SolaSpot Pro 1500s for Ipswich Civic Centre
Posted on Friday, February 24th, 2017
The Ipswich Civic Centre, south-west of Brisbane, is a typically busy and multi-faceted regional performing arts venue, hosting an eclectic mix of touring theatre and musical acts, local productions, community events, and business functions. Its beating heart is the George Hogg Auditorium, which can accommodate 740 punters in flat-floor concert mode, or 540 in raked theatre seating. In their lighting rig, the Ipswich CC needs to be nimble, cost-effective, rider-friendly, and polished, which is why they’ve chosen to install four High End Systems SolaSpot Pro 1500s.
“We started looking at LED because we wanted to get away from bulb changes and heat related issues and maintenance that come with conventional light sources, as well as trying to reduce our overall power consumption.” said Ben Harth, Senior Technician, Lighting at Ipswich CC. “We like the overall longevity, colour saturation, and brightness of LED sources.”
Ben and the Ipswich lighting team auditioned a range of moving lights, carefully choosing the best fit for their existing rig. “We were looking for an LED mover that would punch over the top of the lighting rig giving us some really powerful beams looks. With the advancement of LED we knew LED lamp source was the only way to go regarding the balance of venue power and delivering the lux level range required. In the end, it was the SolaSpot Pro 1500s brightness that won out.”
While the 20,000 lumens produced by their 400w LED engines was the killer spec that got the SolaSpot Pro 1500s in the door, it was the raft of other features that has made them a staff favourite. “The shutters are a huge bonus because that enables us to use them as theatrical fixtures as well as dance fixtures,” continued Ben. “For the dance schools, there’s plenty of flash and they’re punching over the top quite easily, but we’ve also been using them in corporate settings. We’ve been able to throw a lot of different looks around the room using things like layered gobos and colour. We’ve created custom effects using the on-board features, and used the shutters when shooting onto panels to neaten up the look.’
Getting the new fixtures up and running was a breeze, said Ben. “It was really easy to integrate them into the rig,” he confirmed. “As was getting the fixture profiles into our desk. We’ve been pleasantly surprised by the speed of their movement, and by the quality of their colour. For an open white LED engine, they are phenomenal as far as colour mixing is concerned. They’re just a really good unit that works really well.”
Ipswich Civic Centre’s SolaSpots were provided by Graeme Hicks of Entertainment Production Supplies. EPS, based on The Gold Coast, specialise in servicing performing arts venues, supplying lighting, sound, control, and theatrical infrastructure. “Graeme was great,” Ben related. “He’s been coming in and showing us new toys for a while now! He offered us good advice in getting them running, and directed us to where to get the profiles. He made it all really easy.” Ipswich and EPS are both backed by Australia and New Zealand High End Distributor Lexair Entertainment, providing quality technical and service support for every application.
Martin RUSH and ShowPro for Tamworth venues
Posted on Friday, February 10th, 2017
Robert Elsworthy, Venues Technical Supervisor for Tamworth Regional Council, looks after three venues; the Capitol Theatre in the heart of Tamworth’s CBD which is a multi-purpose performing arts theatre, Tamworth Regional Entertainment and Conference Centre (TRECC) which is the home of the CMAA Country Music Awards and the Tamworth War Memorial Town Hall.
Recently he took delivery of sixteen Martin RUSH MH6 and thirty ShowPro Quad-18 LED PAR to join the thirty ShowPro Quad-12 LED PAR they already owned.
“The stage in the Town Hall is quite small so we wanted the Quad-12’s to give us a nice stage wash as we don’t have dimmers,” said Robert. “In the Capitol Theatre we wanted some moving LED wash lights as we often have acts such as tribute bands which are sometimes forward, sometimes back and the RUSH MH6 save all that time focusing. We usually have twelve RUSH MH6 in the roof of the Capitol and they cover the stage well, plus we still have four more to place on the floor if we wish.”
The nearby Tamworth Regional Entertainment and Conference Centre hosts quite a few large business events where the RUSH MH6 supplement the inhouse lighting, enabling the entire venue to be washed in colour.
“Our aim was to ensure that all of our venues were covered by LED washes and next we’ll be looking at LED moving head profiles,” commented Robert. “We were impressed by Martin MAC Quantum Profiles that Event Services used at the CMAA Country Music Awards but it’ll be a while before we make any purchases.”
Robert also specified ten ShowPro LED Profiles which he reported are excellent on stage for colour changing gobo washes.
Strawberry Sound chooses MA2 light
Posted on Monday, February 6th, 2017
“As our lighting department has grown, we’ve been looking at purchasing a console and we believed that the MA2 light gave us a point of difference,” said Dave Craig. “There aren’t that many in New Zealand, yet everyone asks for them.”
Dave commented that his MA2 light has been out on many high end corporate dinners as well as a range of rock’n’roll shows.
“Our lighting guys love it,” he added. “The amount of work they can do pre-show in the visualizer has made the time on the actual job so much easier and quicker. They love the functionality of the console and find it very intuitive to use.”
Photo: Dave Craig and Alex Jones
Posted on Thursday, February 2nd, 2017
Based in Melbourne, ADDITIVE consists of Ben “Bosco” Shaw, Paul Lim and Tom Wright who between them offer an amazing range of skill sets. After years of working on productions and festivals around the world, these three experienced professionals, and close friends, have joined forces to harness their collective industry experience and technical knowledge.
“Whether it’s an innovative design, a complex activation or an expansive festival, concert, theatre production or event, we offer experience, knowledge and creativity to deliver an elegant solution tailored to any budget or timeline,” commented Tom Wright. “ADDITIVE is a design and technical production house made up of good guys who want to see your project evolve and succeed!”
