direct from: www.etnow.comRegularsContentsthis monthJobs and CareersWeb DirectoryFeaturesIssue: 337Mansion nightclub houses Void Acoustics page 16March 2021Malmö Opera has recently invested in Out Board’s next-generation TiMax TrackerD4 (TTd4) precision stage tracking system.Longleat recently became home to a temporary spectacular seasonal experience, “The Land of Light”. AC-ET was chosen to supply a number of products.Anolis Looks Grand in Brightonpage: 13page: 18page: 2page: 31pages: 28 to 31The Grand Brighton hotel, an iconic landmark on the seafront, is highlighted tastefully by an Anolis LED lighting installation.Hawthorn has transformed into Encore!Visit our new hire website hire.encore-emea.comw: encore-emea.com t: 01664 821 111 e: hire-uk@encoreglobal.comNew Compact DiGiCo Quantum225 Brings Power and New OpportunityIn January, DiGiCo announced New Year New Hope, giving three lucky winners three great gifts: a DiGiGrid MGB MADI to SoundGrid Interface, the first of the newly launched KLANG:kontrollers – Serial Number 1 and a DiGiCo Quantum Range console. What those entering did not know at the time was that this was an opportunity to own one of the first Quantum225 consoles, designed to bring the Quantum Processing power and features in a compact and robust worksurface.More on page 4AC-ET Products Bring ‘The Land of Light’ to Lifepage: 27Malmö Opera invests in TiMax TrackerD4 contents this monthMarch 2021page no.Featurespage : 5page : 7page : 11page : 10TECHNICAL STANDARDS FOR PLACES OF ENTERTAINMENTRevised in July 2020 Available now from www.etbooks.co.uk20 Doughty’s cooking up a storm at Carbis Bay Hotel When Mad Dogs Television was asked by its client to build a new kitchen studio for their regular cookery shows, Martin Huntley, founder of Mad Dogs TV turned to Doughty Engineering to supply some of the key equipment.21 Le Plan’s culturally diverse music programme sounds better than ever thanks to L-Acoustics A hub for Parisian music lovers and a reference venue for first-class sound quality, Le Plan’s audio system has recently been upgraded with L-Acoustics K and X Series.22 Laser Lights show in Brussels Welcomes 2021 Brussels’ “Laser Lights”, which featured Robe moving lights among others and 12 custom lasers, was designed to be enjoyed from the comfort and safety of people’s homes, uniting everyone in spirit, feeling and determination during these extraordinary and restricted times. 24 iMAG and Treehouse Digital deliver state-of-the-art mobile Virtual Production facility In October last year, technical production and LED screen hire company, iMAG, joined forces with film production company Treehouse Digital, to pioneer a state-of-the-art mobile LED virtual production facility. 26 Catching the Beats of Leuven Creative lighting and multimedia design specialist Painting with Light (PWL) was commissioned by the city of Leuven in Belgium to imagine and realise an eye-catching, living, breathing light artwork to tie in with popular Belgian Radio station StuBru (Studio Brussel)’s 2020 De Warmste Week (Music for Life).27 Anolis Looks Grand in Brighton The Grand Brighton hotel, an iconic landmark on the seafront, is highlighted tastefully by an Anolis LED lighting installation illuminating its majestic front façade.12 10 out of 10 Productions Installs Chauvet Professional Force Fixtures in Grove Theatre The Grove Theatre upgraded its lighting rig by adding 16 of the new Chauvet Professional Force series fixtures supplied by 10 out of 10 Productions.13 Malmö Opera invests in TiMax TrackerD4 “smart solution” showcontrol automation Sweden’s architecturally impressive Malmö Opera has recently invested in Out Board’s next-generation TiMax TrackerD4 (TTd4) precision stage tracking system via Out Board’s Swedish distributor, Electrosound AB. 14 L-Acoustics K Series Positions Exhibition London as New Cultural Hub The recently launched Exhibition London event space features an L-Acoustics K Series loudspeaker system, to help establish the new space as a major music venue and cultural hub.16 Mansion nightclub houses Void Acoustics The overall sound system at Mansion includes a combination of Void Acoustics Air Motion V2 and Airten V3 speakers, combined with Stasys XV2 subwoofers and Bias Q5 amplifiers.18 AC-ET Provided World-Class Products to Bring “The Land of Light” to Life One of the UK’s most loved Safari Parks, Longleat, recently became home to a temporary spectacular seasonal experience, “The Land of Light”. AC-ET was chosen to supply a number of products from leading brands.19 Wiltshire Creative Adds Chauvet Professional to Salisbury Playhouse Rig for Little Robin Redbreast Moving the production to the Salisbury Playhouse Main Theatre involved performing the show on a larger stage than originally planned. Helping to make this transition without compromising the visual impact of the production were two Chauvet Professional Maverick MK3 Spot fixtures from Vesta Productions.from the editordirect from: www.etnow.comEntertainment Technology is published 12 times a year in conjunction with the leading industry portal www.etnow.comEditor: John OffordTechnical Editor: Jackie StainesPublished by: Entertainment Technology Press LtdThe Studio, High Green Great ShelfordCambridge CB22 5EGTelephone: +44 (0)1223 550805Fax: +44 (0)1223 550806Website: www.etnow.comemail: editor@etnow.com© Entertainment Technology Press Ltd.Subscription Rates:Annual Subscription for 12 issues (UK): £27.50Annual Subscription (overseas): £50.00Subject to acceptance, subscription is free to UK based industry professionals.Subscribe online at: www.etnow.com/etmag/Opinions expressed in Entertainment Technology are not necessarily those of the publishers. All rights are reserved and reproduction of any part in whatever form is prohibited without the prior permission of the publishers.etnow.com (entertainment technology news on web) is the industry portal site with news from around the world added daily under various