< Previousnews10March 2019The ALD recognises the team behind the successful #SaveStageLighting campaign and launches fundraising supportThe ALD has launched a GoFundME page (www.gofundme.com/savestagelighting-campaign) in a bid to adequately compensate the tireless efforts of the freelance members of the ALD who drove the Save Stage Lighting campaign to its significant success last year. Jumping in at a moment’s notice their unfaltering commitment contributed to major exemptions being secured.The formal fundraising enterprise was launched following the recognition of the work of Rob Halliday, Robbie Butler and Paule Constable at the London-based annual Lighting Lunch, which brought the attending audience to its feet in standing ovation. As a mark of thanks for the outstanding contribution and hard work given by the group, ALD lifetime memberships were presented.The volunteer trio shouldered the vast and unprecedented workload that became necessary at the beginning of 2018, to highlight the very grave situation presented by the EU’s proposed Eco Design regulations. The lighting industry faced a non-discriminatory situation that would affect the largest of live production tours as much as the smallest of theatres.With just three months to make an impact, before the consultation period for the EU proposals closed to industry persuasion, the team behind the ALD’s SSL campaign catapulted the devastating significance of the potential rulings around lighting, on to the radars and priority lists of lighting professionals, manufacturers, producers, venue managements and politicians.The trio also pushed the #SaveStageLighting cause into the public eye via an online petition recording around 85,000 signatures and reinforced by the highly visual ‘Light Up’ campaign where the #SSL message was projected onto the exteriors and interiors of theatre buildings across Europe.The campaign also required the assessment and production of a wide array of written documents and briefing papers, as well as individual meetings to inform and enable wider understanding of the issues. Print articles were created, media interviews were undertaken, and public meetings were held to explain the potential damage of proposed legislation.The awareness created, and the success achieved, is due to the extraordinary team of volunteers, none of whom have formal lobbying training or campaign experience. Mobilised purely by the desire to protect the performance lighting industry, they freely gave – and continue to give – months of their time.The ALD aims to raise £35,000. The money will be used to compensate the team for some of the work they have already done. They have put their own careers and paid work on hold in order to safeguard performance lighting. The money will also provide a reserve to help educate and support others in the face of future Eco-Design challenges.Johanna Town, chair of the ALD, commented: “These singular circumstances call for a singular solution. The entire lighting industry has benefited from the work of a very few tireless freelance lighting designers and practitioners. I feel a debt of gratitude not only as Chair of the ALD but as an individual affected by these ongoing proposals. I know others will feel the same way and give what they can.”Please give generously, at: www.gofundme.com/savestagelighting-campaign.In picture: London’s National Theatre lit up in support of the ALD’s #SaveStageLighting campaign. 7news11Issue: 313Chroma-Q Celebrates its 15th Year of LED Lighting Innovation with New WebsiteChroma-Q has announced the launch of an all-new website celebrating its 15th year as a producer of premium performance LED lighting solutions, and topping off an exceptional twelve months that has seen the brand launch four new products.Designed to deliver a better overall user experience, www.chroma-q.com features a cleaner design, improved menu functionality with faster navigation, and is now fully responsive, adapting to the best layout for viewing on mobile, tablet and desktop.The website also reflects Chroma-Q’s evolution over the past 15 years into its position today as a leading global player in the supply of premium performance LED lighting solutions to the entertainment, film and architectural markets.In the past year alone, Chroma-Q has launched four products offering genuine innovation in its markets. Studio Force II is a high quality LED white light featuring an extended CCT colour palette. Brute Force is a powerful LED alternative to traditional light sources such as a quarter ‘Wendy Light’. Inspire MD is a white output LED house light which connects directly to a traditional dimming system. In addition to these LED products, Vista 3 is a dynamic, next generation lighting and media control system.Chroma-Q’s global brand manager, Paul Pelletier commented: “As with our goal to achieve brilliant solutions for our customers, we developed the new website to offer a great user experience befitting of the