CPC go with grandMA2 light
Posted on Thursday, November 23rd, 2017
Back in 2005 CPC Production Services purchased one of the first MA Lighting grandMA1 full-size consoles in Queensland. That same console is still in use today, and based on the performance of that console it was an easy decision for them to add a grandMA2 light to their inventory.
The first production using the new console was the Brisbane Girls Grammar School’s Gala Concert. CPC have provided lighting, audio and AV production for this event for the last 20 years. The Gala Concert is a variety concert featuring the students of the school. The program includes an 80 piece Symphony Orchestra, 22 piece Stage Band, 300 voice choir, 18 piece Chamber Orchestra, 36 voice Chamber Choir and various soloists.
This year lighting designer Wes Bluff, had the privilege of using the new console. In addition to the console, the rig consisted of 48 x Martin MAC moving fixtures and 48 x LED fixtures. The flexibility of the MA2 assisted Wes in delivering a fantastic result based on one rehearsal during the day of the concert. He was able to program the show on his computer and then transfer the files to the console for rehearsals. As CPC provide live to screen camera facilities it is essential that Wes’s lighting allows for an excellent television result. It did and the MA2 assisted in achieving that result on one rehearsal.
The MA2 will also allow for reliable control of media servers for the theatrical productions that CPC have during the rest of this year and into 2018. CPC has also installed an MA2 command wing at the Catalyst Church in Brassall. This system provides a very easy to use control system in the Church where many operators are volunteers. Catalyst Church also have a number of Martin MAC fixtures in the rig that the command wing controls.
LDI2017 Award Winners Announced
Posted on Tuesday, November 21st, 2017
The LDI2017 Awards for Best Booth Design and Best Debuting Products Of The Year were presented in an awards ceremony at 6:00 pm on Saturday, November 18 on the AG Productions’ megastructure stage at LDI: Live Outside at the Las Vegas Convention Center.
This year, LDI surpassed 16,000 in registration, a new record for the show. Thank you to all of you who descended upon Las Vegas this weekend. LDI hopes to see you next year, October 15-21, 2018 at LVCC for the 30th anniversary of LDI. The very first LDI was held in Dallas Texas in 1988, and there will be a yearlong celebration of that first event, culminating at next year’s LDI.
The fourth annual Paky Award, sponsored by A.C.T Lighting and presented to someone who has made an impact in the lighting technology industry, was postponed this year. In light of the sudden, untimely passing of Barbizon’s president Jonathan Resnick two months ago, Ben Saltzman of A.C.T Lighting decided to forgo the Paky Award this year and honor our friend and colleague Jonathan. Barbizon’s Tobin Neis shared a few words about our well-loved friend.
Best Small Booth
MediaFront’s moving sculpture was recognized for a clever winch system in action with additional demos of creative video tiles. Hong Gue Park accepted the award.
Most Creative Use of Light
Ayrton’s cool product presentation that physically re-engages the audience to show their products in a unique setting, designed by Cory FitzGerald, won for creative use of light. Michael Althaus accepted the award.
Best Product Presentation
GLP’s presentation of in-depth explanations of their product line with real-world creative applications, designed by Matt Shimamoto, caught the eyes of our judges for best product display. Mark Ravenhill of GLP and Shimamoto accepted the award.
Best Large Booth
Blizzard Lighting and ModTruss wowed the judges once again, putting us right inside the classic Q-Bert video game! Patrick Santini and Steven Welton of ModTruss and Frank Luppino and Will Komassa of Blizzard Lighting accepted the award.
Best Debuting Product: Sound
The award went to Clear-Com LQ-R Series Interfaces that provide connectivity solutions over IP networks to interconnect a variety of communications systems. Michael Rucker accepted the award.
Best Debuting Product: Widget
Honorable Mention went to Rosco for the Pica Cube & Opti-sculpt filters, representing beam shaping today and the future.
The winner was Interactive Technologies Cue-Server 2-Mini, the Swiss army knife of cue playback. Rob Johnston accepted the award.
Best Debuting Product: Special Effects
Honorable Mention went to Froggy’s Frog’s Venus Bubble Fogger for Smokey bubbles!
The winner was Rosco for the X-Effects LED: Finally, an effects projector that can be mounted next to actual water. Mark Engel, Jack Burwick, and Amé Strong accepted the award.
Best Debuting Product: Staging And Rigging
Honorable Mentions went to Stretch Shapes for their CNC Panel Walls, a truly flexible and creative fabric scenic solution.