sector headings coupled to an extensive archive. The site also features a books section where titles from Entertainment Technology Press can be ordered online via our secure Sage Pay credit card services.Issue: 337Stagehand Covid-19 Crew Relief Fund Reaches Over £1MThe Stagehand Covid-19 Crew Relief Fund, launched in September 2020, achieved its target of raising £1m by the end of 2020 and now looks to building on the £1.17 million raised in order to continue supporting live events industry workers experiencing hardship in 2021.As a result, a third round of grant applications will be open until 12pm on 12 February. The grants of £500 help crew facing financial crisis and experiencing food poverty.Stagehand, the only UK charity that specifically helps music stage and road crew, has issued over 900 grants, but there are many more live events industry workers who are in urgent need of support, with thousands facing serious hardship. The problem is intensified by the nature of the industry: over 60% of its workforce are freelancers and over 20% of all crew do not qualify for any Government support, meaning many skilled professionals have been forgotten during the pandemic.The response to this fundraising effort has been immense. Generous donations from the wider music industry and the public, the Prints for Music campaign, initiatives from peers, musicians and the #ILoveLive prize draw have not only made a practical difference to helping road and festival crews cope with huge challenges, but also offer a timely reminder that this plight is important to music fans throughout the world, reinforcing that this community is missed and appreciated.Comments left on the charity’s Donate platform and JustGiving page demonstrate the strength of public feeling: “Live music is the lifeblood of entertainment; without all those behind the scenes it just wouldn’t happen! Thank you for everything that you do and a very Happy New Year to all!”“Some of the best nights of my life have been facilitated by these guys. This is just a small thank you during bad times.”Donations to the Covid-19 Crew Relief Fund have been gratefully received from PPL, BPI / BRIT Awards, Universal Music Group, Sony Music, The Co-Op, SJM Concerts, artists, artist managers and many individuals including some by anonymous donors.Prints for Music, the photography sale created by Ed Robinson who, together with 39 other photographers, donated images depicting musical heroes throughout the ages. The campaign saw significant funds go towards the target.Grass roots fundraising activity was also very important and included initiatives such as: The Biggest Loser, headed up by Stagehand trustee David Lawrence with supportive tour managers and production managers based in the UK, Europe and North America. The team trained for fitness and dropped the pounds, creating virtual and focused routine during lockdown.Crew Gear clothing which brandishes t-shirt slogans such as ‘Unviable’ was started by two members of tour supply company Adlib, splitting 20% of profit between Stagehand and Music Support.The Jam Night Before Christmas, a live session by the Subfrantic team, pulled in funds on 19 December 2020, and artists like Newton Faulkner and Kim Wilde also asked fans to donate during their own live streamed gigs.The #ILoveLive prize draw campaign gave music fans the chance to give something back to the people who make life-affirming live events happen and to win money-can’t-buy prizes from their favourite artists. #ILoveLive was held in partnership with Crowdfunder UK, which waived its platform fees. The winners have been notified and prizes shipped.A second #ILoveLive Crowdfunder Prize Draw Campaign will launch on 17 February and is already attracting some significant artists. Acts including The 1975, Foo Fighters and Jack Garratt will donate unique prizes.The #ILoveLive campaign was spearheaded by artist manager and promoter David Stopps with Andy Lenthall and Mike Lowe at Stagehand.Visit: www.crowdfunder.co.uk/i-love-live Mike Lowe, the chair of Stagehand’s board of trustees, commented: “We know that when live shows can take place again in financially viable ways, the industry will be extremely busy. Artists, festivals and venues just want to get back to work and the public are hungry to see live entertainment again. No live show of any kind can happen without the skills and expertise of the army of live events workers. I am sure that the live events industry workers who we can help, will join me and my fellow trustees in expressing our massive appreciation for making all of this happen in the most difficult and unprecedented of times.”March 2021news4sunDial quad www.ArtisticLicence.comDims LED close to zero!For the smoothest fades with dimmable replacement LEDTrailing edge DMX512/RDM mains dimmerNew Compact DiGiCo Quantum225 Brings Power and New OpportunityIn January, DiGiCo announced New Year New Hope, giving three lucky winners three great gifts: a DiGiGrid MGB MADI to SoundGrid Interface, the first of the newly launched KLANG:kontrollers – Serial Number 1 and a DiGiCo Quantum Range console. What those entering did not know at the time was that this was an opportunity to own one of the first Quantum225 consoles, designed to bring the Quantum Processing power and features in a compact and robust worksurface.Sensitive to the hiatus in the large-scale, live touring market, DiGiCo has designed the Quantum225 to be agile and flexible allowing the system to adapt to the demands of this changing world. Specified with the new DQ-Rack with integrated Dante and it is a perfect system for AV installation and the demands of an AoIP networking environment. Alternatively specify with the MQ-Rack and get the familiar MADI connectivity for touring infrastructure allowing Quantum225 to integrate with existing infrastructure.The Quantum225 includes 72 inputs channels with 36 busses plus Master Buss and a 12x12 Matrix. There are four MADI ports and