brand.”www.chroma-q.comLaserworld is distribution partner for LaserAnimation Sollinger Phaenon accurate laser systemsLaserworld has announced the start of distribution of LaserAnimation Sollinger Phaenon accurate laser systems. The Phaenon accurate systems target top professional users and laser applications that require absolute precision in beam quality as well as in scanning performance. The accurate devices have a carbon fibre housing and a shoebox-sized footprint of only 33.1 x 15.4 x1 0.5cm. This makes the units extremely compact and lightweight.Nevertheless the Phaenon accurate laser systems are very powerful, with 7W RGB, and have an enormous scan angle of 80°. As these units have been especially designed for high profile applications, they are equipped with very precise and robust laser modules that have been engineered and manufactured in a unique process at LaserAnimation in Berlin, Germany.Due to the advanced thermal management the cooling fans run at a very low level most of the time, so the accurates are suitable for the use in quiet locations.All Phaenon accurate systems have an integrated intelligent mainboard that can be configured via the LA-Toolbox software. Features like geometric corrections, safety zone management, colour calibration and scanner adjustments can be done through LAN, so no physical access to the lasers is required after they have been mounted.Laserworld has announced a close partnership with LaserAnimation Sollinger for the distribution of the Phaenon accurate laser systems. “The co-operation with LaserAnimation Sollinger not only focuses on the high end Phaenon accurate lasers, but also includes driver electronics for scanners. We’re looking forward to a good and close cooperation,” states Norbert Stangl, CMO of the Laserworld Group.news12March 2019NEXT-proaudio introduces LA26, Ultra-Compact Line ArrayNEXT-proaudio has announced the launch of the LA26, a new ultra-compact modular line source, with a long throw capability, delivering great sound quality at a very high SPL levels from the front row to the back of the entire audience. The LA26 is a two-way, full range passive line array cabinet housing two 6.5” neodymium flat diaphragm drivers located in the side walls of the HF Oblate Spheroidal Waveguide, a 2” diaphragm HF neodymium driver and a passive network crossover presenting a nominal input impedance of 16Ω. A fast and easy 3-point auto-locking rigging mechanism is integrated for easy build of ground stacked or flown systems.The new technology waveguide and coplanar transducer configuration, generates precisely coherent wavefronts uniformly spread in the horizontal plane (105°) and precisely coupled in the vertical plane without sacrificing HF presence in the far field, further eliminating the low-mid lobbing normally associated with two-way line source systems. According to the Portuguese manufacturer, the main goal is to improve the audience coverage by the unrivalled dispersion control and smooth even sound radiation pattern.Measuring 498.5mm (19.6in) wide and weighting only 15kg, the product’s elegant lines and flush-fitted rigging allow it to fit into any architecture, making it a natural element for installations in concert halls, theatres, and special venues demanding minimum visual obstruction. The LA26 can also be used as touring sound reinforcement for small and medium-size venues, sports arenas, stadiums, and corporate AV events. It can be flown in arrays for use as a main system or configured as single cabinets or short stacks for use as front-fills and under-balcony-fills. Using an adaptive flying frame, the use of this system as a complement to larger LA systems becomes possible. “Our new LA26 is the smallest and lightest in the LA series keeping the elegance of LA family.” explains Antonio Correia, R&D manager at NEXT-proaudio: “The new line array model is uniquely flexible, upgradeable, and financially accessible.”For low frequency extension the LAs15A active subwoofer or the LAs15 passive subwoofer can be used. Both models house a powerful 15-inch, long excursion 100mm (4in) voice coil speaker, operating from 38Hz to 200Hz and can be paired with LA26 cabinets via the integrated pole mount, ground-stacked, or flown.The LAs15A (active) is powered by the DPA4000 power unit, capable of delivering 4000Wrms with a magnificent precision and punch at incredible SPL, combining optimised acoustic, electro-acoustic and electronic solutions to maximise efficiency. Each LAs15A has a separate power output to power up to 3 LA26. Using the appropriate preset a cardioid system can be easily implemented. Besides this solution, the LA26 together with the LAs15 passive subwoofer, can be powered by the N-RAK, NEXT-proaudio’s new unified rack solution.The cabinets can be finished in a variety of colours to suit fixed installations.BGV D8+READYas standardDOUBLEBRAKEStand n°12.0 C38prolight & Sound 2019innovation> New “Perfect Push® ”, patented concept, load wheel with 5 pockets is fitted as well with 5 inter-mediate teeth. > Rubber Shock absorber.