The winner was Rose Brand’s Nebula Net, the best version of the floating projection idea we’ve seen yet – fantastic! Josh Alemany accepted the award.
Best Debuting Product: Projection
An Honorable Mention went to Green Hippo’s Montane+ for its entry into the marketplace designed to optimize real time rendering for Notch.
The judges would also like to acknowledge as an Honorable Mention PRG’s MBox Player for providing a much-needed simple playback platform for delivering traditional 16:9 assets to screen.
The Best Debuting Projection Product Award went to the disguise gx2 for a premium hardware platform designed for Notch, with top-tier professional & gen-lockable graphics cards that provide power for any live application. Ash Nehru please accepted the award.
Best Debuting Product: Lighting
Honorable Mention went to Luxium Lighting for Ziba, a compact, battery-powered, easy-to-use wireless LED perfect for small events, high schools, galleries, and storefronts.
Another Honorable Mention went to Martin by Harman’s Encore family of automated fixtures for developing a line of low-noise, full-featured, high-output fixtures in a small package.
And there are two equal winners in the lighting category:
Elation Professional for The Artiste Dali: An innovative multiple source LED fixture incorporating remote laser phosphor technology to deliver a moving light with high CRI and a much appreciated field with a more traditional hot spot. Eric Loader accepted the award.
ETC’s ColorSource CYC: The single cell CYC fixture we’ve all been waiting for! David Cahalane accepted the award.
ACLX look for versatility with RUSH MH7 Hybrid and FusionBARs
Posted on Friday, November 10th, 2017
ACLX are based in Hamilton, New Zealand, from where they travel all over the country to work on events. Quite a while back, they added ten Martin RUSH MH1 Profile and eight RUSH MH6 Wash fixtures to their inventory and they couldn’t be happier … so much so they have just added eight RUSH MH7 Hyrbrid fixtures to their collection.
“We wanted some beams and also something that was a bit gruntier for arena situations so we decided upon eight RUSH MH7,” explained Aaron Chesham, managing director of ACLX. “The versatility of the RUSH MH7 is huge. It means we don’t have to put so much stuff in the air. They have performed really well with absolutely no problems at all.”
The photos show a cabaret production where the RUSH MH7 were used for just about everything; as a beam, as a profile, as a wash.
ACLX also purchased twenty ShowPro LED FusionBARs specifically at the request of a client who needed to light up a long string drape.
“We had some older LED strips which had done well for us but were at the end of their life and we had got to the point where we didn’t want to hire them out to people,” added Aaron. “So it was a bit of a renewal too and they have been working very hard ever since! We use them as light curtains and also eye candy for DJ type events.”
Aaron particularly likes that he can drop the lenses off the FusionBARs and add different frosts. Consequently he has used them as side lights for dance events where their narrow profile is a bonus.
A new era for TLC Global
Posted on Wednesday, November 8th, 2017
The decision follows the rapid expansion of Jackson’s other business, Creative Productions, which has doubled in size over the past 12 months.
“It’s a sad day, but running two companies takes its toll,” Jackson said. “Creative Productions recently opened its second office which has already grown to four full time staff and more than 300sqm of factory space.
“With the Commonwealth Games and other major productions just around the corner I’ve made the tough decision to give full responsibility for TLC Global to the highly respected Dave Taylor. While I’ll miss working with the team and our valued clients at TLC Global, I leave the business knowing it is in very capable hands and with an incredible future ahead of it”.
TLC Global was born in 2012 when Jackson established the business with a single vision in mind – to sell quality products at reasonable prices. Today TLC Global distributes some of the world’s best lighting & Video brands including GLP, Avolites, Di-Color LED, Light Sky, Portman’s and LED Blade as well as their own brand, TourPro, which has already had incredible success around the world.
TLC Global’s Managing Director and owner, Dave Taylor, said the future was incredibly bright for the company.
“I am extremely excited and sad at the same time to see Dave Jackson move on,” Taylor said. “Dave’s passion for the industry, love of product development and awareness among his peers is a testament to the legacy and foundations on which the business stands today. Our approach has always been somewhat less formulated to what we have seen from others in the past; we at TLC Global all come from creative backgrounds, and remain quite active within our collective roles as designers, operators and technicians within the entertainment industry. In order to enjoy what we do, we found the business must first and foremost reflect exactly that”.
We are proud of what we have achieved together and excited about what the future will bring. It is a new era for TLC Global, and we are ready for the challenges ahead.