dual DMI ports for added connectivity, 8 x 8 analogue and four AES channels for local I/O, built-in UB MADI, optional optics and Waves SoundGrid, plus dual PSU.Quantum225 also incorporates now familiar features from the existing Quantum Range including Mustard Processing channel strips, Spice Rack plug-in style native FPGA processing options, Nodal Processing and True Solo.There is a 17-inch, full colour, daylight bright, TFT multi-touch screen with the Quantum Dark application, seen before on the Quantum338, combined with 41 mini TFT’s located across the surface to provide unrivalled user feedback and interaction.What is unique to Quantum225 is a custom designed, multi-purpose mounting bracket that attaches quickly and easily to the left-hand panel of the console. This can accommodate an additional channel or overview screen, a KLANG:controller, or be further expanded to fit either a laptop or a script, particularly useful for theatre applications. The bracket can be installed at two angles with quick release to cater for all preferences or applications.The new compact, 6U DQ and MQ racks have been designed from the ground up specifically for modern application demands. They feature 48 mic/line inputs, up to 24 analogue outputs or up to eight AES outputs. Clever audio design allows the user to reconfigure four of the analogue line outputs to be either analogue outputs or dual AES outputs. This I/O flexibility and other configuration changes are managed from the racks very own TFT Configuration screen. Standard features included Dual PSU and 48k or 96k operation.Chauvet Professional Unleashes New ForceChauvet Professional has turned the notion that ‘size matters’ on its head with the new Maverick Force 2 Profile and Maverick Force 1 Spot. Developed after extensive R&D and with input from leading designers, this new family of high-performance, LED moving heads, pack arena-sized punch in lightweight frames.“We developed the new Maverick Force series to address the demand for compact, but powerful fixtures that our touring and broadcast customers have been asking for,” said Albert Chauvet, CEO of Chauvet. “Smaller framed, easier-to-handle fixtures are especially well-suited to today’s social distancing environment where limited set-up crews are expected to do the jobs that were once performed by more people.”The units are not only designed to be lightweight and compact, their output also has force from power-packed advanced LED engines. Weighing in under 60lbs (27.2kg), the Maverick Force 2 Profile is powered by a 580 Watt LED engine that produces an intensely bright 21,000 lumen output. Tipping the scales even less than its stable mate, the under 50-lb (22.7kg) Maverick Force 1 Spot features a 470 Watt LED engine capable of blasting out 20,000 lumens of brightness. Both high-output fixtures produce an array of hues from brilliant reds to soft pastels with CMY+CTO colour mixing and an added colour wheel with CTB and CRI filters for design flexibility.Lightweight fixtures not only make load-in times faster and more efficient for rental houses. They also translate directly into faster movement and speedier effects for designers and programmers. Maverick Force 2 Profile features a quick four-blade framing shutter system with 120 degree rotation for precise control, a 7 to 55 degree zoom to cover a wide range of areas, and 16-bit dimming for smoother fades. Added versatility is provided by its five-facet prism with frost, motorised iris, two rotating gobo wheels, and animation wheel. Maverick Force 1 Spot’s effect wheelhouse has one rotating and static gobo wheel instead.The discreet operation of these fixtures also makes them well-suited for installations where quietness is of paramount importance. Both fixtures feature pulse width modulation and several TV fan modes, making them ideal for broadcast lighting. A variety of advanced control options are offered with DMX, WDMX, sACN, ArtNet, Pre-set synch and RDM capability for remote accessing.“When developing our Maverick Force fixtures, we set out to achieve the optimal balance between lightweight design and high-performance features,” said Chauvet. “As much as lighting professionals are seeking smaller workhorse fixtures, we didn’t want them to have to sacrifice quality for compactness.”With the Maverick Force 2 Profile and Force 1 Spot, that’s a choice they don’t have to make.4Issue: 337news5Eclipse and Claypaky light up Museum of the Future for the 49th UAE National Day celebrations“Dubai is open for business”, a very clear message from the Government, as the UAE celebrated its 49th National Day in style. Eclipse Staging Services LLC were proud to support its long-term partner, People, with one of the most visually spectacular installations in recent years. Museum of the Future, a 255ft architectural masterpiece, set to open in 2021, was activated for the National Day celebrations with the temporary installation of 49 Claypaky Mythos within its central void.With design concept and event production from People, Eclipse crew worked alongside iRIG, the appointed rigging contractor, to hang the fixtures within a 360-degree, clock face design, from custom-rolled pipe dead hung to the building structure. As the site is currently still under construction, careful consideration and additional health and safety measures had to be implemented and followed to ensure that all crew could seamlessly work around the active site.Lighting designer Tony Hall worked alongside the Eclipse programmer as the light show ran live for six nights. The design of the rig allowed for various key looks, ranging from tight beams all focused to the centre of void, changing between the red, white and green colours of the UAE, to stunning aerial effects as the fixtures tiled out towards the nearby Emirates Towers.Tony Hall says: “I was delighted to be able to use the Claypaky Mythos 2 from eclipse for this project. The outstanding output from these fixtures created