandit Lites supplied nearly 400 fixtures including Robe BMFL Wash Beams, Robe BMFL, Robe Robin 1200 LED Washes, GLP KNV Cubes, GLP JDC-1 Strobes, GLP X4 Bar 20, GLP X4S, VL 6000 Beams, Martin MAC Viper AirFX, Martin Atomic 3000 LED Strobes, Showline Nitro 510C, two grandMA2 Full consoles as well as a grandMA2 light.
“The light masters made it extremely easy for us to keep light and follow the band,” said Butzler. “I was able to put eight units on an 80-foot truss to make it easier to key light the band. This could not have been done so easily using follow spot old school method, but otherwise everything did its job.”
With the live entertainment industry frozen, this concert not only gave music fans something to come together and enjoy, but it also provided the opportunity for Bandit to quite literally shine a light in these dark times, something that was not lost on the team. Even more important, all of Bandit’s employees were healthy and ready to go the moment the call came from Garth.
“All our team jumped in,” said crew chief Chuck Hastings. “I had four to sixteen extra Bandits being stagehands for everyone. We helped to put together the stage, helped the audio guys push gear and run their cable, acted as downriggers and assisted the backline guys. We put down the ‘that’s not my gig’ mentality, and made the show happen.”
“Thanks to Garth for putting this together and allowing us the chance to work again,” added Swetland. “I also want to give a big thanks to all the great Bandit LDs and techs that came out to help, from fork driving to deck slinging to spot opping. They were awesome.”
Bandit’s crew included Cody Cheatham, Terese Fensler, Carter Hopkins, Andy Knighton, John Lucksinger, Sam Morgan, Chris Noll, Craig Richter, Scot Sepe, Steve Strickland, Aaron Swetland, Ty Veneziano, Ryan Waldron, Elizabeth Weller, Scott Wesson, Justin Wilk, Carter Fulghum, Chuck Hastings and Dave Butzler.
“Garth called me a few weeks back about his concept for a Drive-In Tour,” said Bandit Lites chair Michael T. Strickland. “I thought he meant playing multiple drive-ins. He quickly told me, ‘No, not that. We will play 300 drive-ins at once!’ Only Garth! Always a trail blazer, always a leader, he comes up with this unique concept and, like all things Garth, it is a home run. The care, love, and compassion that Garth has for his fans, his band, his crew and his friends and family is second to none. In a time when we are all looking for a way to connect, Garth figures it out. Thank you, my friend, I love you sir!”
1st July 2020
Helm Projects Creates Lockdown Learning and Livestreaming Center with Help from Chauvet DJ
USA – After finishing his NYE show for Bassnectar in Louisville, Justin Casey was gearing up for a busy 2020. For a couple of months things played out that way for the owner of Helm Projects. There were shows at the Okeechobee Festival and Holy Ship Wreck, a concert at American Airlines Arena with Snoop Dog. The list went on – until the COVID-19 lockdown brought it to a sudden end.
After spending a couple of weeks “decompressing,” Casey elected to pivot his business. With live events on hold, he suddenly had all of his gear in the warehouse for the first time in five years. Rather than let this equipment gather dust, he made the decision to put it to use by creating a combination learning laboratory and livestream studio.
“We have lots of cameras, switchers, and audio gear, along with lighting that’s normally out on shows available to us,” said Casey. “After their break my team was ready to get back to work, but this time instead of doing shows, we had learning in mind.
“All us saw this as an opportunity to step up and learn every piece of gear we owned and how to operate it,” continued Casey. “Suddenly, I had time that I normally don’t have, to work with my team, teaching them how to maximise their use of video and lighting software.”
Once the warehouse studio became such a great learning space for the Helms Projects team, Casey decided to open it up to local musicians interested in livestreaming. This would give them a way to reach the community, while also providing Casey’s crew with some real-time experience working with artists.
Familiarising themselves with the nuances of colour mixing is an important part of the learning process for Helm Projects’ team members. By mastering these lessons, they’re able to provide livestreams with engaging looks that translate well to screens of all sizes, even those on small mobile phones.
Helping the Helm Projects team create immersive palettes at their warehouse studio is a collection of Chauvet DJ Slim PAR and COLORrail IRC fixtures. “We have 80 Slim PAR Q12s and 14 COLORrail IRCs in our warehouse,” said Casey. “Normally, these fixtures would be on tour, but having them all here now gives us tremendous opportunities to flood our studio with vivid colours.”
The Slim PAR Q12 units in the Helms Projects studio are all positioned between the green screen and the live performance area, while the COLORrail IRC fixtures are used for pixel mapped eye candy effects. Creating geometric patterns with the linear COLORrail units result in compelling looks that come off well from all camera angles. (The studio has seven cameras and a Resolume setup for live visuals and camera effects.)