Eclipse Lighting & Sound join ALIA
Posted on Tuesday, November 7th, 2017
Eclipse is focused on providing the highest level of technical equipment and personnel in Canberra and the surrounding areas.
Benefits of joining ALIA include:
Recognition within the industry
Access to free posting on the site (jobs, projects, new gear etc)
Sharing of your material on the ALIA facebook site
Free access to ALIA events
A banner on the front page of ALIA
Basically, you feed us your news and we’ll get it out there!
For more information, please contact Cat email@example.com
Guiding Light Through the Darkness
Posted on Tuesday, November 7th, 2017
By Chris Lose
What can we do as lighting professionals to save lives?
It is with the heaviest of hearts that I write the hardest article I have ever written. I would much rather write an opinion piece on my feelings about rainbow chases and load-in puppy play days. However, I feel it necessary to state my opinion about the state of the tragic affairs surrounding unnecessary violence in the entertainment arena. More importantly, I feel the need to state my opinion on what we should and should not do in order to save human lives from our vulnerable lighting platform amongst the crowd. How we can we use our light to battle against darkness?
Las Vegas has been my home for 17 years. Every single contact that I have in our wonderful industry has come into my life because of Sin City. Las Vegas is the entertainment capital of America, if not the world. There are more shows filled with more people from more countries on one street in Vegas than anywhere else that I know of. An evil person wishing to do harm to a crowd of innocent concertgoers has an overflowing buffet of shows and venues to choose from. We’d all like to think our event is different, those kinds of things could never happen to us, but the truth is—it can happen. Tragedies can happen anywhere and they are happening with increasing frequency: Century 16 Movie Theater in Aurora, Colorado July 20, 2012; The Bataclan in Paris November 13, 2015; The Plaza Live in Orlando June 10, 2016; Reina Nightclub in Istanbul January 1, 2017; The Manchester Arena May 22, 2017; and now Las Vegas October 1, 2017. Across from the Mandalay Bay, at the Route 91 music festival, Stephen Paddock chose to open fire killing fifty-eight concertgoers and wounding hundreds. As a concertgoer, lighting professional, father, husband, and as a human being, I can’t help but to ask, “What can I do?” “What can we all do?”
Three things that we SHOULD do in an emergency situation:
1. Press the Panic Button.
I have a button on my console that is simply labeled “Panic”. My panic button brings up all of the house lights that I have available, kills all chases and brings the stage wash to a fifty percent blue look. I believe that this is the correct thing to do for the audience and for the performers in an emergency situation. Bringing the house lights up allows people to be aware of their surroundings. Audience lighting illuminates available exits and helps avoid a stampede. Simply put, when the audience is dark, they can’t see or hear four rows away from them. If someone in the audience opens fire, attendees can’t see. With house lights up, we are better able to spot a possible threat and choose to fight or flee. A violent act can be committed under the cover of dark just as easily as it can in the light.
House lights down also implies that whatever action is taking place might possibly be part of the show. When the house lights are down some people might be encouraged to stick around to see what is going to happen next. Much like last call at the Double Down Saloon, when house lights come up, it signifies that there is nothing more to see here and you should get out as soon as possible. Valuable seconds can be utilized more efficiently by relying on the audience’s instinct to leave when house lights come up. There is no time to build a look for every emergency that could arise. We shouldn’t be taking the time to focus lights on individuals that may be causing violence or isolating the danger in the most flattering color correction. We need to hit the panic button, grab our radio and get away from the desk. We need to head towards the first available exit.
2. Know the location of your first available exit and have an escape plan.
All venues are built differently and available exits can get confusing. Some arenas have exits all around the show floor and some only have one. I can think of a few older arenas equipped only with exits for the general audience that require running up the stairs towards the mezzanine. Take time during the day to become familiar with the path that leads outside as fast as possible. You and anyone around you will need an escape plan in case of any emergency. Violence, natural disaster, or fires all require you to know the fastest available exit. Without prior knowledge of your escape plan, you could easily end up running into a broom closet or chair storage only be stuck there for an extended period. We need to know where the nearest possible safe zone may be to meet up with our party.
3. Have a mutually agreed upon safe meeting place.
If you’re working a house gig you likely already know where your safe meeting zone is, but for touring personnel I would suggest the parked buses as a first option. The buses can supply familiarity for disoriented roadies, a place where we can lock a door if we need to and gather any supplies to assist others. We should take a head count, maintain radio communication with anyone outside the buses, and from a safe distance call Emergency Services and alert the authorities of the situation.