one horse race as far as fixture selection went. During programming, the enhanced output, even in saturated colours, proved a winning combination. The units proved to be extremely robust, with no failures on site. Given the issues with getting to any units, this was of paramount importance.”photo: Jonathan Gonzaleswww.claypaky.comETC expands colour control capability with F-Drive W1 ChromaThe award-winning F-Drive LED power system expands with the addition of F-Drive W1 Chroma. The wall-mounted LED driver is compatible with Navis 100 RGBW luminaires, offering a new solution to control colour-mixing LED fixtures.F-Drive makes the critical components controlling an LED system accessible, utilising familiar category type cable with RJ45 connections. All F-Drive solutions control your LED luminaires via DMX with RDM configuration, management and monitoring. For simple connection to Navis RGBW, the W1 Chroma offers a single output for up to four uniquely addressable luminaires. The driver is convection cooled, making it ideal for noise-sensitive environments.With the addition of W1 Chroma, F-Drive now has more options for locations where a centralised driving solution is not required. Together, F-Drive power controls and Navis luminaires offer one robust LED system for any space. To learn more about the entire system, please visit www.etcconnect.com/Navis-F-Drive-System.aspxFor more information, users can easily schedule a one-on-one virtual product demo with an ETC team member. Find available time slots for an F-Drive and Navis demo at: www.etcconnect.com/schedule-a-demo/PLASA and ABTT join forces for 2021 eventPLASA, the association for the live entertainment technology industry, and the ABTT (Association of British Theatre Technicians) have announced a collaboration that will bring the 2021 editions of both the PLASA Show and the ABTT Theatre Show under one roof from 5-7 September at Olympia London.For 2021 only, this partnership between the two established associations aims to reduce pressure on the exhibition calendar as the industry’s eco-system recovers from the impacts of the pandemic and will bring the broad sector together for one landmark event.As previously planned for 2020, PLASA Show 2021 – for this year with the ABTT Theatre Show – will debut at Olympia’s largest hall, the Grand. The ABTT Theatre Show will run in its own defined space, retaining its own unique identity, and celebrating the ABTT’s 60th anniversary. The more spacious hall will also make room for more inspiring stands, more show features, and perhaps most importantly, extra aisle width for visitors to move around freely.It is with regret that PLASA Focus Leeds, due to take place from 11-12 May at the Royal Armouries Leeds, has been postponed for a second year. Following careful consideration of the uncertainty around the UK’s lockdown restrictions and the complex challenges facing the industry, PLASA made the decision to only present the PLASA Show this year and are very excited to be able to work with the ABTT in order to collaborate with the ABTT Theatre Show. By consolidating the trade show calendar to a single date line both PLASA and the ABTT are confident they will deliver the most beneficial and supportive event for the sector.Furthermore, to maintain industry energy and connection, PLASA has announced, following its debut in October 2020, a second PLASA Online from 10-14 May and that the ABTT, which has been supporting the industry with online seminars over the past twelve months, will also be collaborating in this and hosting some sessions.Peter Heath, managing director of PLASA comments: “With everything our industry has faced in the past 12 months, we have thought long and hard about how best to serve our exhibitors and visitors in 2021. We couldn’t be more pleased with our partnership with the long-serving and respected ABTT, who will bring their usual high standard of technical knowledge to PLASA Show this year, as well as our second PLASA Online this May. We are of course saddened that Leeds must wait another year, but we believe that our strategy for 2021 is absolutely the right thing to do while our industry recovers.”Robin Townley, CEO for the ABTT comments: “We are very much looking forward to joining forces with the PLASA Show this year to create a meeting place for the whole industry to get-together. The ABTT will have its own distinct area and will be creating the same friendly atmosphere that our visitors love about the ABTT Theatre Show. We look forward to seeing exhibitors and visitors, old and new, and to celebrating our huge 60th milestone.”With several months for the industry to re-open and regain its strength, the PLASA Show and ABTT Theatre Show partnership is anticipated to be the ‘come-back’ event for the live entertainment technical and production sector. To be the first to know when registration opens, register interest at www.plasashow.com.PLASA Online 2021 in collaboration with the ABTT will run from 10-14 May with an abundance of free specialist content. More information on how to register and watch the programme is coming soon.March 2021news6Showlight Announces Virtual Event – Save the Date!Following the postponement of Showlight 2021, Showlight has announced that a one-day ‘Virtual Showlight’ will be held in its place as a temporary interlude. The live online event will take place on Tuesday 25 May 2021 between the hours of 15:00 and 23:00 BST.The date coincides with the final day of the original event and the time has been chosen to best accommodate USA and European delegates, the night owls further east, and (with apologies) the sleepless in Australia and New Zealand!Virtual Showlight will host an online presentation of papers, each up to 30 minutes in length, from international keynote speakers, plus a live panel discussion. Q&A sessions will follow each paper with delegates able to message their questions via the chairperson.The remainder of the time will