> Electrical components designed for “plug and play” connectivity.> Chainflux® MKII. Design provides a horizontal flow of the chain as it comes off of the load wheel.safety> Double lifting brake as standard.> New Clutch concept.> Electrical limit switch as standard on version B.> IP55 protection for the entire hoist. improved ergonomics> New pure and totaly fluid design.> The hoist body is powder coated with black, protective 70µm epoxy paint.> New ergonomic concept for the retractable, rubber clad handgrips.> Lifting hook has an ergonomic, rubber clad, gripping surface.savings> Maintenance operations are now simpler, faster and more economical: Plug & play electric components, easy access to brake and torque limiter settings.operatingconvenience> Operating sound level down to 60 db.> Chaining tool delivered with every hoist.> High capacity and high strength chain bag.Version A: 3 phase hoists with direct voltage control.Version B: 3 phase hoists with low voltage control.Version S: 1 phase hoists with low voltage control (SR1 & 5).new 320 kgon 1 fallRaising the Standardof Performance®STAGEMAKER Europe / VERLINDE2, boulevard de l’Industrie - B.P. 20059 - 28509 Vernouillet cedex - FrancePhone : +33 (0)2 37 38 95 95 - Fax : +33 (0)2 37 38 95 99 - Web : www.stagemaker.comFor loads from 250 up to 500 kgFor loads upto 500 kgFor loads from 1000 up to 2000 kgFor loads from 2500 up to 5000 kgMarch 201914featuresFred Foster 1957-2019Co-founder of Electronic Theatre Controls, Fred Foster, died recently in the United States at the age of 61. Mark White pays tribute.Writing about Fred and encapsulating the full life that he had in a few words is not easy. Many people reading this will have met him at some point and some of us have had the pleasure of working for and with him. Universally liked, he was an entrepreneur of the first order and leaves a legacy of lighting related products that changed the world and the way we do entertainment and architectural lighting. Fred was enrolled on an Electronic Engineering course in his home town of Maddison, Wisconsin and started to be involved in the University Theatre. The practical application of student theatre eventually took over from the academic studies (both his parents were academics) and Fred dropped out but not before the University had bought a $25,000 lighting desk in 1974. Fred and his brother Bill were suitably outraged about the cost and vowed they could build a lighting desk for $5,000. ETC grew out of the family garage and indeed, a console for $5,000 was produced. They then set about trying to sell the product and discovered another set of skills were required. Fred described how after some years, they realised why that desk was sold for $25,000 given the on-going R&D costs, software writers, people being paid a decent wage, etc. etc.Fred was open-minded and managed to convey to all who met him that he was interested in what they said and wanted to know about who they are. A very good listener, Fred was a genuine ‘people person’.ETC employees were his family as he saw them. As the company grew, Fred and his family insisted that ETC would remain a family owned company as he had observed many times what had happened when innovative and entrepreneurial companies had been bought by larger businesses and were then swallowed up. With insufficient resources given to developing new products they consequently did not earn sufficient corporate profits and were closed. Some of ETC’s successes have been driven by the business failure of competitors and Fred was determined that was not going to happen to him.Fred recognised that the success of the company was completely dependent on the quality of the employees and their enthusiasm for the company. All employees from the senior management to the janitors were in Fred’s eyes an essential part of ETC’s success. All were listened to, although Fred found his ability to remember the names of everyone who worked at ETC dissipated by the time the employee count rose above 200 in 1997. With a current employee count of over 1280, that task would be impossible right now. To this day, ETC has not paid any dividends to its original shareholders. All the money that ETC makes is ploughed back into the company and the development of new and innovative products by the R&D and manufacturing departments. Fred would have it no other way.Fred was a passionate believer in the quality of light. He initially hated LEDs with their monochromatic sources and used the phrase ‘LEDs are the future of lighting and always will be’. When David Cunningham approached Fred at a trade show in 1990 with his concept of a revolutionary new spotlight using components manufactured in bulk, Fred became very enthusiastic about the project (a number of other manufacturers had poo-pooed the idea) and the final stages of the original Source 4 became a joint venture. A spotlight