Three things that we SHOULD NOT do in an emergency situation:
1. Don’t pass blame too soon.
I watched an interview from the evening of the Las Vegas shooting with a local stagehand outside the venue. He decided to use his interview to describe the scene and then blamed the shooting on Las Vegas being a sanctuary city. This helps no one. It may have helped make him feel better about his dislike for the current immigration policy based on misinformation, but no one in this situation was made any safer by his ignorant comment. Passing blame in an emergency situation only leads to more irrational behavior. When tragedy strikes, the facts must be investigated, identified, and corrections put in place in a timely manner. There is no need to speak out with wild accusations until the facts have been presented.
2. Don’t make wild accusations and start conspiracy theories without cross checking your facts.
Emergency situations are confusing and information travels at light speed. Victims are coping with shock and horror and perhaps say things that they haven’t thought through. It is the job of law enforcement officials to take all that information and decide what is beneficial to share with the public and what information is not. As a community, we need to rely on the police and emergency professionals to do what they need to do. The vast majority of police officers, firemen and Emergency Medical Services have the best of intentions to save lives and protect the innocent. Sadly, the few that have chosen to abuse the system are the ones that make the news. I assure you that the hard working men and women in the Emergency Medical Services are not out to hurt or mislead anyone. The vast majority of police on the force are not trying to hurt you or your loved ones without due process. They are trying to do what is right, but when they are met with distrust and hatred, they are forced to respond accordingly.
3. Do not let fear stifle creativity, love, light and freedom.
We cannot and will not stop creating spectacles around the globe that bring people together. We must continue to shine the light of our freedom of expression through art in all its forms and deliver it to the masses to be admired. We will never allow the forces of darkness and hatred to take this from us. We will not let fear dictate our progress, our resolve, our desire to gather, or our shared celebration of all that we create together.
Chris Lose is a touring lighting director who would like to honor all first responders, law enforcement and emergency personnel for their tireless efforts to keep concertgoers safe.
AV360 grows with MA, Martin and ShowPro
Posted on Friday, November 3rd, 2017
More than just an equipment provider, Sydney-based AV360 are a specialist audio visual production and management company. AV360 produces sophisticated, elegant and impressive events incorporating complex audio systems, lighting configuration, stage and set design, tele-presence and projection displays.
The company prides itself on experienced technicians and the best equipment on the market and so it was no surprise that they recently invested in MA, Martin and ShowPro gear.
Five Martin RUSH MH1 Profile Plus and six RUSH MH6 Wash were added to their lighting inventory with Nestor Martinez, AV360’s managing director, commenting on how much value for money the RUSH fixtures offer.
The RUSH MH1 Profile Plus is even brighter than its predecessor RUSH MH 1 Profile with 50% more output. Efficient optics with an increased beam angle from 13 degrees to 16 degrees punches out a variety of effects and colours from two gobo wheels and two colour wheels. For added versatility and effect, it also houses an electronic dimmer and strobe, iris and 3-facet prism and an improved cooling system for quieter operation.
“The RUSH MH1 deliver great effects for any type of event whilst drawing very little power which is handy for when you don’t have 3-phase available,” he said. “Generally they’re just a really good, complete light that works very well in any hotel in the CBD. It’s the same for the RUSH MH6 which makes an ideal partner for the RUSH MH1, they work very well together and cover all requirements.”
The RUSH MH 6 Wash offers a fully pre-mixed colour system from 12 x 10 W RGBW LEDs with a spectacular 10°–60° zoom. It also offers full electronic dimming, strobe effects and temperature-controlled fan cooling for quiet operation.
AV360 also added a dozen LED FusionBARs to their inventory and often use them to decorate the back of stages especially as the one-metre batten has an individually controllable 15 x 1 pixel matrix.
“You can get some really nice effects going with the pixel mapping whilst they are also great for wall grazing and dynamic linear washes,” added Nestor. “The fact that they are outdoor-rated is great too – we recently used them on The Island floating bar and the client was overwhelmed by them.”
“I’m not actually a lighting guy but worked it out and could set up a show in about 25 minutes!” said Nestor. “One of my lighting guys did the course at Show Technology and straightaway he started to do all of our big gigs. It’s an incredibly user-friendly console and when you work in this industry under a lot of pressure, you just want to get it right. With the dot2 core we get it right all the time.”
Nestor can’t fault the support offered from Show Technology and says he never imagined he would be so busy.