ADDITIVE offer a very design driven production process, turning client ideas into an elegant and precise productions, custom to the client.
Meet the talented ADDITIVE team who are ready for a challenge:
Bosco is a lighting and set/space designer and builder. His interest is in work that involves bodies and movement, how light feeds across, and can influence, a space. Predominantly he sees his role within the development of works to propose and facilitate alternate lighting sources and means, so that an idea can evolve spatially and have subtle resonance.
Bosco has worked with large contemporary dance companies, intimate projects and individual artists, theatre works as well as designing and installing lighting for public spaces. He has travelled extensively in this capacity, has a background in drafting and is a passionate lover of beautiful buildings and fast motorbikes.
Training as a theatre stage manager in the UK gave Tom the grounding to understand how each department and individual plays a part in all productions, small or large. Always to be found chatting – to crew, artist and clients – he loves the conversations that working in the arts provides and enjoys nothing more than helping a project deliver its message to the audience.
He brings a wealth of technical knowledge, a love of lighting and broad experience in the delivery of large-scale music concerts and events to ADDITIVE.
Paul can be happily found either buried in stacks of scheduling and budgeting paperwork, or with a soldering iron in his hand, fixing circuit boards, there aren’t many aspects of putting on a show that Paul hasn’t tackled and succeeded in during his career.
He uses this multi-faceted knowledge, plus a keen interest in emerging technologies, to provide integrated solutions in theatres, festivals and events around the world.
So if you’re looking for innovative results contact ADDITIVE to discuss your next project.
ResX Hits 50 Quantums
Posted on Wednesday, January 25th, 2017
Resolution X is proud to announce the arrival of their 50th Martin MAC Quantum Profile. This latest purchase brings their fleet of Quantums (Washes and Profiles) to over 100 units. TheQuantum Profile has proved to be a huge success with ResX’s clients and crew since their arrival in late 2014. The Quantum boasts a robust build quality, small form factor, low weight and superior optics that perform like a traditional discharge mover but all from a LED driver.
“I was initially sceptical about a LED profile mover but after seeing it in action I can’t go back” commented Jamie Russell ResX’s Senior Manager of Hire & Production. “I’ve been very impressed with how crisp the Quantum Profiles gobo projection is”.
To obtain a quotation or demo of the Martin Quantum range please contact the friendly staff at Resolution X ResX@ResolutionX.com.au
Ayrton for South West Solutions
Posted on Wednesday, January 25th, 2017
Matt Downs of Melbourne-based South West Solutions has a knack for purchasing lighting gear that he can subsequently hire out to larger production companies! Matt was one of the first to realise that Ayrton products would soon be a regular fixture requirement on international tours as well as local productions.
He now owns a dozen Ayrton MagicPanels, currently on Icehouse, and twenty-eight MagicBlades, currently touring with Bruce Springsteen.
“Just a handful of MagicPanels can make a huge impact on a stage!” said Matt. “They are very bright, fast and flexible. They have a beautiful beam and make a powerful wash light. The pixel-mapping is very effective, and there are lots of preset effects. The continuous rotation facility is great and they really are a lot of fun.”
Matt remarked that the MagicBlades also deliver very cool effects, original design, continuous movement, and are very bright.
“The MagicBlades produce some amazing effects and really allow for some interesting design possibilities,” added Matt. “Their movement, colour, on-board macros and console effects allow you to create some fantastic and unique looks.
Matt further reports that both Ayrton models have been reliable out on the road.
BCEC takes on MA Dot2’s
Posted on Friday, January 20th, 2017
Many years ago, the Brisbane Convention & Exhibition Centre purchased their first MA Lighting console in the form of a grandma light. In 2013 they added a grandMA2 light to their inventory and at the end of last year they expanded further with the acquisition of a Dot2 Core and a Dot2 XLF.
Michael Duckworth (AV & Production Services Manager), Mathew Burke (Lighting Manager) and Athol Sargood (Snr Technician – Lighting) decided to implement a long term plan to upgrade their inventory of lighting consoles with grandMA2 and Dot2 control.
“Our main drivers for this approach were product reliability, industry demand and user functionality,” commented Athol. “By investing in the MA brand we not only benefit from MA’s product reliability but our team streamlines their understanding of one system language. This continuity between consoles make complete sense.”
Athol further commented that the training benefits are also improved as the team no longer need to understand multiple brands and system languages.
The Dot2 consoles have been installed in The Boulevard Room and The Sky Room and, according to Athol, they have been well received by the BCEC lighting crew/operators and AV operators who also use the consoles in Presentation Mode.
“We hope to add several more Dot2 Core and Wings, plus another MA2 light in the future,” added Athol.
Martin RUSH for Scene Change Adelaide
Posted on Wednesday, January 18th, 2017
Scene Change Adelaide added Martin RUSH MH7 and MH6 fixtures to their inventory prior to Christmas. The resourcefulness these fixtures offer was essential for the busy holiday season and Nick Waterman, Director SA, Scene Change, commented that versatility of lighting was key to working within their clients’ budgets.
Pictured are a couple of Christmas themed events held in the Adelaide Town Hall, a heritage building with the famous organ creating the backdrop to the stage and the use of haze is not permitted.
“So you lose the beam effects and instead have to work on lighting the walls and organ to create your looks, as well as include some visual effects from stage,” said Nick. “Our Lighting Designer, whilst in correspondence with the client, came up with a Christmas tree truss upright to sit on the front of stage. This was adorned with ShowPro Hex strips acting as the tree branches and Martin MAC101’s as the baubles.”
Some of the in house stage wash fixtures were removed and replaced with the RUSH MH6s.
“These lights were incredibly flexible, acting as room wash on arrival, stage wash for performances and dance floor lighting later in the night,” remarked Nick. “We also rigged four RUSH MH7s to deliver gobo effects onto the organ and floor, plus these also doubled for the awards section of the night spotting winning tables.