that used 40% less power and was 40% brighter than conventional built-by-hand fixtures became an overnight sensation and provided one of the few step-changes in entertainment lighting. It took Fred’s vision and trust to make the Source 4 happen.Fred was omni-present at trade shows; his Birkenstock sandals were worn for comfort (not fashion, although he must have increased sales of Birkenstock as others emulated him) and he would combine these with wearing other company’s socks (a perennial favourite were those given away by TMB) which he would wear provided that company gave one hundred of the local currency to Light Relief or some similar local charity.Genuinely approachable and somewhat self-effaced, Fred would talk to all and sundry about lighting in general and ETC’s lighting and other manufactured products with a disarming frankness. He spoke about design issues, how the product had ended up like it was and was often a little indiscrete about commercial secrets especially when beer or wine was involved. Speaking to people after their encounters with Fred generally produced something along the lines of “I have just spent 10-15 minutes talking to Fred Foster and it was so nice of him to spend that much time talking to me.” They left those encounters believing that Fred cared about what they said and believing they had made a friend.And that’s what Fred was. A friend. A friend who managed to combine the roles of friend and boss in a way that few other people have done. He leaves a legacy of philanthropy (most of which was unknown to the outside world), entrepreneurial spirit and a passion for light and lighting.When Fred was first diagnosed with Oesophageal Cancer in 2015 and given months to live, he and his family set about future planning and in particular making sure that ETC could not be sold to a corporate entity. They gifted one third of the company to its employees as a form of pension fund that pays out when the employee leaves the company. Fred set about trying to truncate ten years of work into one and walked around the company giving product development projects to employees that he wanted done as soon as is possible. Some employees were given a number of these projects at six-weekly intervals. Faced with “But Fred, you gave me this project (indicates a pile of interconnected components on the bench) two months ago, what do I do with the work so far?” Fred’s response was usually: “Well you are going to be busy aren’t you!”Fred faced his illness bravely and partook in experimental gene therapy along with the conventional chemotherapies. He lived longer than he expected. His original comment at PLASA 2015 of “At least I won’t live to see Donald Trump elected as President” unfortunately proved not to be true.Susan and Fred Foster pictured at PLASA 2015, London.Chroma-Q®Award-Winning Colour-Mixing LED Lighting & Control SolutionsMarjan Television Network Studios, UK.Arcola Theatre, UK.Rockin' Road to Dublin, USA. Photo © Brian Doherty, courtesy of 4Wall Entertainment.Malmö Opera House, Sweden. Photo © Katja Tauberman.MAMMA MIA! THE PARTY, Tyrol Restaurant, Stockholm. © Mats Bäcker.BRDC British Grand Prix Ball, Silverstone, UK. TVTheatre Opera ConcertsEvents VenuesColor Force II™Vista 3Cyc, Wash & EffectsLighting & Media ControlWash & EffectsHouse & EffectsFilm, Studio & Stagechroma-q.comAWARDWINNERSpace Force™ Studio Force II™AWARDWINNERColor One 100X™AWARDWINNERInspire™UK dealer: A.C. Entertainment Technologies Ltd+44 (0)1494 446000 sales@ac-et.comwww.ac-et.comVisit us at Prolight + Sound or for your personal demonstration, contact:Film, Studio & EffectsBrute Force™April 2 - 5th, 2019Frankfurt am MainStand: D52, Hall 12.1March 201916featuresA.C. Special Projects Sets the Performance Bar High for MotionhouseA.C. Special Projects Ltd (AC-SP) has supplied a bespoke performance LED lighting and AV solution to world-class dance-circus company, Motionhouse, for its unique creation and rehearsal space in Royal Leamington Spa.Celebrating its 30th anniversary this year, Motionhouse creates and tours a wide range of inspiring and powerful productions to theatres and festivals in the UK and across the globe. Its distinctive, highly physical style integrates elements of circus and acrobatics with breath-taking dance to surprise and delight audiences, using powerful narrative and incredible digital imagery.Earlier this year, Motionhouse moved into its inspirational new rehearsal space in the new home of British furniture manufacturer Vitsœ in Leamington Spa. The co-habitation was conceived by Vitsœ and Motionhouse to create a vibrant and like-minded working community, and Motionhouse’s move to Vitsœ received capital funding from Arts Council England as an example of an innovative creative partnership.The state-of-the-art building, which was designed by Vitsœ, makes an ideal rehearsal space for Motionhouse. Spanning 135 metres in length, 25 metres in width and six metres in height, Vitsœ’s vast, naturally