< PreviousSeptember 2020news10Harlequin Floors launches new European distribution centre in Liège and recruits a new Commercial Director in BerlinHarlequin Floors, the global leader in advanced technology flooring for dance, performing arts, entertainment and events, has launched its new manufacturing plant and distribution centre in Liège to fulfil its European clients’ needs better. In spite of the coronavirus pandemic, Harlequin has also grown its team in the DACH market by appointing Sander Resnik as a new commercial director in Berlin.Established in the UK over 40 years ago, Harlequin’s experience and reputation is founded on the manufacture, supply and installation of a range of high quality portable and permanent sprung and vinyl floors chosen by the world’s leading venues, from the Royal Opera House to the Bolshoi Theatre, the Paris Opera Ballet to Sydney Dance Company. We also work with Global production companies in live events, TV production, fashion and retail.The new 2,000 sqm plant based in Liège will manufacture our globally renowned Harlequin Liberty sprung floor panels and will ensure an even faster service for our European clients, especially those in the events industry where a rapid turnaround on orders is a prerequisite and will be even more important to help rebuild the industry post-pandemic. The new site will improve efficiencies in manufacturing and supply and will enable us to deliver the highest quality products tailored to our varied customers’ needs.It will also enable Harlequin to service the growing demand for its products in Europe. Harlequin will use the knowledge and experience of Sander Resnik, who has a background in sales expansion and e-commerce, to widen the German speaking customer base which is dominated by the dancing elite but has further potential in the wider dancing community as well as the events industry.Sander Resnik, new commercial director of Harlequin Deutschland, said: “I am glad to be with Harlequin Floors at this time and to be able to support the DACH region with my expertise. Working closely with Mr. Rüter and the team in Berlin, I aim to show our German speaking customers how important it is to train and perform on a real dance floor as opposed to a generic sports floor.“We are sure that our customers will also welcome further improvements to our excellent service as well as new products we are currently developing.”Guy Dagger, CEO of the Harlequin Group, said: “Harlequin has experienced incredible global growth over the last year providing internationally renowned brands, venues and performing arts schools with quality performance floors and stages.“We have seized the opportunity this growth brings to offer all our clients across the world the outstanding customer service that is synonymous with the Harlequin brand.“Last year we worked with an incredibly diverse range of customers around the world on an amazing range of projects, from Australian Ballet to the Cirque du Soleil, from Macbeth at the Norwegian Theatre to the Comic Relief Danceathon in London.”Green Hippo launches feature-packed Nevis+ Real-time video manipulation expert Green Hippo has opened up new a new world of options for its users with the addition of a small-yet-powerful media server to its range, the Hippotizer Nevis+.Featuring all of the creative power of its well-known bigger brothers, Hippotizer Nevis+ is designed to provide a smaller, inexpensive solution for video creation, visualisation and playback, with all of Hippotizer’s software features as standard.The Nevis+ is a half-rack or wall-mount unit offering one display port 1.2 output with software-based EDID management, two network ports and the latest versions of Hippotizer’s user-friendly tools including SHAPE 3D Mapping, PixelMapper and the multi-purpose pre-visualisation tool, all built into its Hippotizer V4 software.“We’ve designed the Nevis+ for a broad range of less demanding applications, including live music and theatre tours, corporate events and TV OB/on location productions, which have logistical and budget restrictions and where the the control systems need to be compact,” says Green Hippo’s sales and marketing director, David March. “Nevis+ offers a full, rugged media server inside a small, purpose-built chassis that you can pack into carry-on luggage. It’s lightweight, affordable and offers straightforward control with all the the popular Hippotizer features that simplify powerful video manipulation.”Green Hippo has developed Nevis+ in response to an ever-increasing use of visual displays in live entertainment and fixed installations, and despite it being in the production phase before the COVID-19 pandemic, it is now needed more than ever.“Every surface seems to be a digital display these days, and we want to offer the power of Hippotizer in an affordable package to projects with lower budgets,” March continues. “We feel that now, more than ever, such an affordable solution will help solve the problem of keeping projects well within budget as crews struggle with the realities of social distancing.“In the new world that we are entering into, Nevis+ offers the unique combination of being affordable, easy-to-use and simple-to-program, while also perfectly compatible with DMX.”Green Hippo is inviting users to experience Nevis+ by requesting a demo via their website. Nevis+ is shipping now.www.green-hippo.comShure Introduces SLX-D Digital Wireless System Whether it’s a high-school theatre production, corporate meeting, or a Sunday service, live events need to deliver flawless audio and require products that are straightforward to set up and use. Wireless microphones face additional challenges in today’s increasingly crowded RF environment. To help address these needs, the SLX-D Digital Wireless System is the newest addition to the Shure digital wireless portfolio. The new offering is the digital replacement of the company’s popular SLX system, complete with new mechanical designs, exceptional audio quality, more reliable RF performance, streamlined set-up, and more.The multi-faceted SLX-D Digital Wireless System provides end users with greater channel count than SLX, smart rechargeable options, and simplified ease-of-use for moments that matter most: in the classroom, houses of worship, corporate facilities, the hospitality sector, local governments and more. The new system is offered in single and dual channel options. Transmitters run on standard AA batteries or an optional lithium-ion rechargeable battery solution with a dual-docking charging station. SLX-D is a state-of-the-art system with several notable features and user-friendly benefits, including:• Reliable RF – with outstanding signal quality and digital modulation, SLX-D lets users navigate crowded environments with high spectral efficiency and dependable RF. The system enables operation of up to 32 channels per frequency band without worrying about dropouts or signal fades.