“Our whole team love the RUSH MH7 fixture with its range of modern gobos and high light output. Then combined with the zoomable RUSH MH6, we can create some fantastic shows while still giving our clients great value for money.”
40 Claypaky Scenius Profiles for CTS
Posted on Thursday, January 12th, 2017
Claypaky’s extremely high quality Scenius Profile is a light for all shows; not just as an effects projector, but also as a key light. This greatly simplifies the lighting system layout since the same light can perform multiple tasks. At last there is a moving light with a discharge lamp whose characteristics also arouse interest in those who work in the theatre and television!
Consequently it’s no surprise that Australia’s leading lighting rental company Chameleon Touring Systems snapped up forty of these ground-breaking fixtures.
“The Scenius Profile is another in a long line of superior fixtures from Claypaky,” commented Tony Davies, managing director of CTS. “It has an incredible array of features and functions making it ideal for designers looking for additional beam control and shaping, particularly theatre designers. However, the Scenius Profile will also benefit any production that needs high-quality front or scenic lighting.”
Tony was particularly impressed by the Scenius Profile’s extremely even and flat field, saying there was a very smooth field all along the entire zoom range and the quality of the light is by far better than competitors with its CRI of above ninety. Owning such a large and busy production company, he also liked the modular nature of the Scenius Profile which makes servicing very easy.
“It also offers smooth colour mixing and the zoom is very fast and covers a wide range, from 8º to 50º,” he added. “And of course, it’s very, very bright!”
The lamp is a unique example of a high power discharge lamp with high CRI (always greater than 90). OSRAM achieved this through substantial R&D investments.
Twelve of CTS’s Claypaky Scenius went straight out onto the critically acclaimed, smash hit and Helpmann-Award winning musical Ladies in Black. Produced by Queensland Theatre, this swanky new home-grown musical is currently playing at the Lyric Theatre as part of the Sydney Festival.
Lighting designer for this stylish story of fashion, friendship and 1950s Australia, is David Walters who did not specify the Claypaky Scenius but was delighted with their performance.
“I needed a Profile that had shutters, largely because the set consists of three revolves with columns of rotating mirrors and I needed to keep light off of the rotating mirrors to avoid blinding the audience,” said David. “In fact the main feature of this lighting design was not getting light in the audience’s eyes.”
The Scenius Profile was ideal for this as its framing system consists of four independent overlapping blades that create shapes of all sizes, not just quadrangular, but also triangular. It works simultaneously on four different focal planes and the exclusive “curtain effect” allows gradual total closure of the shape using any one of the four blades. The shape made may also be turned around itself up to an angle of 90°, either to change its orientation or keep it fixed as the light beam moves.
David soon discovered that the shutters on the Scenius were extremely useful as each individual shutter has the ability to close completely.
“The individual shutter control was extremely useful as it meant I could virtually dowse the light with a single shutter and yet all four shutters can be in focus,” he added. “I don’t quite know how they achieve that optically, but you can get complete coverage with all four shutters. Not only that, you can also rotate the shutter assemblage almost like you’re rotating the barrel on a Source Four. You can also frame gobos with incredible definition and keep a sharp focused edge when using framing, something very few fixtures can do, and that proved extremely useful.
“The thing that strikes you first when you switch on the Scenius is that they are so bright, there’s a lovely intensity to them which was also extremely useful to me. I also love the lovely, rich colours and colour mixing.”
The CMY colour system, the linear CTO, 7 fixed colours, 14 gobos (6 rotating + 8 fixed), rotating prism, 2 variable frost filters, and a very precise dimmer enhance the performances of the Scenius Profile.
Photos: Lisa Tomasetti
A New Era for ALIA
Posted on Tuesday, January 10th, 2017
We tackled a few major issues, organized product evenings, conducted many backstage tours and kept you informed.
Unfortunately it’s very difficult to get a committee that can commit time and effort to sustaining ALIA as an association. Everyone is keen and full of ideas but they are also time poor. As a result, I regret to inform you that ALIA is no longer an Incorporated Association.
But it’s not all bad news. Over the years I have kept the ALIA website going, posting most days, and have organized all the backstage tours. Some people believed that when I stepped down as Vice President, I left ALIA but nothing could be further from the truth.
I am still the driving force behind ALIA and with the good wishes of the last committee, I intend to run ALIA as it always has been ….. maybe even better! It just won’t be an association but a private enterprise. It was either that or no ALIA at all.
Company members will see no change and individual memberships will cease.
There will be a lot more social media interaction and we are currently setting up a new hosting service to enable better representation in those areas.
I have a few backstage tours coming up and money paid to attend these will be donated to an industry charity.
I will probably keep the ALIA name but the initials will not stand for anything.
If you have any enquires please email me at firstname.lastname@example.org
Power specialist targets Australian market
Posted on Tuesday, December 13th, 2016
Power distribution specialist, ide Systems, is branching out to Australia with its range of British-made power distribution equipment. The equipment includes distribution units, transfer switches and power cables for sectors that need temporary power such as events and exhibitions, construction, healthcare, industrial and offshore.
The company started the expansion with its recent delivery of an Australian order for a range of bespoke 400A power distribution boards. Ide Systems responded with the prompt delivery of the customised product. The client chose ide Systems specifically because of its high-quality products made in Britain and its reputation across the UK.
The company has adapted many of its electrical products destined for the Australian market, such as using the red, white, dark blue and black colours for power cable insulation. With 22 years of experience, customising and delivering power distribution products, the company is ideally placed for the individual challenges of the worldwide market.