lit and ventilated building features beautiful beach wooden beams and wall panelling throughout its structure from its high, arched roof to the spaced-out walls. It is a place of making and creativity and Motionhouse uses one section of the giant room, sharing the space with Vitsœ workers.With the building’s bespoke design and beautiful aesthetics being chosen to reflect Vitsœ’s furniture, AC-SP needed to adhere to a strict technical specification in order for the installation to blend in with the building. As a result, the project required meticulous advanced planning and several on-site meetings, to ensure that every tiny detail had been addressed before installation took place.The original idea was to have motorised truss grids within each of the rehearsal bays, however, initial costs were higher than expected. As a more cost-effective alternative, AC-SP project manager, Chris Little specified Sixty82 fixed ladder truss grids into each rehearsal bay, along with a three-metre motorised truss using Columbus McKinnon D8+ Model F motors and Kinesys load monitoring and control.One of the key requirements from the building owner was that all of the truss had to be installed above the bottom of the timber horizontal beams. This was technically challenging, as a requirement from Motionhouse was to get the rigs a close as possible to the centre beam between each rehearsal bay. The building roof main I-Beams are installed in a way to enable the optimum angle for letting light through the roof skylight, and optimum angle for the solar panels’ 26.5 degree and 40-degree angles.Traditional I-Beam clamps weren’t suitable for this installation, so AC-SP sourced Tiger beam clamps, which can take a load in any direction.Other criteria included using only grey, black or white cabling, with all proposed cable routes planned on site and approved by Vitsœ and Motionhouse weeks beforehand to ensure a speedy but professional installation, liasing with Vitsœ’s structural engineer on the proposed truss grid loadings and ensuring complete symmetry between each bay.For Phase 1, Motionhouse wanted to use the new truss grid with its own equipment for performances during a 30th anniversary fundraising gala dinner that was only four weeks away. AC-SP ensured the solution was specified, approved and delivered in time for installation during a limited two-day window.After the event, it was full steam ahead. AC-SP supplied ProLights Stark 400CC moving washlights, Eclipse FC Profiles and StudioCOB FC luminaires for each of the rehearsal bay rigs, arranged according to Motionhouse’s own LD’s design. A Pharos TPC touch panel controller enables the dancers to recall pre-determined lighting states for shows, along with general lighting scenes for day-to-day rehearsals. A Luminex Ethernet DMX8 handles the sACN to DMX conversion, along with data distribution to the fixed and motorised grids.A Luminex Gigacore26i network switch handles not only the lighting distribution, but video also. The switch has been configured to allow Motionhouse to send HDBaseT HD video content to various Cat6 Ethernet points around the truss grids. The audio system comprises of D.A.D Touring 208 active loudspeakers, an Allen & Heath GR4 analogue rack mount mixer, and Denon media player.All related system components were supplied, including Tourflex Cabling custom-length power and data cabling. A Triple E two-way curtain track was supplied, along with custom length curtains.Since the installation was completed, the system has been used for rehearsals of Motionhouse’s current touring production Charge.Louise Richards, executive director of Motionhouse, commented: “We are delighted with the lighting and AV system. It has been a challenging project with some very specific requirements. However, A.C. Special Projects came up with effective solutions to all of our needs, which were within the very tight time frame and on budget. The new production rig has really enhanced our creative space, enabling artists and performers to fully immerse themselves in their rehearsals.”photos: www.i101digital.co.ukwww.acspecialprojects.comIssue: 313features17Colour Sound Get High in Val ThorensColour Sound Experiment supplied lighting, video, rigging, special FX plus a snow-loving crew to various entertainment venues and events associated with the Varsity Trip 2018 in Val Thorens, the highest ski resort in the French Alps at 2300 metres in the beautiful Tarentaise Valley, Savoie.The Colour Sound team of four was led by Steve Marley and working for Zero Degrees Events who designed and produced a busy series of Varsity Trip events running throughout the week. Steve and their managing director Neil Cranston have collaborated on many previous projects, and with Tom Williams from Zero Degrees running things on the ground, the mission ran like clockwork.The main music venue for the week was the Centre Sportif de Val Thorens which featured three full scale DJ performances, including