“When we discuss lighting in this application, we’re thinking in terms of how it looks for cameras, rather than the overall stage,” said Casey. Creating vibes with colours and movements rather than trying to make a ‘light show,’ is what we’re after. We keep it to a small recording studio vibe that has enough room to feel like it’s intimate rather than a venue stage. We are going for high quality sound and looks here to highlight the performers.”
The Helms Projects studio has received a great deal of praise for those looks form the artists who’ve livestreamed from the facility, as well as from their fans. Although he is pleased with this feedback, Casey is especially proud of the impact the learning lab/livestream studio has had on his team of Justin Lyons, Josh Miller, Josh Mathely, Owen Pike, Nick Stabile, Eric Bivens and Ryan Long, noting that without their enthusiasm, this lockdown learning “never would have happened.”
But happen it did, and as a result, Helm Projects is poised to do even bigger, better and more exciting things when live events return.
1st July 2020
Funktion-One lends support to United We Stream Brighton
UK – United We Stream Brighton (UWSB) launched on 18 June with a programme of live performances to raise funds for Brighton's night time economy, which has been hit hard by the Covid-19 pandemic. Loudspeaker manufacturer Funktion-One is partnering with the initiative, supplying its new, ultra-compact F5 / SB8 sound system for in the room playback.
United We Stream was founded in Berlin to support clubs, artists and event organisers drastically affected by lockdown, through livestreaming from an empty venue direct into people’s homes. The idea of the ‘living room rave’ has captured imaginations around the globe, spreading to 65 cities across every continent. While the streams are free, those tuning in are encouraged to make donations - so far raising over a million euros for worthy causes.
When UWSB founding partner Brighton Music Conference (BMC) approached Funktion-One about lending its support, the audio pioneers were keen to get involved.
Funktion-One’s Ann Andrews said: “We’ve got a great relationship with the BMC guys and have been involved in their conference for a number of years. They’re very passionate about club culture and the electronic music community, so it’s natural that they’re flying the flag for Brighton. We’re very happy to be involved.”
The Funktion-One F5 speaker and SB8 bass unit, launched earlier this year, is the loudspeaker manufacturer’s smallest ever system. While ultra-compact in size, it boasts the same performance characteristics as its large format systems, meaning Funktion-One sound in a range of environments, including: bars and restaurants, small events, DJ and desktop monitoring, studios, cinema rooms and home music systems.
The new system has been well received by UWSB performers.
Billy Nasty enthused: "I was really impressed with the new Funktion-One monitors: such great sound, size and design. In this case, good things definitely do come in small packages!"
Wax Worx said: "I love the new Funktion-One monitors. Super-sleek design and although they are compact, the clarity is insane. My word do they pack a punch! Ten-out-of-ten.”
Alex Downey noted: "Size most certainly doesn’t matter. I’m trying to think of a way of describing the sound; clear, compact and punchy. Perfection.”
UWSB and BMC’s Billy Mauseth said: “It’s always great to have Funktion-One’s backing. We’re really excited to have the new system and to re-connect with the Brighton music community. The entertainment industry is facing a very challenging time and we want to play our part in supporting it.”
1st July 2020
Version2 Joins Lighting Director James Tinsley For BBC Three’s Glow Up: Britain’s Next Make-Up Star
UK – R eturning for a second run, Glow-Up once again showcases the incredible talents of ten aspiring make up artists. Produced by Wall to Wall Media for the BBC, the eight episode series follows the group as they face a series of weekly challenges on the quest to be crowned ‘Glow Up Star’.
Supporting lighting director James Tinsley, Version2 supplied the crew with a selection of LED softlight sources, perfect for creating the show’s clean, bright ‘professional photographic shoot’ feel. The design also included a number of tungsten sources, used both for decoration and to add a touch of warmth to the look.
Litepanels Gemini 2 x 1 Soft Panels provided the show’s lustrous, even illumination. A mainstay of the V2 LED inventory, the Gemini is a versatile, consistent, flicker-free soft source, perfectly suited for use both in the studio and on location. Compact and controllable Litegear LiteMat+ Plus LED Panels delivered additional punch, highlights and fill.
Adding a subtle tungsten glow, the crew used a handful of ARRI 650 Fresnels along with fixtures from the Version2 ‘eye candy collection’ of speciality and decorative tungsten heads, which were included as key elements within the design.
The LD’s creative application of Patt 2013 retro style lighting fixtures worked incredibly well within the setting. The addition of V2’s LED Umbrella fixtures continued the photo studio feel with Altman Scoop 154 floods providing a further splash of gold.