“We knew from our research that the quality and cost of power equipment is a big issue in the Australian market and this is one of the reasons we targeted the country,” explained Matt Collins, business development manager at ide Systems. “A lot of the power distribution equipment in Australia comes from one of its nearest manufacturing nations, China, where quality isn’t always up to standard.
“Because Australia’s electrical standards and principles are very similar to ours here in the UK and because we can match international air-freight delivery times, we can offer our Australian customers competitive power distribution solutions. Our Australian expansion is just one step towards achieving our global outreach. We are currently selling our products worldwide and we will soon be introducing our rental service to the UAE.”
MA Lighting for New Zealand’s Vibrant Lighting
Posted on Monday, December 5th, 2016
New Zealand’s Vibrant Lighting have been looking to replace their Hog 3 console with something newer and because the business has grown over the last few years, they were looking for a more capable console.
“Initially, we looked at the Hog 4 range,” remarked Sarah Edwards, Designer/Project Manager at Vibrant Lighting NZ. “I have used the Roadhog 4 and the Full Boar for both theatre and live, and given their prevalence in NZ, they seemed like the only other sensible option.”
Fortunately for Sarah, Show Technology’s presence in New Zealand is quickly changing the status quo when it comes to lighting equipment availability and consequently MA Lighting consoles are starting to take over.
“We looked at the capabilities and support for both consoles, and MA has better support and is generally more powerful,” said Sarah. “I had been working as an MA2 programmer for a few years in the UK before moving out to NZ, so I am very familiar with the capabilities of the software, and the support available. I have designed a variety of networked systems in the UK for venues using the MA software, and I already own a MA onPC command wing, and a 4 port onPC node, so it made sense to expand the existing system.”
A MA2 light was purchased as it is ideal for a small company such as Vibrant and as Sarah is always looking to save time on site, she uses the MA3D to pre-visualise their larger jobs and theatre shows.
“The onPC set up is great, but it is limited in terms of control surface,” Sarah further explained. “The modular aspect of the onPC is great, but on larger events, the lack of buttons eventually slows you down. I use a lot of buttons and macros in my programming set ups, and it’s nice to have space to put them. It is a much faster to set up than the onPC: all in one box, on wheels. We also saw the opportunity to hire the console within the South Island, as MA is a common lighting rider request these days. I have worked at a number of venues with the MA ultralight, but the loss of a screen always seemed like a compromise too far. I miss the level wheel! And the internal UPS and keyboard are handy to have.”
Sarah commented that she has always been impressed with the networking ability of the MA software, and the ability to create all sorts of macros to assist your programming or show operation.
“I’m just starting to experiment with LUA. There are so many ways that you can approach the software, and several different ways to achieve the same outcome, it doesn’t really matter what desk background you come from – you will find workflow fairly easily. Even at a basic level, copying values between cues and fixtures is very quick and simple. I can set up different user profiles, so depending what I am programming, I can switch my set up to suit. I’m also fairly dyslexic so the option to colour views is very helpful when it comes to quick navigation. There are so many options within the software, it’s all there for you to use however you would like.”
As Sarah’s background is mainly as a console programmer in the UK, she has programmed the old Strand 520i consoles for theatre productions and has used Hog, Avolites, Compulite and ETC consoles. The transition to the MA platform was very simple although she does admit to spending a lot of time ‘nerding out’ on share-net reading and learning!
“It opened my eyes fairly quickly to what is possible,” she said. “I am more or less self-taught, but I did work with a few ex MA employees in the early days which helped me along. Every software release brings new functionality so learning the console is a constant process. Tristan and the rest of the crew are happy working on it, and enjoying the process of figuring out what works well for them. Our two main consoles are now the same brand, and for them it’s easier than switching between consoles all the time.”
Auckland Live boosts Robe stock
Posted on Tuesday, November 29th, 2016
Their existing stock of Robe moving lights is now boosted with the addition of 44 new LED moving lights – 12 x DL4S Profiles and 32 x LEDWash 800s.
Head of lighting Malcolm Ibel has been using Robe moving lights increasingly in his work in recent years, and Auckland Live initially invested in the MMX Series with the purchase of 12 x MMX Spots and 12 x MMX WashBeams.
Having been extremely happy with the performance of these and what they brought to lighting the various venues and shows, they had a solid basis for the decision to go with the latest purchase.
The DL4S Profile was selected for its finesse and elegance as a theatrical luminaire – compact size, light weight, good zoom, superior colour mixing including great whites and high CRI for good flesh tones, plus super-smooth dimming and shutter blades.
The LEDWash 800s were also chosen for their excellent colours and ability to reproduce the intricate pastel ranges as well as all the bold primaries and secondaries, and as a general solid and dependable all-purpose fixture.
Like the MMXs, the new fixtures will be deployed across the various Auckland Live venues, and were also delivered by Robe’s Australian and New Zealand distributor the ULA Group and their local representative, Lighting Supply Company, with whom Malcolm enjoys an excellent relationship.
The Auckland Live venues includes the historic Auckland Town Hall, a well-known 1600 capacity concert hall; the Aotea Centre with 12 different spaces and home to the Auckland Philharmonic Orchestra; The Civic Theatre, a highly atmospheric 3000 seater Art Deco architectural masterpiece; and Aotea Square, a public space nestling between all these venues, as well as the Viaduct Event Centre and the Bruce Mason Centre on Auckland’s north shore.
Malcolm’s association with Auckland Live (previously known as The Edge) actually goes back to 1991 when the Aotea Centre opened in the city centre. He returned full time 11 years ago after freelancing and working internationally lighting many different shows and tours.
He started specifying Robe products a few years back for certain special events, for which they were hired in, which led to him recommending that Auckland Live start investing in their own set of moving lights. The move was approached with trepidation, as up until that point they had traditionally lit most of their own productions with conventionals.