• Excellent Audio Quality – to ensure every performance, lecture, and speech is delivered flawlessly, SLX-D delivers crystal clear sound. With a wide dynamic range, it can handle a variety of inputs while preventing distortion – ultimately enabling clean, natural instrument and vocal sound.• Ease of Use – knowing that personnel in various institutions and facilities need a simple and straightforward solution, SLX-D is equipped with Guided Frequency Setup and a Group Scan feature that lets users set up multiple channels more efficiently by assigning frequencies to all receivers automatically via Ethernet connections. Even for a 30+ channel system, the entire Group Scan can be completed within a few seconds.“As we support customers in education, houses of worship, corporate facilities and theatres, we recognise the need for an easy-to-use digital wireless system with rock-solid RF performance that can scale as the needs of the venue or spectrum environment change,” said Nick Wood, senior wireless category director at Shure. “With SLX-D, we can offer a solution that is both state-of-the-art and a great value.”4Issue: 331news11Elation KL Panel for broadcast quality white or full colour soft light Elation Professional has added a full colour spectrum soft light to its KL series (key light) of broadcast quality LED luminaires, the KL Panel. Optimised for the colour temperature adjustable requirements of film and television, it is an ideal key and fill light source for any situation requiring outstanding performance and colour quality.Broadcast environments require bright and highly variable lighting of very high quality. The KL Panel LED soft light delivers with superior output, precise colour temperature control, full spectrum colour rendering and an even wash coverage. Using a highly efficient 295W RGBW + lime + cyan LED Array, the KL Panel produces beautifully soft white or full-colour washes up to 24,000 field lumens at a 100° half peak angle.Colour reproduction is also of the highest quality with a CRI over 95 while colour temperature is easily adjustable from 2,000 to 10,000K for a wide choice of variable colour or white shade projections. Additional colour tuning is possible through a green shift adjustment and virtual gel library.Besides its wide spectrum of chromatic options, this dynamic soft light luminaire includes other useful design features like smooth 16-bit dimming all the way to zero and 16-bit selectable dimming curve modes for programming ease, as well as electronic strobe. Adjustable and removable eight-leaf barndoors allow for customised shaping of the beam for more precise illumination and less light spill.The KL Panel is fully optimised for broadcast and film environments with 900-25000Hz LED refresh rate adjustment for flicker free operation. Compact and portable, it can be mounted on a stand or suspended using any standard clamp or the included Junior pin adapter. A rugged housing with impact-resistant surrounds and base plate ensure that the fixture can handle rough handling on today’s fast-paced sets.Fully self-contained without the need for an external power supply, the fixture can be powered remotely through its integrated 4-pin XLR 24-36 VDC battery input (battery not included).Professional control options include DMX, Art-NET and sACN. It can also be controlled manually using the included encoders and OLED display, providing instant control of intensity, colour temperature, green shift and other settings. The integration of Elation’s E-FLY wireless DMX system allows for even more flexibility of use.The KL Panel is energy efficient, consuming only 295W of max power, and offers other benefits of LED like greater reliability, a long LED life rating and less maintenance for a lower cost of ownership.www.elationlighting.comUnusual launches new rigging courseUnusual Rigging has launched a new ‘General Event Rigging Course’ which is set to take place on a monthly basis at its Bugbrooke HQ. The training has been designed to aid riggers of all levels of experience with the course comprising a series of lectures, demonstrations and the opportunity to take part in hands-on activities.Speaking about the company’s new offering, director Steve Porter commented: “As an industry we are poised to deal with new COVID-19 regulations and safety guidelines, and no rigger can afford to be complacent. The past few months have been an unsettling time for the live production sector and riggers – whether employed by a company full time or freelance – have seen their work drop off a cliff. That’s hours of hand-on experience lost and lots of time spent with very little to do. The aim of the course is to act as a refresher for those in the industry with decades of experience under their belts as well as relative newcomers who want to expand their knowledge and skillset.”Courses started in August and will take place in a safe and socially distanced environment. Over the course of the event, candidates can expect to cover:Current legislation and regulations, including HASAWA, PUWER and LOLERWork at height regulationsRisk assessmentsWorking at height including work restraint, work positioning and fall arrestPre use checks to lifting equipment and PPEPrinciples of lifting and safe systems of workMarking outRigging with equipment including steels, round slings and shacklesCalculating simple bridles and weight distribution relating to bridlingCorrect use of trusses, slinging and load distributionOperating chain hoists using direct control and low voltage hoist controllersSteel wire rope terminationsSteve continued: “We want to use this quieter period to help equip riggers with a thorough knowledge – both theoretical and practical – of the skills they need to work effectively in the industry. The UK rigging industry has always been the envy of the world, you can never have too many strings to your bow. All candidates will come away with a certificate of course completion and hopefully an enjoyable, albeit socially distanced experience and the chance to catch up with their industry peers.”Dates for the August course will be confirmed shortly. Those interested in receiving more information should register their name and contact details by emailing sales@unusual.co.ukChauvet Takes a Holistic Approach to Online Demos Chris Hale is working out of his garage in Ashford, Kent. Ritchie Reed is 180 miles away. Yet, both are coming together (virtually) every day to offer a valuable service to designers, programmers, event specialists, and integrators with their 30-minute Chauvet Online Demo Sessions.Working in tandem, the two lighting professionals take a holistic approach to their educational sessions, which air daily at 10am BST, demonstrating fixtures in a way that reflects how they are actually used in real world applications. For example, rather than showcase one fixture in isolation, they will look at paired fixtures, such as the Maverick MK3 Profile and Maverick MK3 Wash; or Rogue Outcast Hybrid IP65 and Rogue Outcast Beam IP65.