The blend of clean white LED softlight interspersed with warm tungsten hues delivered a fresh, stylish look, a perfect setting which allowed the talents of the make-up artists to shine through.
Commenting on the production, Version2 managing director Nick Edwards said: “The design on Glow Up works beautifully. James delivered a classy, uncluttered look for the show, the ideal environment in which to showcase the work of the make-up artists. The soft, bright ambience with splashes of tungsten provided by some of our more unusual fixtures, not only looked great but highlighted the creativity on show, without distracting in any way.”
1st July 2020
FL Group Streams On with Robe
France – Lucas Enguerrand and his brother Quentin, who both work at French lighting and visual production and rental company FL Group, which is based in Morangis 15km south of Paris, wanted to keep morale high and their passion for music and lighting alive in a meaningful way during the Covid-19 lockdown.
With the full permission and support of FL Group owner Francois Lamberdière, they activated a plan to utilise the company warehouse and other available resources like equipment and with a little help from their friends, have started producing spectacular ‘full production’ live streams working with a number of contemporary French artists.
When the French live event and production industry ground to a halt in March, as with all the rental companies, all FL Group’s immediate work was cancelled, the country went into lockdown to contain the virus and all the staff found themselves in a technical unemployment situation.
Lucas and Quentin started by creating a truly incredible looking lighting and video design inspired by the conical shape of an hour-glass timer. Three chevron-shaped trusses were rigged in descending order of size (the largest at the top) in the warehouse roof, each truss with an LED video border on the front edges.
Each truss was loaded with Robe LEDBeam 150s, 24 in total. Ten were on the highest two trusses, eight on the middle two and six across the two lowest sections, which were just above the performer’s head.
For back lighting and retina-burning blasts through from the rear were 12 MegaPointes. Two Tarrantulas were used to side light the artist, and at the front for keylighting were four BMFL WashBeams on stands. All fixtures were pulled from the company’s 400-strong fleet of Robe fixtures and were programmed and controlled via a grandMA2 console.
“The idea was basically to make it appear like a festival main stage, with lots of drama and impact,” explained Lucas.
To test their creation, Lucas and Quentin asked French rapper Rim’K – who has several connections with the company – if he would check it out, which he did while shooting the official video for his new release “Midnight”.
This has received over 2.5 million views, so it is clear his fans also appreciated the music assisted by a super slick professional production set up.
After this great experience, the lockdown intensified, and the brothers decided to try and get some live stream work going as this is an activity that can be achieved with social distancing, and for which so many artists could benefit from even a small but thought-through production.
They changed the set and scenic elements of the production space after the Rim’K video shoot and approached their many industry contacts and friends in music and artist communities. Following a lot of hard work, a raft of popular and cutting edge DJs and music producers lined up to take a streaming spin in the warehouse, including Rakoto3000, Hony Zouka, MG, Jam Hill, Stéphane dos Santos, Livoo, Tony Vegas, DJ XLR, DJ Seif and Don Darrell to name just a few.
All of them were just as anxious to return to some form of normal-looking and sounding live performance as possible, and their various sets have been broadcast on Facebook Live and Twitch, on average each getting around 5,000 views.
“It’s been a fantastic experience getting back into some ‘almost live’ music and being able to operate a real light show,” enthused Lucas. “Right now, this is the closest we have been able to get to the real gigs and the incredible atmosphere and vibes of being live and being there that we all love and miss so much!”
Lucas likes Robe products generally for their reliability and great features like colours and colour mixing and will always integrate ‘an amount’ of Robe into his show designs.
Normally at this time of year, FL Group would be full-on supplying a whole range of events , from corporates to music, with lighting, video, and sound during their traditional peak season between April and October.
Now, like everyone, they are anxiously awaiting a post-Covid-19 world that will see a gradual return to people being able to gather, dance, move, groove and enjoy live music together again.
photos: FYVE and FL Group
30th June 2020
Luxe Productions Adds Ambience to Movie Truck Nights with Chauvet DJ
USA – While some members of the entertainment lighting industry have busied themselves with drive-in shows during the COVID-19 lockdown, Jordan Chance has opted to take a slightly different course. The owner of Luxe Productions, a popular live event company, Chance is following what can best be described as a “drive-to” approach to reaching new customers.
With his company’s box trucks idle because of the prohibition on the indoor events that were once the mainstay of his business, Chance converted three of these vehicles into movie screens on wheels. The trucks are rented out to clients who want hold safe, socially-distant compliant events that involve film showings.
The idea for these “Movie Truck Nights,” started when Chance’s partner brought a truck home to use as a screen for a community movie showing for his family and some neighbours to enjoy as they sheltered in place.