“The Robe kit is properly innovative – it’s not just a reinvention of something that has gone before … with every generation of product development new technology is used and optimised,” says Malcolm.
Being run by Auckland City Council, a commitment to having the right ‘green’ credentials is also important, and “Robe are bang-on” in this context he says.
Getting units that were properly ‘multi-functional’ was another consideration. He needed fixtures that could be used to light a drama or a dance performance and also do some raucous rock ‘n’ roll shows.
MAC Vipers for Metro Productions
Posted on Monday, November 21st, 2016
New Zealand’s Metro Productions have added four Martin MAC Viper Performances to their rental stock. The MAC Viper Performance is a full-feature framing fixture complete with an iris and animation wheel along with rotating gobos.
“We wanted a moving light profile that had a shutter and the MAC Viper Performance filled that brief nicely,” commented Jeff Hewitt, Metro’s managing director. “We have found them to be fantastic and have used them for musical theatre – Sister Act – where they proved to be a premium unit for theatre. We’ve had them on corporate events where we’ve had to provide effects as well as use the shutter to keep the lighting on stage at corporate events so it doesn’t spill onto screens.”
Jeff reports that their brightness is fantastic saying that they are a super bright fixture with no compromise in light output or beam quality.
Pictured is the Wellington Regional Business Awards where the brief was to provide a ballyhoo over the tables and then spot the winners on the winning table. The MAC Viper Performances were rigged on a central truss directly overhead from where they could provide ballyhoo effects around the room before zooming and irising in on the winning table.
“It worked brilliantly,” concluded a satisfied Jeff.
A New Australian Home for GLP
Posted on Thursday, November 17th, 2016
Dave Taylor, Director of Sales of TLC Global comments, “I couldn’t be more excited by this appointment and now having GLP as our flag ship brand, GLP has always produced the highest level of unique products and this has been proven with the numerous industry awards they have won over the years including the recents awards for X4 Bar 10& and 20 and the new Hybrid GT-1.”
Soren Storm, GLP Sales Director Asia & Pacific also comments, “We, at GLP are very excited about our new partnership in Australia with TLC Global. TLC is a well connected company with a great spirit and an enthusiastic and hardworking team.
“We are really looking forward to be working with a distributor, where GLP will be in focus. We are confident that this new partnership will give GLP, an even better presence in the Australian market. GLP have been very successful for many years, in both Europe and the USA and we are looking forward to continue this success in The Australian market.”
The innovative product range from GLP, which includes the Impression GT-1, X4 Range and the new Impression X4 Atom add to TLC Globals rich and quality oriented range.
TLC Globals head office on Queenslands Gold Coast has a tight knit team of dedicated professionals with many years of experience within the entertainment industry, TLC has set a course for becoming one of the most prominent supplier of international professional lighting and LED Screen in Australia.
Claypaky deliver versatility to Lighthouse LX
Posted on Tuesday, November 15th, 2016
Lighthouse LX had the pleasure of supplying fixtures and technical systems for the Sydney leg of Tkay Maidza’s Australian tour at the Metro Theatre. Brisbane Lighting Designer, Sam Jarousek, was one of the first to get his hands on their new Claypaky Sharpy Wash 330 PC fixtures and as the pictures so clearly show, he used them to great effect.
Victor Mrowka, owner of Lighthouse LX, explained that the Sharpy Wash 330 PC was ideal for his small business as he needs fixtures that are very versatile.
“I can’t afford to purchase a beam light or a wash light and not have it do one or the other,” he remarked. “I purchased the Sharpy Wash 330 PC because compared to the regular Washes, they have a slightly smaller zoom range but much better output. It’s great because they do two things; they do beams for festivals and shows like at The Metro plus they can be placed in a theatre setting to provide a solid, uniform wash light.”
Victor commented that the light output from the Sharpy Wash 330 PC is very impressive as is the colour rendition. He also finds the frost filters to be very helpful when a nice soft wash is required.
In addition to the eight Sharpy Wash 330 PC fixtures, the Tkay Maidza show had fourClaypaky Alpha 700 HPE, eight LED Fusion Bars, two Martin Professional Atomic 3000 LED and a Look Solutions Unique 2.1 hazer.
Lighting designer Sam was rocking his own MA onPC command wing as console.
Photos: Too’Eazy Photography
Samsung to acquire Harman for $8 billion
Posted on Tuesday, November 15th, 2016
Samsung Electronics and Harman International Industries Inc have entered into a definitive agreement under which Samsung will acquire Harman for $112.00 per share in cash, or total equity value of approximately $8.0 billion (£6.4bn). Samsung says the transaction will immediately give them “a significant presence in the large and rapidly growing market for connected technologies, particularly automotive electronics, which has been a strategic priority for Samsung, and is expected to grow to more than $100 billion by 2025”. Harman is the market leader in connected car solutions, with more than 30 million vehicles currently equipped with its connected car and audio systems, including embedded infotainment, telematics, connected safety and security.
Oh-Hyun Kwon, vice-chairman and CEO of Samsung Electronics comments: “Harman perfectly complements Samsung in terms of technologies, products and solutions, and joining forces is a natural extension of the automotive strategy we have been pursuing for some time.”
Samsung predicts that the purchase of Harman will deliver significant growth opportunities and benefits to customers by leveraging Samsung’s and Harman’s complementary technologies, resulting in increased market penetration across important end markets. “The combination will also expand the combined company’s business-to-business platform through its ability to deliver integrated, large-scale audio and visual professional solutions at stadiums, concert facilities and other performance centres such as The John F. Kennedy Center for the Performing Arts and Staples Center – home of the GRAMMY Awards,” says Samsung.