stay true to the spirit of Showlight with scheduled breaks between sessions providing opportunities for delegates, speakers and sponsors to network in ‘breakout rooms’ where they can spend the time mixing and mingling with others, both socially and within interest groups, in a virtual way.To coincide with this announcement, Showlight is issuing a fresh call for speakers to enrich the Virtual Showlight programme and make the most of the opportunities presented by the virtual format. Showlight envisages this will be especially appealing for those speakers whose commitments usually prevent them from speaking at a full Showlight event. Don’t worry, technical support will be available for those that might require it.Showlight is always on the look out for new speakers, so if you prefer to submit ideas for the full event, Showlight is also happy to hear these, just specify on the submission if you are applying for Virtual Showlight or Full Showlight. All ideas to be submitted to papers@showlight.orgSponsorship opportunities are available to facilitate this unique online event with the chance to host your own breakout room between papers sessions. Please email sponsorship@showlight.org for more details.Showlight is grateful to those sponsors who have already signed up early in support of Virtual Showlight: Robert Juliat as headline sponsor, ACT Lighting, Inc., Altman, Ayrton, ETC and Robe. Virtual Showlight is also kindly supported by its media partners, LSi, and by LSA.Tickets for Virtual Showlight will be issued on a first come, first served basis. Announcements will appear in the press and via the Showlight mailing list as soon as the ticket desk opens. In the current climate, Showlight has chosen not to charge for tickets but to leave it to the discretion of the delegates to add voluntary donations, with all proceeds going directly to selected industry charities, including Backup and Behind the Scenes.Virtual Showlight has been planned as an enjoyable day to touch base with colleagues and celebrate the lighting industry that we love. However, Showlight also confirms that Virtual Showlight is a temporary solution only, and the full Showlight event will return as soon as possible.“While a virtual event cannot match the magic of the original gathering planned for Fontainebleau, we are determined to maintain the spirit of this unique colloquium until that happy time when we can gather together safely in person,” says Showlight chairman, John Allen. “Virtual Showlight is a temporary, yet ingenious and enjoyable, solution to the restrictions caused by the COVID pandemic which also gives us the opportunity to raise money for our industry charities. Be assured Showlight will return as a live event in its full and wonderful form once it is safe and practical to do so. Until then, we look forward to seeing you online on 25 May 2021.”Don’t forget to sign up to the Showlight Mailing List, Facebook and Twitter pages to keep up to date with developments and be the first to hear when speakers are announced and tickets become available.www.showlight.orgAudinate Announces SDK for Dante Embedded PlatformAudinate, developer of the industry-leading Dante AV networking technology, has announced the availability of a software development kit (SDK) for manufacturers of Arm-based audio products. This SDK lets manufacturers deploy Dante audio networking as on-chip software in their products, reducing costs and conserving on space while delivering world-class audio performance.The Dante embedded platform SDK provides the tools needed to develop Dante-enabled products built upon 32- and 64-bit Arm Cortex-A processors using a Linux operating system, and supports online license activation for OEMs. The SDK allows manufacturers to validate their own designs for performance and capability, ensuring solid reliability for end users.“We’re very pleased to offer the first SDK for Dante as software,” says Nick Mariette, product manager at Audinate. “We’re just beginning to see the changes brought to the AV industry through families of software-based products. Arm-based audio devices are incredibly flexible and cost effective, and now Dante can be integrated in to deliver a truly great customer experience.”In addition to support for Arm Cortex-A processors, a Dante embedded platform SDK for x86-based audio products is anticipated for release in the near future.The Dante embedded platform SDK for Arm processors is available immediately.Ausma Lace Benefits from PMC’s Sound for The Future ScholarshipAusma Lace (pictured), a recording engineer from Latvia, has been awarded the Sound For The Future Scholarship, which was set up by UK loudspeaker manufacturer PMC in association with the Audio Engineering Society Education Foundation.This $5,000 prize is given to an audio engineering graduate who is also a member of the AES with the aim of helping them further their studies. In Ausma’s case it is helping to fund a Masters degree in Sound Recording at McGill University in Montreal, Canada.Currently in her second year at McGill, Ausma is studying recording techniques for various musical genres.“My course has given me the opportunity to explore different areas of the audio industry, including music production, immersive audio, audio for picture and live sound,” she says. “Recording and producing music is my passion and I am experimenting with the latest audio techniques and formats. My goal is to continue along this path and help musicians bring their creative visions to life.”Peter Thomas, PMC’s founder and chairman, says: “Graduate students are the lifeblood of our industry and the people who will ultimately advance audio technology in the future. As a company we have always been at the cutting edge of research and development and we are delighted to support students like Ausma by providing funding towards tuition fees and educational expenses.”PMC offers its Sound For The Future scholarship in conjunction with the AES Educational Foundation, which was established in 1984 to encourage talented students to enter the audio engineering profession. Grants for graduate studies with emphasis on audio topics are awarded annually, with recipients selected on the basis of demonstrated talent, achievements, goals and recommendations.