“There was such a positive response from the neighbours that we thought we might have something here,” recalled Chance. “So, we started to post about it on social media, and the rest is history.”
To add ambience to their Movie Truck Nights and make them more memorable, Chance and his team, pack a case on nine Chauvet DJ Freedom Par Hex 4 fixtures every time they head out to do a show. The bright RGBAW+UV units are used to uplight trees, buildings and scenic elements around the temporary movie venues.
“We’ve made the Freedom Pars part of our Movie Truck Night package, because they’re fast and easy to set up, but pack the punch we need to make an impact,” said Chance. “Creating a festive mood on the movie truck grounds is an essential part of the experience we’re offering. When we do things like match the colour from the Freedom Par with the colours associated with the movie’s theme, it makes the night feel very festive.”
The movies shown at the mobile events are selected and supplied by the client; most are family-oriented films like Trolls 2 (the most popular), Jurassic World, Dark Night, and Pets 2. Luxe Productions charges clients a flat fee for the rental of the truck and equipment. Many of the clients are neighbourhood associations that divide the payment of the fee among members.
As for the box trucks themselves, being white and measuring 16 by 9 feet, they make “perfect outdoor movie screens,” according to Chance. “The process is pretty smooth,” he said. “We just shoot one of our projectors against the side and set up speakers for audio. At a time when our industry has been struggling, it’s been nice to be able to stay busy and make people happy. Seeing people smile and hearing them say they haven’t had this much fun in a while reminds us why we got into this business in the first place.”
30th June 2020
Cue 13 Design reimagines The Wharf using Elation Proteus and Paladin
USA – When The Wharf entertainment district in Orange Beach, Alabama, reopened in time for Memorial Day, visitors were treated to a spectacular new light show by Cue 13 Design that uses Elation’s popular IP65 luminaires to delight guests while supporting retail vendors as they relaunch their economies.
Located on Alabama’s Gulf Coast, just across the border from Pensacola, Orange Beach is a quaint but upscale southern beach town. After a day spent on the beach or on the water, visitors and locals alike flock to The Wharf to shop, dine and be entertained. The Wharf, which opened in 2006, offers outdoor shopping, dining, and entertainment at special event venues including a Live Nation amphitheatre.
A nightly light show called Spectra has been drawing visitors to The Wharf’s Main Street since 2013. Ryan Stumpp, founder and principal at Cue 13 Design, and a 15-year theme park design veteran, was subcontracted to work on the original design seven years ago and was called on to redesign the light show for 2020. “Many people come to The Wharf in the evening for the light show itself,” Stumpp comments. “It increases traffic on the street and really excites the crowd, who then go to shop, eat, drink, or go to a show. Seven years ago, we launched the light show with Elation Platinum series lights in outdoor domes and although they were in enclosures, because this is an outdoor environment that is close to the ocean, it was time to upgrade so we revamped and reimagined the show.”
The new light show transforms two blocks of The Wharf’s Main Street into a magical stage where facades blossom in dynamic colour, visuals dance across the space, and palm trees come alive in a full-sensory experience complete with musical soundtrack. Stumpp, who has handled audio, lighting, lasers, and show control at The Wharf since 2017, was responsible for design, programming, implementation and integration of the new light show.
The lighting system redesign relies on Elation Proteus Rayzor 760 and Proteus Hybrid moving heads, a pair of IP65-rated luminaires that Stumpp has used extensively on theme park installations the past several years. “I’m a huge supporter of the Proteus line,” he says, “and was happy to get rid of the domes. They are gaudy, and they require filter cleaning two or three times a year, bubble cleaning, polishing and wax treatments so they require a lot of maintenance. I’m thrilled that we now have alternatives to outdoor enclosures. For the price of a light plus the enclosure you can afford Proteus fixtures.” Because there is limited year-round support staff at The Wharf to maintain the extensive outdoor rig, he says fixtures that were low maintenance was an absolute requirement. “One of the key selling points was the limited cleaning you have to do with a sealed IP65 fixture.”
A variety of retailers on two levels lines both sides of Main Street, a shopping and dining area that can be accessed by land or water. Twelve Proteus Hybrid moving heads project colour and beam effects from the second level while, from the lower level, 38 Proteus Rayzor 760s provide mid-air beams, wide wash coverage, or, when needed, sparkle from its SparkLED background illumination system. Custom gobo work, which the Platinum fixtures handled in the old design, is now done with lasers.