Rudimental’s DJ set with numerous other smaller venues hosting off piste events including restaurants and bars that are scattered around the resort.Colour Sound also supplied lighting and video, with Zero Degrees co-ordinating and managing production, for French corporate networking company Les Big Boss who had a large event booked in to the same venue immediately before the Varsity Trip Opening Night Party; this provided a practical and high-quality technical solution.Steve Marley designed and drew up a lighting and visual plot for the Centre Sportif which was inspired by the stunning mountain location, starting with the video elements which were made up of Colour Sound’s 2.6mm Unilumen LED screen rigged in three diamond orientated sections upstage forming a striking ‘mountainscape’.The central mountain was five metres wide by five high at the summit, flanked by two at 1.5-metre wide by five-metre high, all flown from the venue roof. All three upstage LED maintains were outlined with Martin VDO Sceptron 10 one-metre LED battens. The front of the DJ booth was also clad with the same LED screen formatted as in two smaller mountain peaks.Downstage of the back screens on the stage floor but still at the back were four trussing towers. The two offstage ones each side were three metres high and the two central ones were one-metre high so as not to obscure the mountain view. Two three-metre towers downstage left and right in the corners provided some front cross-stage lighting positions, all of them on wheeled tank traps for quick and easy deployment and re-positioning.The towers were each rigged with two active Sunstrips mounted on the fronts at angles congruous with the triangular orientation of the mountain peaks, and at the ends of each Sunstrip was a Prolight Performer 18 Quad LED PAR. All of this provided an extremely dynamic back wall of lighting and visual options which could be used to dramatically change the look and feel of the stage set ups for each of the shows.Four trusses were flown down the sides of the room, with the two nearest the stage also used for additional front lighting positions. A box truss was flown above the dance floor and audience area for additional lighting and ramping the vibes up for the superlative party atmosphere that accompanies the serious skiing also associated with the Varsity Trip.The main profile lights were Robe MMX Spots, with Robe Spiiders and LEDWash 600s selected for the washes, all distributed between the various trussing components, joined by some LightSky AquaBeam 440s. Prolight Q40 LED floods, which also produce a great strobe, were scattered around, and eight Martin Atomics boosted the strobe factor when needed.Lighting was programmed and run by Jenn Webber using an Avolites Tiger Touch II console.Video content was also provided by Colour Sound and programmed and run from a Green Hippo Amba v4 media server, operated by Jani Fodor.Completing the Colour Sound crew was Tim Meadowcroft, who took care of all the special FX which included a Galaxis G-Flame system, MagicFX CO2 jets and Sparkular electronic gerbs, an innovative and eye-popping effect controlled by an Avolites Tiger Touch II which can be used almost anywhere safely including indoors and outside in below freezing temperatures!The performance shows all included an array of effects, and Tim was on hand to supply sparks and flashes and engage in plenty of effects ‘firing’ up and down the slopes for après ski parties, which was a great environment and proving ground for the versatility of the Sparkulars!The biggest challenge of the job explained Steve was dealing with the physical impact of the altitude during the load in, even for a fit and highly active crew like the Colour Sound four!“It’s certainly the highest altitude loads-in we have done to date,” stated Steve. “We loved the great teamwork and camaraderie with Neil and his core crew and everyone else involved on the production side who were working for Zero Degrees. We all (including the noise boys) pitched in together and worked as a single technical team to ensure the shows were delivered to very high standards.”The Colour Sound crew also managed to snatch a few moments to polish their impressive snowboarding and skiing skills on the slopes between shows and events, enjoying the great energy and vibe of the Varsity Trip event, the Alpine views and the winter wonderland scenery.photos: Jacqueline FeeneyMarch 201918featuresPaladin Lights Vertical Dance for Museo del Novecento Opening in VeniceFor the December inauguration of Museo del Novecento, a remarkable modern history museum in Venice, Italy, Marco Mazzon Sound & Lights turned to their inventory of Elation Paladin hybrid LED luminaires to light an extraordinary vertical dance show by Compagnia Il Posto that took place across the dazzling ceramic-tiled façade of the building.Located in M9, a new urban regeneration district in Venice Mestre, Museo del Novecento, or Museum of the 20th