Dinesh Paliwal, Harman chairman, president and CEO, comments: “This compelling all-cash transaction will deliver significant and immediate value to our shareholders and provide new opportunities for our employees as part of a larger, more diversified company. Today’s announcement is a testament to what we have achieved and the value that we have created for shareholders. Samsung is an ideal partner for Harman and this transaction will provide tremendous benefits to our automotive customers and consumers around the world. Combining Samsung’s strengths in leading-edge displays, connectivity and processing solutions with Harman’s technology leadership and long-standing customer relationships will enable OEMs to provide new offerings for their customers.
“Partnerships and scale are essential to winning over the long term in automotive as demand for robust connected car and autonomous driving solutions increases at a rapid pace. This transaction will bring Harman and Samsung’s complementary strengths together to accelerate innovation in this space. More broadly, this investment underscores the strength of Harman’s employees, as well as our success and leadership across our markets. We look forward to working together with Samsung to elevate experiences for consumers worldwide.”
Operating Structure and Leadership
The deal is expected to be completed mid-2017. Upon closing, Harman will operate as a standalone Samsung subsidiary, and continue to be led by Dinesh Paliwal and the company’s current management team. Samsung is pursuing a long-term growth strategy in automotive electronics, and plans to retain Harman’s work force, headquarters and facilities, as well as all of its consumer and professional audio brands. Samsung believes the combination will increase career development and advancement opportunities for the employees of both companies.
Samsung’s Automotive Electronics Business Team, which was established in December of 2015 to identify opportunities for Samsung in the automotive sector, will work closely with the Harman management team to realise the full growth potential of the combination.
Lucky Number Seven Avolites for LX Productions
Posted on Monday, November 14th, 2016
Avolites consoles (Avo) have their diehard fans in Australia but the ‘president’ of the Australian Avo Fan club is Darren Holborow of LX Productions. Darren recently purchased the flagship console from the Avolites range, the Sapphire Touch with Titan V10 Software from Australia’s Avolites distributor TLC Global. LX Productions are the first in Australia to adopt the Sapphire Touch and this is the seventh Avolites console in the LX Production’s range making them the biggest supplier in the country.
Darren started working with Avolites Consoles 15 yrs ago with his first Azure 2000 which controlled many a dance party in the company’s early days. LX Production’s second Avolites console was a Pearl 2004 and was smuggled in from the UK by Darren’s brother in checked baggage. “I’m still not sure how he managed to pull that off” wondered Darren. Since then LX Productions has expanded their fleet of Avolites at every opportunity. “We have nothing but praise for Avolites” Commented Darren.
It was only natural that Darren wanted to get his hands on a demo Avolites Sapphire Touch when the Titan V10 software was released. Once Darren had a chance to play with the new console he just couldn’t bring himself to send it back so he had to buy it. “I could not be happier with the console and the service I’ve received from Avolites and TLC-Global” commented Darren “It doesn’t matter if I have a problem with a fixture personality on a Sunday night, the guys from Avolites get on the phone or email and help me with a solution”.
For many years the Avolites range has been the console of choice for LDs and operators who liked to have everything at their fingertips and the tactile feel of faders. While the fader may seem like old tech there is nothing aged about the hardware behind the Sapphire Touch which features all the tools, like a built-in battery UPS and functions you’d expect from a top of the line console. The Sapphire Touch supports 8 physical DMX outputs and 16 over ArtNet or sACN, plus some features which are unique to the Avolites line like the TriColour optical trackball and Saturn Ring controller which enables the operator to control X,Y,Z axis simultaneously. Two generously wide touchscreens give more than enough real estate to Freeform work spaces and ‘personalise’ the operating surface. The Sapphire boasts a whopping 45 motorised faders, the most of any console on the market, plus a truckload of flash/executor buttons means the Sapphire Touch can keep every look, effect and chase at the operators finger tips. This makes it the perfect busking platform on the fly, or enabling the user to create the ideal Freeform layout for their complex show.
The team at Avolites have not rested on their laurels when it comes to brains of their consoles, the new Titan V10 is a seriously powerful piece of software. The latest version incorporates a full 3D Visualiser powered by Capture , a market leading pixel mapper and comprehensive undo functions along with Keyframe Shapes as part of the effects engine, making it quick and easy to create effects from scratch and integrates seamlessly with Avolites AI media server software.
The introduction of the Sapphire Touch into the market means the Australian chapter of the Avolites fan club will be sure to grow.
CMG AV add MAC Quantum Washes
Posted on Wednesday, November 9th, 2016
With a sumptuous colour palette and incredible uniform mixing, the MAC Quantum Wash can accommodate the most demanding applications, offering brightness and perfection.
Wollongong’s CMG AV required such a fixture to complement their extensive inventory of hybrids, profiles and beam lights.
“We needed a medium format wash light that was suitable across a diverse range of applications,” commented Ben Wright. “Consequently we purchased twelve MAC Quantum Wash fixtures. Their super bright output is a great match for our other lighting fixtures, with their unique ‘eye candy’ effects an excellent addition to live performances and shows.”
Since arriving at CMG AV a couple of months ago, the MAC Quantum Washes have gone out regularly, but they’ve notably been utilised for the i98FM Illawarra Convoy event, Viva la Gong Festival as well as all four rounds of the Illawarra’s Top Model Fundraising Competition.
“The Quantum’s have an extraordinary array of applications, are low weight, low power and have the ability to make a truly memorable show,” said Ben.
As to their performance ….. well, Ben remarked that they can’t wait to buy another twelve!
NW Group invests heavily with Show Technology
Posted on Thursday, November 3rd, 2016
The NW Group, incorporating Norwest Productions, Haycom, Cairellie, Oceania and Spyglass, is Australasia’s largest full production service provider. With offices in Sydney, Brisbane, Melbourne, Adelaide, Auckland and Wellington, the NW Group offers unparalleled knowledge, expertise and brand choice across the widest possible market.