“For us, it makes more sense to look at fixtures from the perspective of how they are going to work together in real life,” said Hale. “We want our session to be meaningful, not just abstract product presentations.”The daily demos also offer a thorough 360-degree look at products. While Hale takes care of the actual product demos, Reed complements this material by providing photometrics, images and weblinks.“Our goal is to do a full product demonstration,” said Reed. “We share everything that we can get our hands on, whether it’s acoustic reports or DMX layouts etc. We also like to show families of products. This has been a great way for us to stay engaged with our friends in the industry and hopefully provide them with information that will enhance their work in the future.”Viewers can watch the demos at 10 am BST weekdays by using the following link:https://zoom.us/j/92927740196?pwd=TVM5c1gwQ2Q4ZnZXUjcwWE1DQzVmUT09September 2020news12Two new models complete Verlinde’s range of Stagemaker hoistsAfter two years of technological design and an alignment of production with market requirements, Verlinde has announced the widening of its new range of Stagemaker electric chain hoists dedicated to the entertainment industry. The new Stagemaker SL5 and SL10 models with their load capacity of 500kg to 1000kg (1 fall) and 2000kg (2 falls) integrate Verlinde’s latest technological developments: innovative design, toughness and enhanced power ensuring faultless reliability while complying with international standards.From the first model with its reverse-purchase block system launched in 1975 Verlinde’s Stagemaker range has enjoyed an excellent reputation worldwide in the entertainment industry and show business. Boasting an entirely ergonomic design, Stagemaker hoists are the only models available on the market fitted as standard with double brakes, retractable handgrips and protective rubber pads. The new SL5 and SL10 models will furthermore ensure IP66 protection, a rating currently being certified for the motor as a whole. The hoist shell is protected by a 70μm black epoxy powder coating enabling resistance to extreme environments (-10C° to +40 C°). Two versions of the SL 5 and SL 10 models are available: (A) with forward voltage and (B) with low voltage. These 2 new lifting units are upgrades on the previous SR5 and SR10 versions and so complete the current range of models alongside the SR1 and SR25.Enhanced safety: The new SL models are D8+ compliant as standard with SPQ2 (code of practice): the positioning of the clutch in the gear box ensures load holding by the brake whatever the operating conditions of the hoist. The CHAINFlux chain guide enables greater flexible horizontal flow of the chain on output from the lifting load wheel. The equipment used provides furthermore a remarkable friction coefficient facilitating passage of the chain on ejection. The LimitFlux electromagnetic limit switches are provided as standard on all B-type hoists in the Sl range. This system enables the high and low positions of the hook or hoist to be controlled with half-link chain precision. Travel limit switches are adjusted by moving two rings along the hoisting chain.Ease of use and ergonomics: Like the whole Stagemaker range, models SL5 and SL10 are fitted with PerfectPush, a five-pocket hoist load wheel concept designed to enhance chain guidance and prevent the polygon effect. Operation in standard self-climbing configuration or in industrial suspension hoist configuration is achieved without any modification by simply turning the chain bucket. The lifting motor provides a wide range of constant running speeds with or without load: SL5 and SL10 are available as standard with the conventional 4m/min but can also be supplied at speeds of 8m and 16m/min.The design with its unobtrusive lines provides Stagemaker SL excellent integration in its operating environment (lighting, sound system, etc.). Another appreciated aspect of this discretion is its operational silence (60dBA). The lifting hook and transportation handles integrate an ergonomic rubberised gripping system. The two retractable handles were integrated in the hoist shell when it was designed with the aim of facilitating its transportation. The high capacity, heavy duty, black canvas (1100 denier) chain bucket is removable and reversible.Economical hoists: The ease of access to the torque limiter, electrical components (plug & play) and to the fuse together with rapid removal of the motor facilitate maintenance operations. What is more, brake linings can be inspected visually.Verlinde constantly upgrades its hoists in alignment with current technologies and worldwide regulations. SL models comply with the following standards: CE, DIN, CSA and EAC.www.stagemaker.comChauvet Expands US Operations with New Las Vegas FacilityChauvet has doubled its capacity to serve customers in the west region of the US by opening a 35,000 square foot satellite facility in Las Vegas. The new office, warehouse and service centre complex is twice the size of the company’s West Coast Burbank, CA satellite facility that it will be replacing on 10 Aug.“Our investment in a new, larger and more technologically advanced facility reflects our commitment to this industry and our belief in its future,” said Albert Chauvet, CEO of Chauvet. “Being in Vegas will enhance the level of service we’re able to offer our customers.”Combined with the company’s Global Headquarters in Florida, the new Vegas operation gives Chauvet the capacity to ship to any point in the 48 contiguous United States within three days, maximum.The Las Vegas facility will stock Chauvet Professional, Iluminarc, Chauvet DJ and ChamSys products. Modelled closely after the company’s East Coast operations, the satellite facility is actively recruiting and will host technical support, sales, demo/training programmes, quality control and shipping operations.Although the Chauvet Las Vegas facility is new, it will be staffed by many familiar faces. General site manager Todd Bearden has made the move from California to Nevada, as have warehouse lead Mark Guzman, sales support specialist Elizabeth-Aye-Darko and repair specialist Brandon Cooks. They will be joined by a professional local service, support and warehouse staff.