Stumpp was an early advocate of the Proteus range and was one of the first to install Rayzor 760s in a large theme park in Orlando. “The Proteus fixtures, from delivery to installation, and here in the first several weeks, have worked just as amazingly as the Proteus lights I’ve extensively used in theme parks,” he comments, noting that they were already put to the test at The Wharf when Tropical Storm Cristobal passed through the area in early June. “They are easily some of my most trusted and solid fixtures.” The designer says that Proteus has helped open up a lot of production and touring companies to using the indoor line of Elation fixtures as well. "Because Proteus came along and blew everyone out of the water, I now buy more indoor Elation fixtures. It’s been proven and now I feel that every fixture they come out with is a big improvement over the previous. The whole line is solid.”
A unique feature of the Proteus line that Stumpp worked with Elation product manager Matthias Hinrichs on for theme park installs, and which has come in handy at The Wharf, is a DMX channel Hibernation Mode. Stumpp comments: “With outdoor fixtures there is always a debate about whether or not to keep them powered on or powered off. The Elation Hibernation Mode puts them into a sleep mode, which keeps them powered on but in a situation and a state that is safe for continuous power use outdoors. Here, the fixtures are in Hibernation Mode all day long then release from hibernation, automatically strike for the show, and then douse themselves and go back to sleep. It’s very hands off.” Elation has since rolled out the Hibernation Mode in other fixtures as well.
Elation Paladin series, an RGBW series of IP65 wash/blinder/strobe luminaires, are also featured in the new lighting system with Stumpp being the first to use the Paladin Cube and Paladin Panel. “The Paladin Cubes are tiny, punchy, and extremely affordable, and they’re built like little tanks! You can absolutely use them as a blinder, punch light, strobe, or just a washlight. They’re small dots but they still put out a good amount of light.” Some 80 Paladin Cubes line the underside of the second floor for chases, strobing and sparkle effects and are also able to wash to the opposite side of the street. “It’s a great effect that the client is really pleased with. It’s much more architecturally pleasing than the RGB floodlights we used in the old design,” Stumpp says. Six of the larger Paladin Panels work from the second level as bright and punchy 3000W Xenon strobe replacements.
All of the Elation fixtures are White Marine Grade (WMG) models, all-weather marine-grade versions with elegant all-white housings. “The white marine grade on the Proteus and Paladin was a huge win for the client. This is an architainment installation so it does need to look nice during the day. The owner was extremely pleased with how well everything blended in in the daytime and how well it came to life at night.”
Themed lighting plays throughout the evening with architectural base looks on the street, which colour change for holidays, special events, promotions, etc. Personnel can easily trigger a variety of time-coded light shows through a Medialon show control system, which brings the street to life then returns to a base look.
Stumpp worked with 4Wall on the project, whose Orlando office supplied the lighting and demonstration gear. “I’ve had a relationship with 4Wall for years and it only got stronger when they opened up their Orlando office,” he said. “My rep at 4Wall, Sebastian Yepes, is the best in the south-east. He was able to arrange everything, including multiple demos, and handled all the gear coordination to Alabama.”
The lighting install, which will run year round, was completed on 24th May, just in time for the Memorial Day weekend and for what is expected to be a very busy summer. “The timing was excellent,” Stumpp notes. “Elation was fantastic with the logistics in getting the fixtures here in time so we could stay on schedule for a Memorial Day debut so that The Wharf could relaunch their economy. The client was counting on the show and they were very pleased to have a newly imagined light show waiting when it reopened.”
29th June 2020
UK – #LightItInRed is a UK-based direct action lighting protest that is scheduled to take place on the night of Monday 6th July 2020 to draw attention to the critical condition of the UK live event and entertainment industry and its need for special government support to see it through to re-starting.
The dynamic creative sector, which includes live entertainment, music, events, theatre, performance and the arts, generates around £110 billion annually (based on DCMS figures) for the UK economy and is known for its invention, passion and flair.
Currently, unlike other industries, there is no set date for live events, shows, festivals and performances, etc to restart after the Covid-19 shut down.
The #LightItInRed action was inspired by #NightofLight in Germany on 22nd June, which saw over 9,000 buildings, monuments, structures, towers, landmarks, castles, offices, houses, spaces and places illuminated in 'Emergency Red' to raise awareness and grab the attention of the public and the government.
#LightItInRed initiators, Steven Haynes from Clearsound Productions and Phillip Berryman from The Backstage Theatre Jobs Forum, state that the target for this action is to get “One-thousand buildings and monuments, etc” lit up in red all around the UK.
This is a shout out to the lighting, laser, AV and video community: companies and individuals who are involved in events, theatre, performance and live production. Anyone with access to a light source who can register to be part of this highly significant action.
Check www.lightitinred.co.uk for all the relevant details and how to register locations that will be illuminated.