As the company has grown, there has been one lighting distributor with them all the way – Show Technology. Now NW Group can offer the latest in lighting technology to all of their clients.
“When we purchased Cairellie, they had a lot of lights but they were starting to age,” commented Graeme Whitehouse, General Manager of NW Group. “Since then, we have heavily invested in a big, new modern rig under expert guidance from Australia’s number one lighting supplier Show Technology.”
The inherited lighting included a fleet of MA Lighting grandMA 1 consoles, Martin MAC Auras and a number of Clay Paky Sharpys, all still working well but investment was needed to update and grow the lighting choices.
“In the last few months we have purchased Martin MAC Viper Profiles, MAC Quantum Profiles and Washes, RUSH MH6’s and Clay Paky Stormys,” said Graeme. “We also bought an MA Lighting grandMA2 full size, a grandMA2 light, NPU, command wings and OnPc fader wings.”
Graeme is 100% sure that the company will see a great return on their investment.
“Show Technology had all of the rider-friendly equipment that we needed,” he said. “It’s the gear that suited our inventory to supply the high end event industry market. The important thing for us was the service offered by Show Technology. We feel that they are very responsive to our maintenance calls. Their tech department is not only prompt, it’s also very good.”
Graeme noted that the product supplied by Show Technology is all well known for reliability. “As we move into the in-venue production space, products like the Rush MH6 will provide great bang-for-buck while keeping service costs to a minimum”.
Last July NW Group and Haycom merged increasing the level of support and service they can provide to their clients in Australia, and reinforcing NW Group’s ongoing commitment to providing a full technical solution for clients across all their offices.
Both companies have fantastic reputations in their areas of expertise, and the bringing together of these two businesses enables both to expand their equipment offerings and capabilities, improve the level of service delivery to their clients, and increase efficiencies.
Fifty Martin MAC Axiom Hybrids for Harry the Hirer
Posted on Wednesday, October 26th, 2016
Harry the Hirer has purchased a whopping fifty Martin MAC Axiom Hybrid fixtures having waited years for such a product to come on the market.
The MAC Axiom Hybrid is a true all-in-one product, combining beam and spot into one compact unit that also offers diffused wash functionality. The high-precision optical system offers exceptional contrast, both in mid-air and projection as well as a surprisingly flat field, usually not seen with this short-arc lamp technology.
“We’ve been looking for a moving light that provides a decent return on investment for quite a few years,” remarked Simon Finlayson from Harry’s. “Unfortunately the moving light market has been unsustainable for the past few years. They fill the lights up with rubbish that you don’t need in the corporate world such as animation wheels, and that just increases the cost of the moving light. We’ve held off from buying moving lights for five years now for those reasons. In the corporate world, they don’t need to see a rock show just their gobos, a decent colour wash and that sort of thing. Finally there’s a product on the market that puts the bread and butter basics into a fitting and it’s priced it at a realistic price.”
The implementation of the MAC Viper CMY palette gives designers the advantage of unlimited choice from subtle pastel shades to deep and saturated colours. All this comes in a small footprint and lightweight product which delivers superior performance in the best feature vs. size and weight ratio available in the market.
Harry’s took delivery of their MAC Axioms mid-September and they haven’t been in the factory since – in fact Simon says he hasn’t even seen one!
“The MAC Axioms have proven to be a good all round fitting that provide variety and the guys love them. Their versatility is amazing, to be able to go from a beam to a wash in a single fitting is an enormous benefit – not only for the guys operating but for the guys trying to keep the weight down in a rig in the roof. You don’t have to have twice the amount of fittings rigged to achieve the outcome you require.”
Harry the Hirer expands its staging with Nivtec
Posted on Monday, October 17th, 2016
For over 30 years, Harry the hirer has set the standard for creating innovative and unique solutions specialising in party, lighting, audio visual and exhibition hire in addition to providing custom solutions. As Australia’s most reliable and experienced marquee hire, Harry’s continues to bring its signature style, service and world’s best hire product to the party and event markets.
In line with the company’s already extensive range of equipment for such events, Harry the hirer recently extended its impressive scope of hire equipment by purchasing more Nivtec staging from its Australian distributor Showtools International. The newest additions amongst others included 100 staging platforms (200x100cm), 10 (100x100cm), 15 (200x50cm) and 20 (100x50cm) stages. This latest expansion brings Harry the hirer as having the largest inventory of Nivtec staging in Australia.
Harry the hirer has chosen the Nivtec staging system for its ease of use in allowing Harry’s to create the perfect solution for clients at every level and therefore was the key decisive factor in deciding to purchase these stages. The Nivtec staging system has provided Harry’s with a complete range of staging equipment which has enabled the company to create breathtaking events for every occasion.
This latest acquisition has enabled Harry the hirer to offer maximum fulfilment for even the most complex party and event requirements. With its further investment into Nivtec stages, Harry’s remains the industry leader in marquee, party, exhibition and event hire.
Clay Paky Scenius Spots for Jay Productions
Posted on Friday, October 14th, 2016
“It really is an all-in-one fixture,” commented Jason Ghazal of Jay Productions. “We were looking for a fixture like this to take care of our high end corporate functions as well as onstage lighting for concerts. It’s a compact, incredibly bright and feature-packed moving light.”
A packed effects system synonymous with the Clay Paky brand means designers can flick between diverse lighting effects and washes in a matter of seconds by employing the use of two rotating gobo wheels, each with six interchangeable gobos, a rotating prism and an interchangeable graphics wheel.