“I am very honoured, grateful and excited to receive this scholarship,” Ausma says. “It’s wonderful that PMC is supporting young audio professionals like myself with our studies.”4Issue: 337news7Crt Birsa Calls On ChamSys for Mesmerising RTV DesignThe marriage between lighting and set design is never far from Crt Birsa’s mind. Only when light absorbs itself completely in its surroundings, can it exert its full power to transform. This is always true, he believes, but especially so when lighting television productions, where the limited and less forgiving eye of the camera replaces live human vision.“In TV shows lighting has to walk hand in hand with set design,” he said. “There must be tight collaboration between the lighting and set designers for the total design to reach the level of perfection that the camera demands.”Birsa and his frequent collaborator set designer Greta Godnic achieved this level, and then some, for a NYE special run by Slovenian National Television (RTV) in its famed Studio 1. Powering his five universe show with a ChamSys MagicQ MQ80, he wove light from 101 fixtures (not counting keylights) so tightly around the set’s myriad crystalline structures that they fused into a single spectacular vista that mesmerised from every camera angle.“On TV projects I usually work with Greta,” he said. “We make most of the things together. There is my input on her set designs, and there is her input on my lighting designs, so we can’t really say who did what. When building the set design, we are already thinking where to put the lights and where to leave space.“In this project, the geometric structures represented ice spikes or crystals, and were made from semi-transparent plastic material, “continued Birsa. The crystals were meant to be lit with the lights. Because they were semi-transparent, the light beams went through them to become part of the structure itself.”Precise timing of colours was critically important in making the collaborative design achieve its intended effect. Birsa credits his MagicQ MQ80 with helping him in obtain this level of control. “As I have done a lot of jobs with RTV, importing palettes was really important,” he said. “The speed of my desk was critical to this timing. It gave me a fast way to bring my show file to the starting point.“The Cue Stack macros of the MQ80, which make it possible for one cue to control (activate, release or manipulate) many other cues or playbacks, were also very important for programming the show,“ said Birsa. “They helped me start all the right cues on time. Something else that was really valuable about my ChamSys in this show was being able to replace a palette in a cue or a whole cue stack.”Another challenging aspect of lighting this television show was that the set had to be treated like a 360 degree stage. “We had to cover all angles for the camera,” said Birsa. “At the same time, we had to make sure that the key lights did not bleed onto the set and detract from our colours. The RTV technicians who ran the key lights did a great job avoiding the set in such a small place. Also, by allowing me to transfer my ideas to reality very quickly, my desk helped me manage this tricky situation.”Everything in his complex project was pre-programmed on his MagicQ MQ80, notes Birsa. This helped ensure that there were “no special surprises” in his show.No “special surprises” perhaps for this talented designer, but for those who tuned in on RTV, the show was a rewarding journey into the surprising visual delights that unexpectedly arise when light and its surroundings become one.PROTONES Calls on Chauvet to Set Mood for Netflix SpecialBuilt in 1908, the Laeiszhalle concert hall enchants visitors with its many unique architectural features, such as the towering organ integrated into the back wall of its stage. This made the historic venue an ideal setting for “Hype,” an on-demand Netflix production by and about the award-winning comedian and author Felix Lobrecht.No stranger to German fans, Lobrecht has rapidly risen to become one of the country’s most sought-after stand-up comedians as a result of his television shows and books. Following his first live tour, the highly successful "kenn ick," he launched “Hype” in early 2020.The appearance at Laeiszhalle was a stop on the Hype tour. As things turned out, it also wound up being the site of his stand-up special on Netflix, which was published on the streaming service in November 2020. Supporting this recorded performance was setting created by the PROTONES team from Lüneburg, and a lighting design by Alex Schmidt that featured over 75 Chauvet Professional fixtures.Led by project manager Niklas Martin, the PROTONES team took care to accentuate the extraordinary setting of this location, not only for the limited socially distant live audience, but also for those who would watch the on-demand production audience at home. Working with Schmidt, the PROTONES team created a look that supported the artist on stage, while also emphasised the remarkable ambience of the hall, an aspect of the production that was important to Felix Lobrecht himself."Our instruction from the client was indeed very specific about the appearance that the artist wanted for this show," said project manager Martin. “The special feeling you get from the location should be recognisable and visible in every scene. In practice, this meant that if possible, truss systems should be avoided or at least minimised. So, our focus was on a floor setup so as not to block the view of the dominant organ behind the artist, for example."Regarding the overall look of the show, Schmidt noted that the team had to create a