“The strength of any company begins with its people, so I am proud and gratified that there are key team members that are joining us in Las Vegas,” said Chauvet. “We’re looking forward to building a great future together there and will be ready to serve our US customers as the pandemic passes and business grows.”ISCE rebrands to ISCVE – Institute of Sound, Communications and Visual EngineersISCE has renamed and rebranded to ISCVE LtdL The Institute of Sound, Communications and Visual Engineers.Recognising the diversity of its members and the markets they operate in, along with the convergence of technologies, the Institute has undertaken this identity and name change to embrace the wider scope, skills and sectors of its members and supporting members.ISCVE president, Helen Goddard FInstSCVE states: “We recognise that audio without visual, in today’s markets, is a little like tea without biscuits, you rarely see one without the other.“So whilst it is important for us to continue to embrace members and market sectors of our origins, we also welcome with open arms, members who are working within additional disciplines, skill sets and technologies and our brand identity has been changed to reflect that.”“Training programs offered by ISCVE already include acoustics, assistive hearing, PA & sound reinforcement systems, voice alarm and audio-visual technologies, so this is a very natural progression, and of course, ISCVE training programs continue to be fully CPD accredited.“CPD accreditation is important for our members, particularly in the UK, as it continues to be the most recognised standard of training by government and public and private sector bodies for our markets.”ISCVE training courses include programmes presented by the industry’s leading consultants, engineers and practitioners and are open to members and non-members. A full schedule of courses can be found on the recently rebranded and relaunched ISCVE website.Further important membership benefits and new activities are planned over the coming months.4Issue: 331news13#LightItInRed Supports #WeMakeEvents Red Alert CampaignGrassroots campaign initiative #LightItInRed is part of the 11th August ‘Red Alert’ day of action being organised and coordinated by #WeMakeEvents and PLASA (the Professional Lighting & Sound Association).Red Alert is also being supported by numerous companies, professionals, organisations and other individuals and practitioners working in the entertainment technology industry and performing arts sector.The Red Alert campaign’s goal is to get the live entertainment and technical production sector in front of politicians, specifically those in the exchequer and at the DCMS (Department of Culture Media & Sport), the latter as the industry’s representatives at parliamentary level.The reason is to demand urgent financial help for the sector and its substantial support infrastructure until mass gatherings can return. The industry is on the brink of collapse following no work or cash flow for five months, and no timetable for a re-start.This is further exacerbated by recent changes to the coronavirus jobs retention scheme (JRS) meaning that already cash-strapped companies will be under further pressure to make redundancies.On 6th July, #LightItInRed initiated a lighting action that saw nearly 700 buildings, monuments, landmarks, and spaces all over the UK lit in ‘emergency red’ to raise awareness of this dire situation. #WeMakeEvents Red Alert is the next step.“The call is even more urgent now, so we are again asking everyone if they can get actively involved and light something red for the 11th August,” says #LightItInRed co-founder Steven Haynes.Phillip Berryman, the other co-founder of the movement, states: “We are hearing daily about the mental health impact of this crisis on individuals, and ask everyone in our industry to not only show their support for each other, but join together with one united voice and take part in the #WeMakeEvents Red Alert campaign.”To register a building / place / space to be lit in red on 11th August, please visit: www.lightitinred.comInformation about other activations being planned on 11th August can be found at www.plasa.org/wemakeeventsThe UK’s live entertainment and technical and creative production industry remains vastly undervalued and underappreciated whilst facilitating a massive contribution to the UK’s GDP and exchequer through live events, performance, concert tours, festivals, etc.It was the country’s fastest growing sector in 2018 and offers a diverse array of employment and careers.The DCMS has secured £1.57bn for the sector – announced the day before the #LightItInRed event in July – which is fantastic, but it appears that this £1.57bn is predominately for the theatres, venues, institutions and the heritage sector with only a small amount to assist the numerous small venues around the country.#LightItInRed has also not yet heard of anyone successfully accessing these funds.Except for the small venues, the sector generally has some form of annual arts funding and at best constitutes around 50% of the live events and technical production industry.This 50% of the industry that has been missed out is the part with no existing arts funding. It is normally completely commercially viable, self-sufficient and pays taxes.The companies and individuals working in it are not only hugely dynamic, talented and resourceful, they take substantial personal risks borrowing billions for equipment capital purchases, buildings, mortgages and staff. This sector (live entertainment, festivals, music, comedy, touring, corporate and industrial events, promoters and manufacturers etc.), is enormous and represents at least half of the overall sector represented through the DCMS.Despite all the recent positive statements by the government, right now the live events and technical production industry cannot work.www.lightitinred.co.ukStage Electrics wins Trinity Arts Centre tenderStage Electrics has announced that it has been successful in tendering for the supply of new LED lighting, RCF Art Series monitors and Altair wireless communication systems for the Trinity Art Centre, Gainsborough. The lighting package includes Martin ELP-CL profiles and ETC ColorSource Pars supported with a combination of Chauvet Professional Rogue R3 Spots and R2X Washes.A Chamsys MQ70 was specified as it offers the flexibility they need for this unique space, set within a Grade II listed Gothic church. An Altair HD wireless communications system was selected following a successful pre-lockdown demonstration at the venue to ensure the Extreme Wireless beltpacks would provide the coverage and reliability they required. Stage Electrics also manufactured all the cables to complete the system in their in-house cable workshop.Stage Electrics looks forward to continuing to work with the team at Trinity Arts Centre and hopes they can welcome patrons and visiting artists back into the space as soon as possible.www.stage-electrics.co.ukChauvet DJ Doubles Bubbles with New Hurricane Bubble Haze X2 Q6Releasing copious amounts of haze-filled bubbles, the Chauvet DJ bubble haze generated fun and excitement throughout the event industry when it was introduced in 2019. Now the company has taken bubbles to the next level with the introduction of the Bubble Haze X2 Q6.Doubling the effect and volume of its predecessor, the new product features six quad-coloured (RGB + UV) LEDs that illuminate bubbles, haze or haze-filled bubbles. The new effect features twin blowers with variable-speed loft fans that push bubbles up into the air.Chauvet DJ’s ‘Always-Ready’ technology means the effect can run continuously to keep the party going. But the Hurricane Bubble Haze X2 Q6 is not just about fun, it also has a practical side. For example, its gravity-fed bubble reservoir recirculates unused bubble fluid reducing fluid consumption. Also, a built-in cleaning function increases machine longevity and reduces clogs.