Entertainment technology and production touches all genres of performance involving a vast infrastructure and some highly talented and skilled individuals: artists, agents, promoters, venues, studios, technical production companies, technicians, site and venue managers, creatives and all types of designers, equipment programmers, operators and more, who are working with complete dedication across multiple disciplines, such as lighting, audio, video, rigging, automation, SFX, staging, engineering, structures, scenic, etc.
Right now, venues are shuttered, companies and suppliers are closed with employees furloughed or laid off, tens of thousands of self-employed freelancers have not been eligible for any of the government Covid-19 related financial assistance schemes.
This thriving, vibrant, innovative industry that brings so much enjoyment and so many incredible memories to so many needs more support to survive and re-energise.
In picture: Augsburg Gas Kessel lit in red
photo: Leo Herrmann
29th June 2020
Industrial Sessions Live Streaming and Recording Studio Uses Claypaky Fixtures in New Zealand
New Zealand – Industrial Sessions, a new live streaming and recording studio in Queenstown, New Zealand, has equipped its space with Claypaky HY B-EYE K15 and Mythos 2 fixtures. The studio marks a collaboration among TomTom Productions for lighting, video and set design, Soundpeople for audio and multi-track recording and Shotover Media for camera and direction. It is located in the TomTom Productions warehouse.
“Our purpose is to bring high-quality live streaming to Queenstown and the world by giving local and national musicians a space to perform and connect with their audience in a time when they can’t perform as usual,” says Hamish Edh, managing director of TomTom and co-creator of Industrial Sessions. “The space is also used for corporate meetings, a pretty popular usage given the COVID-19 restrictions on gatherings. We do one or two Industrial Sessions a week and convert the space for multi-track recording, webinars and virtual conferencing.”
Edh notes that he and his collaborators have had to be very creative in carving out the studio from warehouse space with low ceiling heights and second-floor support pillars. “We built a 3.6 x 5.4m stage inside a 4 x 5.5m truss structure as we don’t have the ability to fly from the roof. The video design has a back wall of Martins VDO Sceptron and VuePix DB2.6mm LED panels. The lighting design is from the stock we own in the warehouse, with 12 Claypaky HY B-EYE K15s and five Mythos 2 comprising the base rig and more K15s and Mythos 2 available to create slightly different looks each session.”
Six K15s are rigged forward of the top chord of the truss on pipe, another six K15s on the bottom front chord and five Mythos 2 in the spaces on the US chord.
“We’ve had the Mythos 2 fixtures for two-and-a-half years,” Edh reports. “We chose them for their light output, weight and flexibility on a variety of shows, they’re a true hybrid fixture.”
His company bought the K15s after they were introduced in 2019. “We were looking for a new wash unit and were impressed with how little the fixtures spill light compared to other washes,” Edh notes. “The macros on the K15 have been a game changer, too, particularly on daylight festivals: They offer a whole new way of lighting design. We’ve found them to be great in the studio as eye candy for low-track camera shots, as well.”
Edh has also been pleased with the lighting support he’s received from Show Technology NZ, his Claypaky distributor. “Any problems or questions we have are sorted right away,” he says.
26th June 2020
Alcons Pro-Ribbon Solution Pleases Richard van Dorland’s Ear for Detail
The Netherlands – With over 30 years’ experience of mixing live music and theatre, Richard van Dorland is a Dutch sound engineer with a musical heart. Working with artists who mix acoustic and electric instruments to craft songs with a high level of dynamics, he sees himself as an extension of the musicians and their performance. His investment in an Alcons Audio pro-ribbon system has ensured that audiences enjoy every detail of the sound.
“I pride myself on having an ear for detail,” he says. “I give every musician the attention they need, creating space for their instrument and the ensemble sound. Each instrument gets its own place in the acoustic image, creating a clear balance to give the listener an open, transparent experience.”
Richard is well known in the Netherlands for his work with various national and international artists, including renowned Dutch singer and musician Hildegard Mandos & Friends, who incorporates influences of jazz, bossanova, soul, African, South American and pop in her music. With music that covers such a wide spectrum, there are many dynamic elements in the performances, so a PA system which could handle all of these aspects was crucial. Other requirements were a very controlled directivity and with exceptional gain before feedback qualities.
Richard invested in an Alcons Audio pro-ribbon system, comprising six LR7 micro line array, with 6.5” woofer and RBN410 4” pro-ribbon driver, and two of Alcons’ new BF121 compact 12” subwoofers, powered and controlled by a Sentinel10 four-channel amplified loudspeaker controller.