compelling design without compromising the special qualities of the venue. "Everyone, the artist and the production company, wanted the architecture of the Laeiszhalle to be very prominent in this production," he said. “We wanted the environment to speak for itself. We did not want the image people saw at home to look like a typical sterile television studio. And of course, the image for the camera had to be absolutely perfect in order to be used for such a first-class broadcast production."While accentuating the distinctive characteristics of the hall, the design team appreciated that some areas of the venue had to fade into the background at some points for the sake of the broadcast production. “We had to direct the light exactly where we needed it, while keeping some areas in the dark,” said Schmidt. "That is why it was important to use fixtures with a small footprint and an extreme zoom function."Meeting this criteria were the rig’s 43 Rogue R1 BeamWash units. “The BeamWash was ideally suited to illuminate the organ on the one hand, but also to produce beam effects on the other,” said Schmidt. “The lamp is incredibly versatile and extremely compact, especially for architectural and effect lighting. "In addition to calling on the Rogue R1 BeamWashes, the team relied on the Maverick MK2 Profiles, Maverick MK3 Profile, Strike Saber, Ovation Cyc 1 FC, and COLORado Quad 1."We were also very pleased with the way in which the Strike blinders acted as replacements for conventional blinders in parts of the set," said Schmidt. “Thanks to their red shift function, we didn't have to make any compromises with these LED fixtures compared to conventional blinders. The MK3 Profiles and MK2 Profiles also turned out to be ideal choices. Controlled by a FollowMe system, we were able to achieve close coverage of the actor's lighting. This contributed significantly to the balanced light setting."Balancing the venue’s magnificent architecture with the stage itself, the overall design created a smoothly flowing and holistic setting for Felix Lobrecht's 60-minute performance. In so doing, it contributed to the creation of an on-demand production that reflected well on this rapidly rising star.March 2021news8ABTT Stephen Joseph AwardTo mark the centenary of Stephen Joseph’s birth and the 60th anniversary of the founding of ABTT, the ABTT Stephen Joseph Committee has announced an Award to commemorate the life and work of this maverick theatrical genius.Stephen Joseph was one of the most influential theatre practitioners of the last century. He was one of the founders of the ABTT and also the Society of Theatre Consultants now the Institute of Theatre Consultants. He promoted new writing, architectural standards and technical excellence, and was an inspiring university teacher. His pioneering work has given rise to the use of myriad forms of theatre and open staging in current practice. At the heart of his philosophy was the close and fundamental relationship between performer and audience. Above all, he established theatre-in-the-round as a legitimate theatrical form in the UK.This award honours Stephen’s wide-ranging legacy which continues to influence many aspects of theatre practice. The first ABTT Stephen Joseph Award will be presented in June 2021.There are three categories from which one recipient of the Award will be chosen. For the sake of clarity, there will be just one award in 2021 presented to the most deserving nomination drawn from any one of the categories.These categories are:A living individual whose work or body of work has created an exemplary and adventurous relationship between performance and audience.A twenty-first century company that is widely acknowledged for its skills and innovation in creating live theatrical experiences in unconventional spaces.A venue which excels, either by configuring an empty or found space or by having recently developed a theatre building, in providing an imaginative range of adaptable staging, including in-the-round or a purpose-designed theatre-in-the-round.Nominations across these three categories might include, as examples: a theatre-in-the-round still in operation as a part of Stephen’s continued legacy, or a company or an individual whose new work reflects the essence of Stephen’s practice creating live theatrical events in shared performance spaces in which traditional barriers between actor and audience are removed or challenged.For the first ABTT Stephen Joseph Award nominations will be accepted for work produced or environments created in the United Kingdom.How to Nominate:Please send your nominations to the ABTT office at office@abtt.org.ukPlease include:Your contact details,Details of the nominee and a short statement of no more than 250 words clearly explaining why the individual, company or performance environment is being put forward for the award,A short statement of no more than 250 words from a seconder: someone with personal knowledge or experience of the venue, the work or the practice of the person being nominated.Supporting evidence such as photos, video clips, designs, reviews, and testimonials.Nominations must be received no later than 30th April 2021. For more information about this award or to put forward your nomination please contact: office@abtt.org.uk#WeMakeEvents gives evidence at DCMS hearing on UK festivalsOn Tuesday 2 February, #WeMakeEvents gave evidence during a DCMS Select Committee inquiry into the future of UK festivals, represented by the leader of the campaign’s political group Duncan Bell who detailed the ongoing challenges faced by the live events and entertainment industry.When asked if there is a problem with people leaving the industry due to COVID-19 Duncan answered that: “Freelancers have been forced to find work elsewhere. In a recent survey of 2,800 people over 30 per cent of freelancers said they have had to leave the industry, and 20 per cent say they hope to come back but are very unsure whether