“It’s always amazing to see the reaction Hurricane Bubble Haze gets” said Chauvet DJ senior product manager Allan Reiss. “This thing really brings out the kid in all of us and we’re really excited to take that excitement to new levels with added LEDs that light up this amazing effect and double the output with twin blowers.”September 2020news14ISE looks forward to Barcelona debutPlanning for Integrated Systems Europe 2021 is well underway with its organisers, Integrated Systems Events, committed to delivering a compelling and safe exhibition for the world’s audiovisual integrated systems community.The 17th edition of ISE is set to take place at its new home at the Fira de Barcelona, Gran Vía, 2-5 February 2021. The world class exhibition centre plans to reopen for business in September. This will follow the successful completion of a collaboration with risk mitigation consultancy AON and the Hospital Clinic of Barcelona which will determine the specific security criteria for holding B2B events at the venue later this year.Over 850 world leading technology and solutions providers have already committed to participate at ISE 2021. Over 55,000 sqm of exhibition floor-space has been confirmed for nine dedicated technology zones. This represents a 5% increase on the total floorspace booked for the 2020 show.The state-of-the-art exhibition centre will house a new-look ISE featuring nine dedicated technology zones, in an easy to navigate layout. These are: Audio, Broadcast and Content Creation (new), Digital Signage and DooH, Education, Live Events (new), Residential, Smart Building, Unified Communications and VR/AR/XR.A significant development for ISE 2021 is the strategic partnership with The Next Web (TNW), a world-leading technology media brand with extensive reach among global start-ups and technology businesses in general. In conjunction with ISE, TNW will present Growth Quarters: four days of keynotes and presentations addressing all aspects of business growth and scale-up, presented by inspiring technology innovators and experts. TNW will also present Fast Lane, where start-ups create solutions that address specific ‘pain points’ within AV businesses.In addition, a five-day solutions-themed series of 14 conferences will cover a wide range of topics including digital signage, design and build, control rooms and XR. The extensive programme has been devised in association with ISE co-owners AVIXA and CEDIA. Both associations will also produce their own dedicated series of training sessions and themed events.ISE will also be developing the show’s digital reach to help engage with a bigger audience than ever before. This will include a wide selection of cross-platform live ISE content being made available, along with many other engaging digital opportunities to help attendees connect with the world’s leading technology innovators as well as hear from thought-leaders and experts.Mike Blackman, managing director of Integrated Systems Events, commented: “ISE is committed to delivering an engaging in-person event in Barcelona and is taking all necessary steps to deal with the new post-pandemic reality that will impact those attending exhibitions and conducting international business.“The Fira de Barcelona has partnered with AON and the Hospital Clinic de Barcelona and other experts to create a set of safety protocols that are designed to guarantee health and safety around the conditioning of spaces and the regulation of visitor flows. This work started in April and involves risk evaluation, the creation of mitigation strategies and an action plan. Once completed, guidelines for event organisers and exhibitors will be communicated.“We are listening and adjusting to ensure the show continues to provide the connections the industry needs to grow brands and business. We are determined and confident that we can deliver a compelling show in a safe and secure environment.”TechLED signals Production Park’s allegiance to the #WeMakeEvents campaign day of actionAs event professionals took to the streets of every major city across the UK on 11th August, in support of the PLASA-led #WeMakeEvents campaign, TechLED Ltd once again bathed Production Park, including the Studio and Rockwell cafe in the companion #LightItInRed campaign’s signature colour, emergency red.TechLED’s MD, Gordon Addison, once again turned to the power of Prolight’s LEDJ Spectra QX40 Pixel exterior fixtures to illuminate the buildings. While the Production Park team attended the protest demonstration in Leeds, the team at TechLED kept alive the signal of allegiance, with many other theatres and cultural institutions across the country affected by the continued inability to open during the coronavirus pandemic.Gordon commented: “We would like to say a massive thank you to all our customers and everyone who came together on the eve of Tuesday 11th August, to highlight the devastating situation faced by the whole events industry during this crisis we all find ourselves in. It’s of the utmost importance that the government’s proposed care package reaches all aspects of the events industry and the plight of our industry is acknowledged and addressed.”Production Park’s Jack Scarr, added: “The #LightItInRed campaign saw hundreds of event landmarks across the UK lit up in red to bring attention to the plight of the live events industry due to the pandemic. Gordon and his team at TechLED made it possible for us to illuminate Studio 001, Backstage Academy and Rockpool Café in red to show our support for the campaign.“At Production Park, our main focus and concern is for freelancers and small production and rental companies, like TechLED. They cannot work at the moment due to the current restrictions on mass gatherings. They need support in the form of grants not loans, and a sector-specific furlough scheme. Their survival is vital so they can continue to create incredible experiences for event-goers, which would not be possible without them.”Chauvet Professional Names Eusebio Romero Garcia Product Specialist for SpainChauvet Professional took a major step toward serving its growing Spanish market by appointing Eusebio (‘Sebi’) Romero Garcia as product specialist for Spain. An experienced and highly regarded lighting and stage technician, as well as an accomplished photographer, Garcia will be working closely with the company’s Spanish distributor, Barcelona-based ACSON, to co-ordinate product training and roadshows throughout the country.