“For me, Alcons pro-ribbon technology was a clear choice, because the pro-ribbon driver has many advantages over the compression driver/horn system which is used in most loudspeakers,” he says. “The 90 degree spread of the LR7 really does cover 90 degrees over the entire frequency range, up to and above 20kHz. The frequency range remains balanced and every detail of a performance is audible, even at very low volume.
“With musicians whose playing is very dynamic, it completely suits my approach to mixing and gives the audience the best, most sonically accurate experience.”
Richard also purchased frames that can accommodate up to a five element LR7 line array per side on a pole mount. Used with BF121 or BF151mkII compact subwoofers, the system is flexible enough to deliver high quality, seamless sound in spaces ranging from a small studio theatre up to a medium-sized club.
“I love the detail and open sound of the system,” says Richard. “Both I and the musicians I work with are very happy that I chose Alcons!”
26th June 2020
Astera helps illuminate Delaware
USA – Illuminate Delaware, the brainchild of John DiEleuterio, Wilmington DE resident and sales and project manager for dry hire company Main Light industries, was a Memorial Day weekend lighting action devised to deliver some special visual magic for local communities, while saluting essential workers as well as fallen US military personnel.
After months of Covid-19 lockdown, economic uncertainty and general anxiety, John proposed the lighting of several landmark buildings in Wilmington and state capital Dover to bring positive energy and fun into the environment that could be enjoyed by all citizens.
He took his idea to Wilmington Mayor Mike Purzycki and his team who fully embraced the initiative, so John started his action plan.
The event entailed the illumination of six prominent buildings, three of which – The Old State House and the Governor's official residence ‘Woodburn Mansion’, both in Dover, and the distinctive spire of St. Anthony's of Padua Roman Catholic Church in Wilmington – were all lit using Astera AX5 TriplePAR wireless LED fixtures.
Kit for lighting all buildings was supplied by Main Light Industries working closely with Electro Sound Systems (ESS), and John energised a volunteer crew of dedicated technicians and others equally passionate about lighting to deliver this visual treat.
The illuminations encouraged people to come out of their houses and drive around the observation areas, some for the first time in months, to see areas of their cities in a different light. Social media lit up and it brought the cities of Dover and Wilmington a much needed feel good factor.
The buildings were lit in blue for frontline / essential workers for three nights and then on the Monday Memorial Day evening, the colour scheme shifted to red, white and blue to honour all the soldiers who have died in the line of duty.
The six pop-up lighting schemes installed just for the weekend were joined in the action by other buildings around the cities of Wilmington and Dover which already have permanent architectural lighting.
John loves the idea of lighting buildings and had long dreamed about illuminating some of these structures. When the project was given go-ahead, he also enjoyed the six-week planning and execution period together with everyone else involved on the ground. “It made everyone feel alive with camaraderie, creativity and a real sense of purpose recapturing some of the spirit of this amazing industry in which we live and work,” he stated.
Main Light Industries has a large rental inventory of Astera fixtures including AX5 TriplePARs, AX1 tubes and Titan Tubes, and the AX5s with their practicality, power and rich colours were perfect for the job.
The trickiest of the three Astera-lit buildings to light was the steeple of St Anthony’s, an attractive Romanesque revival-style building in the Little Italy area of Wilmington. The church is also well known for its annual week-long Italian Festival in June, which was cancelled this year due to the pandemic.
Twenty-four AX5s, all manually carried up the tiny, winding internal staircase were ensconced within the steeple’s bell tower, and another 21 AX5s were rigged on pipes-and-bases positioned on the roof of a school opposite. All of these were run wired from local power supplies, and some imagination had to be applied in the deployment process to get them into precise and correct positions to light the tower evenly and effectively.
During the first three nights of being lit blue, every hour the St Anthony’s lights went into a red, green, and white scene in recognition of the Italian flag.
Lighting for this site was run by Dale Mahoney and Chris Gentile. Dale designed, and Chris programmed on a grandMA Command Wing.
Ryan Morris co-ordinated everything for the other two locations in Dover: the State House and Governor’s Mansion.
He utilised 16 AX5s for the State House, 12 on the ground and four in the pagoda-style roof feature. Eight AX5s on the ground in front of the building grazing up the front façade did a great job of highlighting Woodburn, the Governor’s Mansion.
These were all run wirelessly and programmed using the Astera IR remote. Each day they were taken indoors and recharged before being re-positioned to run from dusk to dawn.
John has long been an Astera fan, and actually owns some AX3 Litedrops which he rents out to his friends for parties and functions. “They are highly effective, robust and practical products and were perfect for this type of lighting event.”
Illuminate Delaware, the first time anything like this has been done at local or state level, was a massive success.
It delighted local residents and businesses to see some of the buildings with which they are so familiar in a different context.