they are able to because of the lack of certainty.” #WeMakeEvents is currently verifying the data from this survey and will be publishing the full report in the coming weeks.One of the central aims of #WeMakeEvents is to get government-backed cancellation insurance for events and following a question on the financial processing Duncan explained: “In many cases there will be payments in the planning stage but the majority of funds will not be paid until the event has gone ahead, it’s one of the reason the insurance discussion is such an important discussion for us.”Duncan continued: “Conversations have been going on for some time and we have put forward various schemes. I think the urgent requirement and benefit of the insurance is to bring certainty to being able to plan and book equipment, making it the first link in the chain, not the last.”A road map still has yet to be presented by government on how and when the events industry is likely to re-open. Duncan commented: “We need the clarity and engagement. It’s not about a definitive date, it’s about a plan of what the picture could look like; how do we think a safer event could happen, how does insurance allow that to happen, how does rapid testing fit in to that process? One of the points that is missed in many conversations is that unlike certain sectors we have not been forced to close legally and therefore many support systems aren’t triggered. Many businesses in our sector have been operating on five to six per cent income over the past ten to 11 months.”In addition to the huge loss of earnings throughout 2021, Duncan also raised crucial points regarding Brexit and the future potential for loss of work: “There is a fear that technicians and crew will come in from the EU because of their passport status. We will see UK companies being less favourable and staff will be sourced from the EU and therefore will only have one country to work out for their work permit.”Later in the inquiry, Duncan got to the crux of why the events industry has struggled to receive adequate government support: “One of our biggest frustrations is that we represent the hidden bit, we are invisible and go out of our way to be invisible. People go to the theatre or a festival and take for granted that it happens magically. People are not aware of the thousands involved over a period of time, in many cases for festivals it’s a year-long process.”Following the inquiry, the BBC reported on the future of festivals, quoting Duncan and his fellow witnesses: tour manager Tre Stead, Nottinghill Carnival chief executive Matthew Phillip and Wild Rumpus director Rowan Cannon. Moreover, this crucial evidence will be evaluated and considered by top-tier government officials when developing safety procedures for live events in the future.7news9Issue: 337CUK Group to distribute Sound Control Technologies in the UK Sound Control Technologies (SCT), the Connecticut, USA-based manufacturer best known for its camera extension solutions, has appointed CUK Group to distribute its products in the UK where distribution was previously handled by ScanSource.The addition of SCT to the CUK Group portfolio significantly strengthens the company’s video products offering which has grown through the recent addition of several brands and the purchase of York based distributor, Tukans.“SCT products are renowned in our industry not only for the problems that they solve for AV integrators but their rock-solid reliability.” states Stuart Thomson, managing director at CUK Group. “Our focus is to make sure that these products are backed with great customer service, technical support and of course fast delivery from our East Kilbride distribution centre.”Peter Nice, SCT’s business development manager adds: “The success Sound Control Technologies has achieved is down to being close to our customers and end users and understanding their needs. Partnering with a distributor like CUK Group that shares our philosophy of building strong relationships will ensure we continue to develop our business in the territory.”KV2 Audio introduces the new CS Series loudspeaker range for high fidelity vocal reinforcement applicationsIn response to customer demand, KV2 has introduced the new CS Series loudspeaker range that has been specially designed to deliver ultra-high vocal intelligibility and music reproduction in a compact form factor. A variety of flexible mounting options and easy connectivity make the CS range an ideal candidate for the corporate and rental markets.The range consists of three extremely high quality two-way passive loudspeakers: the compact CS6, the medium sized CS8 and the larger CS12. Voiced for speech and utilising KV2’s analogue delay line first developed in the revolutionary ESD series, these discrete solutions are able to cover surprisingly large areas with relatively few boxes, providing excellent results in even the most challenging acoustic environments.For rapid deployment the focus was placed on easy handling and quick connectivity. Accessories include a KV2 pole mount for speaker stands, as well as vertical and horizontal brackets with a precise tilt angle setting. The M10 fixing points cater for other standard accessories such as spigots, clamps and couplers.The low profile trapezoidal cabinet design offers 35 and 55 degree angles, which also makes the CS range perfect for a variety of personalised monitoring situations.The easy handling and connectivity of these boxes means less time is wasted during set up, with a 1+/ 2+ speakON connection, switchable in the field, allowing an additional speaker ring to be run independently down the same cable. The CS6 also features speakON connectivity in the top and bottom alongside the rear panel for neater cabling possibilities on a truss.With exceptional KV2 quality as standard and unprecedented vocal intelligibility coupled with easy handling and connectivity, the CS range is a worthy addition to any rental inventory.Next >