“There are exciting opportunities for us in Spain,” said Michael Brooksbank, general manager of Chauvet Europe. “Sebi’s experience and talent make him a valuable addition to our team as we continue to work with ACSON to build on our success and develop our brand in this vibrant market.”Garcia will be based in Madrid, but will co-ordinate his activities closely with ACSON in Barcelona. He will report directly to Sam Bowden, Chauvet’s European product manager, but will also work closely with Stéphane Gressier, international sales director and Jon Petts, business development manager at Chauvet Lighting.“Working together with the teams at Chauvet and ACSON, Sebi will bring a high level of educational resources and training in support of our products in Spain,” said Bowden. “His extensive experience cuts across many segments of our market, including theatre and broadcast as well as concerts. He also has a passion for service, which will make him an excellent fit for the Chauvet Professional team.Issue: 331features15Brompton Technology HDR excels at AVID – AV Innovation Days powered by LANG AGThe end of June saw Brompton Technology take part in one of Europe’s first face-to-face industry events since lockdown, the AV Innovation Days (AVID), organised and hosted by LANG AG at its LANG Academy in Lindlar, Germany.Designed as an accompanying event for InfoComm Connected, LANG hosted the three-day fair with both new and familiar AV technologies on display, whilst adhering to strict hygiene and safety rules. Leading LED panel manufacturers showcased their innovative solutions, with Brompton partnering with INFiLED to demonstrate how its panels have benefited from Brompton’s highly acclaimed HDR solution.“The event offered a perfect platform to discuss some of the key developments in the AV industry, such as the increased use of curved, or faceted, applications which are based on a variety of corresponding products. Also, the emerging trend of virtual LED studios instead of green screen studios is an interesting niche marked right now, as protagonists can interact with their environment. That makes recording much more efficient and saves post-production costs,” shares Benjamin Valbert, director LED and displays at LANG AG.Valbert notes that choosing the right LED processor is an important requirement in supporting these trends. Whilst most LED processors provide the basic functions necessary for video display, they can have limited to no adjustment capabilities compared to more full-featured processors, which have numerous options for colour adjustments and image scaling, and are designed with LED-on-camera applications in mind.“Equally, with rental applications, for example, where setup time is limited, operator knowledge is not always the same and failures need to be eliminated as quickly as possible,” Valbert adds. “This means that processing needs to be intuitive and provide several options for trouble shooting, with features that are able to get the very last bit out of your hardware, or simply overdrive the system for a reasonable period of time.”After using Brompton Technology’s Hydra advanced measurement system to perform Dynamic Calibration, the enabling technology for Brompton HDR, on its DB 2.6 series LED panels manufactured with Brompton’s R2 receiver cards, the INFiLED team were in complete agreement.“One of the major, and most noticeable, differences for us was the extended colour gamut and enhanced luminance of the panels,” says Marco Bruines, senior vice president of INFiLED EMEA.The immediate effect was visible both with SDR and HDR video content, with the improvements added to the plethora of fine-tuning tools already offered by Brompton’s Tessera SX40 4K LED processor.“This gives us a significant advantage when dealing with busy clients like INFiLED, who have a lot of projects going on at the same time and need a highly reliable and versatile LED processing solution,” states Dries Vermeulen, business development manager – Europe at Brompton, who was on hand throughout AVID. “When our Tessera LED processor encounters an issue, its intelligent algorithm takes care of it, so it’s not necessary to even think about how to solve the problem.”Whilst the LANG team is looking forward to visiting InfoComm next year, based on the positive feedback received from this event, they will have no hesitation in repeating AVID in the future.“AVID was a great success for our customers, suppliers and LANG,” says LANG CEO, Tobias Lang. “For a lot of visitors, this was their first trip after more than 13 weeks of working from home during lockdown; they told us it was like balm to the soul. It is also incredibly useful to understand what kind of business has a strong development curve at the moment. With this knowledge, the industry now has a much better focus.”The INFiLED team concur, stating they were very happy to be able to meet their key contacts and customers again in person and experience a new form of trade show participation.“The AV industry is well known for its passion for new technology,” Bruines concludes. “Our customers were excited to see the latest products and market trends, including Brompton’s incredible HDR technology.“Successful business relationships are achieved through a combination of high-quality products, solid pre-sales quality control and a high service level. The nature of this type of technology means it’s essential to have close relationships with customers and able to solve problems at any time. Offering global 24/7 customer support on top of a tested and reliable processing technology is just one of the values that makes Brompton stand out.”September 202016featuresAnolis Illuminating the BasestreamsOver 160 Anolis (a Robe business) LED luminaires have been used to illuminate public and connecting areas of the Les Bassins de Lumières, an imposing former World War II U-Boat bunker in Bordeaux, Originally known as ‘Betasom’, four of the 11 vast submarine basin areas have been reimagined by private organisation Culturespaces for use as a stunning and provocative sanctuary for immersive digital arts and mixed media installations.Nicolas Valette from lighting design practice 4eleven was asked to create a lighting scheme that highlighted the internal architecture of these impressive 115 metre long water-filled bays which have a draft of between nine and 11.40 metres, with a tidal allowance of 1.5 metres. Each of these is separated by a six metre thick concrete wall. In their former incarnation, each of the four giant basins could accommodate two submarines.Nicolas found a stark and raw beauty in the functional, brutalist concrete structures, and set out to create a dialogue and interaction between light, shadows, and illuminative texturing.The walls, ceilings and the water are often used for giant projections of artists’ work, so the internal lighting had to complement these and also function in a stand-alone context for visitors to see and appreciate this incredible space with its amazing story when there are no large-format projection exhibitions.