Century, is a place where Italians can rediscover the drama of the previous century to understand how best to build the future. As the innovative and emotionally engaging museum uses multimedia and interactive technology in its storytelling, it was only appropriate that the creative inaugural show was illuminated using an innovative, state-of-the-art luminaire.Marco Mazzon Sound & Lights, who also served as lighting designers on the project, required a powerful colourwash light that could project up to 20 metres from the ground with the possibility of varying the zoom angle. Having purchased a number of Paladins from Elation’s Italian distributor Audio Effetti prior to the event, the versatile RGBW luminaire with zoom fit the bill perfectly.The Paladin is multi-functional and can operate as a blinder, strobe or powerful wash light. For the Museo del Novecento opening, its dynamic wash capability was clearly on display with four units used to bathe eight vertical dancers positioned 20 metres above the ground in a variety of shades. Moreover, because it was important to control and limit the amount of light spill on the façade, the fixtures were equipped with barndoors to direct the beam better.Not surprisingly, there are special challenges in lighting an outdoor vertical show that takes place at such a height; one is getting enough illumination on the performers while minimising shadows. Audio Effetti says that Marco Mazzon Sound & Lights have used Paladins on similar projects though to project 30-40 metres so brightness was not a problem. As far as the elements, because setup and fixture mounting occurred the day before the event, waterproof fixtures were an absolute necessity. The Paladin, with its IP65 rating to withstand adverse weather conditions without the need for protective covering, made weather factors a non-issue.The event came off without a problem and the aerial performers executed their dance to perfection and the delight of the crowd.Issue: 313features19White Light Will Leave to Remain at Lyric HammersmithWhite Light has supplied the lighting equipment for Leave to Remain at the Lyric Hammersmith, which features lighting design by Anna Watson.A new play with songs by Matt Jones and Bloc Party’s Kele Okereke, Leave to Remain explores the story of a young gay couple whose marriage begins to fracture both of their families. It is told through a blend of movement, drama and 14 original tracks. Anna Watson comments: “Leave to Remain is a unique play that has music and choreography at its heart. It’s physical, funny and emotional and is driven by a pumping soundtrack of West African high-life.”Anna worked closely with director Robby Graham to help create the perfect look for the show. She explains: “Robby really likes spectacle (as do I) and we both agreed that we wanted to move away from naturalism yet wanted to ensure that certain moments felt very real. The play features a lot of different locations and moves very fast between scenes, some of which are drug-fuelled, flashbacks and many involve abstract movement. The lighting needed to define the different locations and help drive the action through using movement, focus and tone. With the choreography being slick, the music urban and the acting raw, I wanted this to be reflected in the lighting.”To achieve this, Anna and her team approached WL to draw on the fixtures required. She explains: “I had given Shaun Parry (chief electrician) the brief for the hire, specifying that I needed 14 moving profiles with shutters and punch. We went with the Martin MAC Vipers, positioning ten overhead and four on high boom positions. The floor was designed as a grid pattern and we decided that we would use this as a way of dividing the space for the split-stage scenes and to isolate certain characters.”Anna also drew on ETC ColourSource Profiles which were used as crosslight whereas 30 RGBW LED fluorescents were installed within the set and used to provide texture and effects in the nightclub scenes, along with adding abstract to the more intimate moments.With the show being performed straight after the Lyric’s Christmas pantomime, this meant there was an extremely tight turnaround for the show’s get-in and technical rehearsals. She comments: “This is a hugely ambitious production which had a hugely ambitious timeline! Every beat of the show is so technical and with just three days of tech, the team had to work flat out to get everything ready in time. Thankfully, I had a brilliant programmer in Cat Carter who was just terrific.”The show opened to rave reviews and ran until 16th February.Anna concludes: “It’s always a joy working at the Lyric Hammersmith and especially on a show as exciting and original as Leave to Remain. I am really grateful to Shaun Parry and his team for facilitating all of my design ideas and working extremely hard. I’d also like to thank WL for a great service and supplying me with the equipment I needed.”photos: Helen MaybanksNext >