“The animation wheel is very handy, our lighting guys love it,” said Jason. “They also love the seamless change between gobos and colour mixing. There’s a lot of diversity in the gobo selection which is good plus the colour range and mixing abilities is awesome.”
Jason admits that he was blown away by the sheer grunt and power the Scenius Spot delivers.
“They are very punchy and bright,” he said. “They have been operating awesomely and we’ve had great feedback from our clients. They’re also fairly quiet which is important. Of course, they also come with the reliability and quality of construction you’d expect from a Clay Paky fixture.”
The Scenius Spot’s advanced optical unit and the new 1400W OSRAM discharge lamp provide a much higher light output than with previous generation 1500W lamps. Thanks to its wide 8°-50° zoom, Scenius is perfect for every use. A modern focus tracking system concentrates maximum luminous efficiency precisely on the effect you wish to project, and the focus may be set to be fully automatic.
Since arriving at their new home, Jay’s Scenius Spots have found themselves lighting an event for The Wanderers at ANZ Stadium, charity events at Randwick Racecourse and also The Ivy and 90’s Mania held at Luna Park (pictured).
The Scenius Spots join the rest of the Jay Productions Clay Paky family of AlphaSpot HPE 700s and A.leda B-Eyes.
Martin RUSH PAR 2’s zoom into New Zealand
Posted on Wednesday, September 28th, 2016
They are often asked to quote LED PARs for schools, and had already noticed that there was a significant price gap between Chinese brand LED, and decent quality fixtures, especially if you are looking for a unit with a zoom. Being smart, they had already decided that the cheap end of the market was not worth it.
“We specifically looked for a zoom PAR because we are a small company so we need our stock to be reasonably flexible, and we do work in a variety of spaces, including some quite small venues,” commented Sarah Edwards, Designer/Project Manager at Vibrant Lighting NZ. “There is a big gap in the market regarding beam angles of non-zoom LEDs (nothing between narrow and wide), and most of them have a big disparity between beam angle and ‘field angle’.”
Fortunately Sarah had worked in the UK where the company she worked for stocked Martin RUSH PAR 2 RGBW Zoom LED PAR cans. Although a larger company, they operate on a similar business model to Vibrant, and tend to buy good quality kit, and treat it very well. Sarah phoned them to ask if they had encountered any issues with the lights in the two years they had owned them. The answer was ‘no, not at all, very solid’.
“So they were a bit of a known quantity, which was a big plus point,” added Sarah. “We demo-ed one from Show Technology. Both Tristan King and I thought the unit was a little on the heavy side, but very well built, which lends itself to longevity as hire stock. I was impressed with the lack of hotspot, and the fairly sharp beam edge. I also think they look fine mixed in with tungsten units, and do a passable tungsten themselves. The low end of the dimmer curve is not too bad for a LED, although not as good as a MAC Aura, or the Clay Paky B-Eye K10s we have in our hire stock.”
Sarah looked at similar units from other manufacturers.
“But the beam is not very even, and from a lighting design perspective, I am really not a fan of the hotspot/beam angle vs field angle,” she said. “I’d much rather use a bit of frost to control the beam edge, which brings me to a small down side of the RUSH – it has a gel holder – but no gel frame, just to mess with your head.
“This was a bit of an issue on the first job we used them on – the Grand Final of the Young Farmer of the year in NZ. I had to fabricate some frames to put a bit of frost in, to soften the edges of the beam. But I’d rather have to do that than have a light that sends a soft spill everywhere. We used them to give a colour overlay on the banquet tables, in combination with some gobos, and a tungsten ‘houselight’ wash. Show Technology were very good and provided us with an additional six units to do the job with, which took care of my shortfall, and which I’m very grateful for.”
Sarah states that LED cans need to be work horses as they go out so often. She says that Vibrant’s RUSH PAR 2 have been out repeatedly on almost every hire since they have bought them.
“As a designer, they are great to have because they are so flexible,” Sarah remarked. “I have used them for mood lighting, uplighting and stage backlight for camera on corporate gigs, as blinders or front light for band, and they are very useful in theatre designs. As with everything LED the power draw is low, and in small venue with limited power, we can do a whole gig with these.”
The photos are of the Grand Final of the Young Farmer of the Year, three days of events which cumulate in a dinner and an awards ceremony for about a 1000 in a venue in Timaru.
Photos: Brad Reeve.
Ayrton MagicBlades always busy at Entertainment Installations
Posted on Friday, September 23rd, 2016
Over the past few months Entertainment Installations has purchased twenty-six Ayrton MagicBlades whose unique feature is the layout of its seven RGBW LED sources in-line, paired with the highly intensive angle of the optics, which allow the creation of light curtains with genuine overall consistency.
“Having watched Ayrton MagicBlades being spec’ed on tours in Europe over 2015 I thought it was only a matter of time before we were seeing them come up on lighting riders when those tours made it to Australia,” commented Neale Mace, managing director of Entertainment Installations.
Consequently Neale purchased sixteen MagicBlades in January and they were immediately used on The Wombats and The Foals Australian shows.
“Since then they’ve been in almost constant use both to fill lighting riders and for our own lighting designs,” he said. “We’ve found them to be a great, reliable fixture and so far they’ve had very little issues, they feel solid and the build quality is great. Powerful LED’s and continuous rotation on both axis create some incredible beam and FX looks.
“The LED’s are very bright and provide great beam effects and with some clever programming they can do looks you just can’t get from any other light.”
Due to the MagicBlades compact size they can be installed in many unique positions and, coupled with the individual control of the 7 RGBW LED sources, enables the creation of a multitude of new effects.
Neale remarked that even just four MagicBlades provide lots of high power and interesting looks to a small stage.
In fact Neale was so impressed by the performance of his first batch of MagicBlades he soon purchased another ten for use in a permanent night club system.