“My starting point was first to visit and feel the ambience and emotion inside, taking into account that while lighting was not the major element, it had to be highly effective,” he explained. Nicolas and his team do a lot of work in the live events sector, and he was able to merge the two different worlds of architectural and events lighting in this dynamic environment which had so many stories to tell. He needed IP rated fixtures as they are close to the water, a dank, damp Issue: 331features17atmosphere permeates the space and the humidity levels are always around 80%. The fixtures had to be expedient in size and unobtrusive to visitors as they walk around, so he needed light sources that were efficient, looked great, had a high-quality output and were not over-complicated.A few months before starting the project he visited the Robe France HQ in Paris and looked extensively through all the Anolis products and options on which he comments: “It’s a very clever range with many possibilities.” Already familiar with Robe’s entertainment ranges, he was naturally interested in the architectural ‘sister’ brand which is well known for its robust build quality and refined output.He then visited Betasom for the first time, assessed everything and thought that Anolis would be a perfect solution for the design he had in mind. The Bassins de Lumières exhibition area is separated into four sections, so he arranged thorough on-site tests with all the Anolis fixtures he had chosen to show to the client how the final design would look and work.Dealing with areas of 13,000 square metres plus, lighting plots, photos and renders are simply not enough to give a realistic impression! You must be there and see it for real! Twenty Anolis ArcSource Outdoor 24MC RGBW fixtures are dedicated to lighting walls and 24 ArcSource Outdoor 16MC RGBWs with different lenses are deployed to graze up the concrete columns and highlight arches in the walking areas. These IP67 units are from a family of tough, compact multi-chip fixtures, offering excellent output with a wide range of available lenses / optics.Seventy-four ArcSource Outdoor 4MC RGBWs are utilised for precision lighting of the various building features including the distinctive columns and arches, with 15 Divine 160 RGBW long throw floods fitted with 40-degree lenses used for lighting selected walls and to create background effects.Then there are 30 Anolis ArcPar 150 RGBWs with barn doors for precise shutting, which offer both CMY and RGBW colour mixing, and are further augmenting the walking areas as well as lighting a stage area.He feels that Anolis offers: “A perfect fusion of the best elements from both architectural lighting and entertainment lighting fixtures, proper architainment products,” in terms of extremely efficient fixtures with all the famous Robe expertise and service as back-up.The biggest challenge of lighting the project was being discreet without revealing a lot of light sources which involved some smart thinking and clever concealments so visitors would not notice they were there and the effect would not hinder any of the digital exhibitions and artwork.The Anolis fixtures plus other lights in the scheme were installed by integrators Audiopro based in Mérignac. All were first programmed on a grandMA2 console and the relevant DMX values then transferred to the Modulo Pi media server / show controller which runs lighting and other elements around the building.Nicolas worked closely with Anolis’ architectural specialist Bruno Francois and his colleague Eric Tabuteau and with Philippe Chassereau project manager from Audiopro plus Augustin de Cointet, executive director of Les Bassins de Lumières, who commissioned him to light this incredibly atmospheric historic industrial workspace.Betasom was one of five bases built on the Atlantic coast during World War II and could house up to 30 submarines. Initially during the occupation (of France by the Germans), it was used by the Italian Royal Navy. Its code name was “Betasom” ‘Beta’ as the initial Greek letter from Bordeaux, and ‘som’ for “sommergibili” Italian for submarine! After the Cassabile Armistice in 1943, the five Italian submarines in residence at the time were seized by the Germans.The building comprises a 245 metre long reinforced concrete block which is 162 metres wide and 20 metres high with a 48 x 73 metre bunker tower attached. It houses eleven cells or bays for the subs, measuring between 100 to 115 metres long, seven of which can accommodate one submarine and four which can accommodate two.The whole area was covered by a 3.5 metre thick reinforced concrete roof and then by a second slab which is 2.10 metres thick. From 1943, with the increased range of Allied bombers delivering more powerful bombs, the Germans reinforced the roof by building a Fangrost screen above: a set of 32-ton concrete beams placed parallel, spaced five to six metres apart and covered with other smaller beams placed perpendicular to the first ones. This device caused bombs to explode before reaching the slab. It was a massive engineering project completed in August 1944.The last two remaining U-boats left Bordeaux in August 1944, three days before the Allies occupied the base on 25 August.photos: Nicolas ValetteSeptember 202018featuresMUX22 helps GB4D build versatile streams for Grand Concert de ParisOnce again BroaMan and Optocore network devices were deployed to maximum effect at this year’s Grand Concert de Paris spectacular.The event coincides with France’s National Day (on 14 July). And having scaled new heights last year with the unique solutions and I/O capacity provided by the two German partner brands – creating an immersive environment for Radio France, with 152 Optocore preamps and MUX22 IVT / MADI connectivity – this year technology contractors GB4D went even further. Working once again for Radio France, they set up an elaborate optical broadcast network topography on the Champ de Mars in the shadow of the Eiffel Tower, but with the location eerily empty other than for technicians.