It was also an emotional moment. “It was a fantastic opportunity for our community to unite and celebrate our environment differently, in addition to appreciating the incredible efforts of those who have battled on the frontlines during the coronavirus pandemic plus all those who have died in military conflicts and whilst on duty serving the country,” stated John.
“I was extremely proud of what myself and the crew achieved as a team. There are so many incredible people in our fantastic industry making it rock, and we all stand together as we try to come through this challenging time!”
Mayor Purzycki commented: “We are all trying to cope with troubling news these days, and I’m especially pleased that John and his fellow lighting and event industry professionals have taken the initiative to brighten everyone’s mood. This is just the kind of positive event that we all need right now.”
Other partner companies involved in Illuminate Delaware included Wake Media, Spaceboy Clothing and BEW Productions, and John’s dedicated and “wonderful” crew which included Jaimie Watts, Tom Manchester, Gene Proud, Kris Axelsson, Scott Nye, Mile O’Neal, Mike Yarabinee, Pat Fahy, Rachel Suga, Aidas Gimbutas, Joe Naylor and Robe Hendry.
photos: Wake Media
26th June 2020
Germany’s Next Topmodel Live Final Show with GLP
Germany – Supermodel Heidi Klum spent from the end of January to mid-May 2020 searching for Germany’s next top model. She found what she was looking for in the form of Jacqueline Wruck, when the grand final of the popular TV programme “Germany’s Next Topmodel” was held at Studio Berlin Adlershof (minus the audience).
LD Manuel da Costa and his team from mdc licht.gestalten were responsible for the lighting design of this lavishly equipped show. Additionally, in collaboration with the video technicians, he oversaw the technical settings of the cameras and supported creative producer, Joy Hayat Berhanu and her team, in the individual productions of the show.
Manuel describes the setting for this year’s finale: “The real problem was the non-existent audience,” he exclaimed. “In the past few years we have always been in large, full 10,000-seat halls for the final, and the show naturally thrives on the atmosphere. In order to avoid producing the show in a huge, but empty hall, the decision was made to go to a smaller studio, but without sacrificing the size of the set, because we wanted to keep the familiar set of recent years. So we just shortened it a bit and symbolically replaced the absent viewers with cut-out figures in the set.”
Manuel chose GLP fixtures to light the show. While a matrix of 180 impression X4 along the entire length of three catwalks provided the basic colour scheme for the broadcast, 28 JDC1 hybrid strobes and 14 of the brand new JDC Lines provided the punch and effects.
The JDC1 was used as a cover behind the LED entrance wall, where it functioned in many forms to generate a special effect. The designer regularly relies on the powerful hybrid strobe. “I appreciate the many possible uses of the JDC1; as a classic strobe, as an LED effect or a panel light. The tilt function, and last but not least the decent punch, make the JDC1 a versatile, really well-rounded affair.”
With the 14 new JDC Lines, which GLP key account manager, Oliver Schwendke, had offered the designer for a field test, Manuel was able to provide a spectacular visual finish above the LED wall. The JDC Line is a linear light effect that combines the enormous brightness which the JDC1 is noted for, with an LED pixel mapping stick. Two independently-controllable RGB LED elements frame a central line of ultra-bright, white LEDs. The JDC Line owes its distinctive look to the fact that all LEDs are installed behind the same optics.
The new devices were originally only intended for a single production, but things turned out differently. “We actually only wanted to use the Lines as part of the Philipp Plein production, but we recognised the strength and potential of the fixtures on site, and consequently decided to undertake a redesign so that we could use these versatile devices more frequently,” explains Manuel.
This highly sought-after lighting designer does not regard the JDC Line as a further extension of the JDC1, but rather as an independent new fixture that optimally adapts and transforms the experience of the JDC1 and its technology.
“What I really like about the JDC Line is the smart, inconspicuous front look. The excellent arrangement, and choice of LEDs, initially suggests a video product, but then you turn on the lamp and the result is unexpected coloured power,” enthuses Manuel, giving his first impression of GLP’s latest effects device.
The JDC Line will be available in lengths of 500mm and 1000mm in the future. The shorter version was used for “Germany’s Next Topmodel” but Manuel says he already has ideas for which the one-metre version is ideal. “I think with its simple fixing, giving the designers the opportunity to expand the presentation, it has great potential. I will definitely use them again as my interest is certainly aroused.”
In addition to Manuel da Costa (LD/lighting cameraman), the mdc licht.gestalten team included Jonas König (LD/moving light operator), Dennis Muhl (video operator), Viola Weinert (server cluster), Tobi Petzold (lighting technician), Ludwig Laudan(keylight operator) and Christoph Dahm (technical planner).
photos: Manuel da Costa