“Playing without an audience due to COVID 19 was certainly weird,” stated GB4D owner, Gilles Bouvard. “We felt really alone without the 500,000 spectators!”Bouvard was clear in what the challenge represented, and it was essentially to produce an advance multi-format broadcast signal flow to the Radio France and France TV OB trucks from the FOH and monitor positions, as well as from the pyrotechnics position.“We had to provide Radio France’s sound engineers with all the necessary tools,” he confirmed. And this year that again included 144 Optocore microphone preamps (both X6RFX and TP) as well as MADI stream connectivity between the LAWO, Yamaha and Studer consoles, via BroaMan MUX22 MADI and Optocore M12 and DD2FR-FX devices. In all, GB4D created a distribution universe of more than 600 audio streams between the FOH and monitor consoles, and broadcast facilities for Radio France and France TV.Additionally, GB4D provided MADI audio streams for virtual soundchecks to radio technicians in charge of HF control for the soloists. “This made it possible from the Wavetool software to conduct MADI monitoring of the 155 pickup microphone preamps,” explained Bouvard. Finally GB4D constructed a BroaMan link for the spectacular firework finale which was once again produced by Groupe F.Explaining this final deployment, Gilles Bouvard said: “The request was to retrieve the audio streams from the firework soundtrack, to give the pyrotechnician a video stream from the France TV finale, and to link everyone together with an intercom network for orders.”This connection was achieved via a pair of BroaMan MUX22 IVT/IC444, a device that combines different formats of Video, Audio, IP, Intercom and other data on fibre distribution system. The sound of the fireworks was wired to the four line inputs that populate the MUX22, wired with other Optocore audio interfaces in a redundant optical loop. All audio streams were shared throughout the Optocore network.The cable distance between the two MUX22s, stationed at the Eiffel Tower and the France TV OB van, was approximately 450 metres, with SDI signals passed between the fireworks base and France TV control room for the grand finale, with the four IC444 audio line inputs, and LAN for the IP intercom.From the fireworks control room under the Eiffel Tower, the audio signals for the soundtrack had to be connected. For this, two Apple computers were equipped with sound cards, which were connected to the four line-level audio ports of the MUX22.An SDI output, connected to a 32” screen, broadcast the final image of the France TV production. The pyro technician wanted to have the image direct from the OB van in order to avoid the six-to-eight seconds delay from the satellite.Thanks to the MUX22 LAN, we were also able to create an order network between the fireworks technician and the France TV script manager,” continued Bouvard. “This GreenGo IP order network consisted of a portable station on the pyro side and a four-wire box for the interface with the France TV communication grid.”“The choice of MUX22 for this application was simple,” stated Bouvard. “Everything I needed, in terms of format transmission, was contained in one box!”The Grand Concert de Paris, for which Radio France is co-producer, is the largest classical music concert broadcast live on television and radio in more than 31 countries, and representing approximately 41 million viewers.The artistic performance was produced by the National Orchestra of France, the Grand Choeur de Radio France, as well as the Maitrise de Radio France. Founded after the Second World War, and intended for children aged nine and over, this high level musical training is one of the first experiments in the so called ‘half-time educational system’, combining general education and musical training.“We are delighted to have been able to collaborate on this landmark event once again this summer, with a more prestigious solution than ever,” said the GB4D owner in conclusion.He was supported by GB4D team members, Diane Hivert (distribution manager, France) and Titou Victor (GB4D Optocore technician).Issue: 331features19Guernsey’s St James e re-opens its doors with a JBL VTX A8 sound system Live music is back on the Channel Island of Guernsey. With lockdown restrictions on the island completely lifted on 20th June due to the eradication of all Coronavirus cases, the St James concert venue in Saint Peter Port is in the fortunate and enviable position of being one of the only live music venues to have re-opened its doors. And when it did so, the 350 capacity venue had completed its first phase installation of a brand new JBL VTX A8 PA system, a key component in an ongoing series of upgrades to the historic venue.The search for a new sound system began in August 2019 when St James’ executive director Jon Bisson visited the Independent Venue Week conference in London as a fact-finding and networking opportunity. It was there he met team members from Harman Professional and UK distributor Sound Technology Ltd – including Sound Technology’s Ben Todd and Joe East, and Harman’s Ed Jackson – and where he also heard Harman’s newly introduced JBL VTX A8 line array for the first time.Jon gives some background to the story: “St James is a beautiful venue in a fantastic location. We aim to deliver an exceptional experience for audiences and acts: highly desirable to come over to visit and easy for bands to play when they get here. That’s everything from our hospitality, to the incredible local accommodation, to a stock of high-end backline. We knew we were already increasingly on the radar as an attractive venue for top-end acts but the final and much needed component was a PA upgrade to take us to the next level. With this JBL PA we’ve done just that.”Following the initial meeting at the Independent Venue Week conference, Ben Todd, then of Sound Technology’s application team, now having joined the team at Harman, carried out a site visit to St James in November 2019 to complete EASE modelling of the venue.The final specification includes the main arrays consisting of ten JBL VTX A8 line-array elements and four JBL VTX B18 subs, JBL AC18s providing front fill and delays, and CBT70J providing balcony fills. All are powered by Harman.s Crown iTech HD 4x3500HD and XTi amplifiers.Pending structural work in the venue scheduled for October this year, the system is currently operating in a ground-stack configuration. Ultimately the full system will be flown, with additional processing and control via a BSS Soundweb system then integrated.“All the work it took to get the system installed was immediately worth it as soon as it fired up, and we aren’t even playing with all the toys yet! It truly took my breath away,” comments Jon.Summing up he continues: “We’re painfully aware of the challenges facing so many venues and we feel incredibly fortunate to be able to open. We are proud of our journey in continuing to support local live bands and in encouraging top acts to play here for the Guernsey audience.”Next >