Production News

Jay Productions keep the bride happy

Posted on Tuesday, February 28th, 2017

Jay Productions spent six months planning last weekend’s pictured wedding reception, held at Sydney’s Technology Park, after the bride sent them a sketch of a stunning chandelier she wanted.

The talented team at Jay Productions turned her dream into reality, not only designing, building and installing the chandelier but also lighting the structure as well. The chandelier consisted of over 4km of cable, 720 light bulbs, 18,000 watts of power, 140 pieces of truss and 18 chain motors as well as ten crew members having begun the build for the event the day prior, pulling 16 hours each.

Eight Claypaky Scenius Profiles highlighted the structure from the floor as well as lighting up the venue itself. A further eight Claypaky B-Eye K10 CC also supplied room wash and highlighted drapery whilst six Claypaky Alpha HPE 700 provided gobo effects. Sixteen Martin MAC101’s provided pin spotting with a Martin M1 console used for control.

Wireless Solutions W-DMX was extensively used around the room as there were several places where the crew could not deliver DMX as the venue would not allow taping down on the floor. The W-DMX Black Boxes reportedly worked very well.

The event was so successful, Jason Jay of Jay Productions has spent most of Monday fielding calls from people who want a similar production!

www.showtech.com.au

 

Claypaky shines at White Night

Posted on Friday, February 24th, 2017

 

 

 

 

 

This year’s White Night in Melbourne saw Martin Kinnane appointed as the festival’s official lighting designer. As well as overseeing all of the spectacular lighting installations, he also had his own project entitled Fingers of Light.

Fingers of Light (1) lit Melbourne Central’s iconic shot tower with a dazzling display of automated lighting. It was choreographed to enhance and highlight both the shot tower and Melbourne Central’s glass atrium ceiling.

“We used eight of the Claypaky Alpha Spot 1500 to light up the shot tower, two for each façade,” explained Martin. “I like the Alpha Spots because they have shutters and as I’m from a theatre background, I really like shutters in lights! In this case, I used the shutters to shutter off the profile to light up just to the very edge of the tower itself. We used a lot of colour, gobo tricks and even some shutter effects creating little cubes that bounced around the side of the tower.”

Fingers of Light (2) and (3) installations were located in Swanston Street. Two towers, each held ten Claypaky Mythos 2 which created beacons of light down Swanston Street, lighting up into the clouds to be visible from a distance. The Mythos 2 were choreographed to dance across the sky and alternately wash and texture the city’s buildings.

“A few years ago I used around one hundred Claypaky Sharpys on the roof of Hamer Hall for its relaunch and that worked really well as a tiny searchlight option,” commented Martin. “The Mythos 2 are so much brighter and have a great beam. They work really well as a punchy, searchlight type fixture plus one person can pick them up and you can fit ten of them in a scissor lift. Compared to the older searchlight fixtures, they’re not only lighter but move quicker and have much better colours.”

Martin used a MA Lighting grandMA2 to program the lights.

www.showtech.com.au

 

Alice in Wonderland Reimagined

Posted on Tuesday, February 21st, 2017

Developed by Melbourne-based Grande Exhibitions, ‘The Adventures of Alice’ is a touring exhibition like no other. It’s a unique, high-tech journey into one of the world’s most timeless and best-loved stories on a scale like never before: Lewis Carroll’s ‘Alice’s Adventures in Wonderland’ springs to life using Grande Exhibitions’ state-of-the-art SENSORY4™ technology, exquisite animation, a cinematic audio score and engaging narration by the legendary Sir John Gielgud.

Last December the exhibition had its world premiere in Rome, Italy, where it now resides.

The experience places the visitors within a super large format multimedia environment, as they journey with Alice through her adventures in Wonderland in an immersive storytelling experience. Across the entire exhibition there are 37 x projectors, 29 x separate screens, 54m of blended projection and three separate PA systems, with full synchronisation across all systems running in a 60minute automated loop.

The lighting was designed by Craig Smith, Project Manager at Grande Exhibitions, who uses the lighting to enhance the immersive experience within the main projection gallery.

“By utilising custom gobos and a colour pallet that follows the main animation, we are able transform the entire space into a mixed media immersive space,” explained Craig. “Lighting is also used throughout the exhibition both incorporated into props and set pieces, as well as being used as a method to pull the visitor through the various spaces.”

Before heading off to Italy, Grande Exhibitions purchased twelve Martin RUSH MH1 profiles and a large amount of ShowPro fixtures; 12 x Quad-18 LED PARs, 4 x Quad-7 LED PARs, 8 x EX36 LED Floods, 6 x LED truss warmers, 14 x LED Sunstrips, 10 x LED Pin Spots, 8 x LEDCon 24v PSU, 8 x LEDCon DMX 24v dimmers, 50m x RGB LED TAPE as well as all of the DMX cabling.

“We are running eight RUSH MH1’s loaded with various custom gobos in the main gallery,” said Craig. “We have another 4 x RUSH MH1’s loaded with a mix of factory and custom gobos distributed throughout the other areas. All the RUSH MH1’s are primarily taking care of the floor textures, as well as any of the timed spot light cues.”

Craig reported that the RUSH MH1 came out on top in a few areas particularly ‘price vs features’ which was the initial draw card. However, given that he works with an international market, in various types of venues and structures, fixture weight, operating voltage, parts and service options become major considerations.

“All of which the RUSH MH1 exceeds at!” he exclaimed. “They have performed exceptionally well, the entire experience from install, to programing, to show has been smooth and they haven’t skipped a beat.”

The ShowPro equipment takes care of all the prop and set lighting requirements, with many of the fixtures being built into the props and set pieces. According to Craig, every piece of equipment has been selected for a particular task or requirement and every item has delivered what was promised. Craig was particularly impressed with the ShowPro LED Sunstrips and LED tape saying that they are great fixtures.

“We needed to light a walk-through set piece based on Alice falling through the rabbit hole,” he added. “I wanted an LED bar fixture with a warm colour temperature and a narrow beam to back light the printed walls. The Sunstrip was perfect for this. The warmth of the colour temperature helped reinforce an underground/cave atmosphere. Also, having the ability to control each cell made it possible to get a bit of movement and a flicker effect that gives a feeling of being in candle light.

“The ShowPro LED tape and controllers have been great to work with too. We built a series of giant keyhole set pieces that needed a LED Tape solution to mount into the frames. The concern was finding something that would handle backlighting an acrylic diffuser without losing brightness or getting hotspots. Both the tape and the controllers have performed well, giving a great result.”

For control, Craig chose an MA Lighting dot2 Core which he said exceeded expectations in performance and ease of use.

“I wanted to go with MA as I knew we would get quality and have access to operators all over the globe,” he commented. “However once I had a look at the dot2 is was obvious it was our best option.

The show runs off LTC and I needed a platform that could run day after day unmanaged but also have a programmer that would allow simple position updates from install to install – without the need for any major reprogramming.”

www.showtech.com.au

 

 

Citipointe Christmas Concert with SGM and Madrix

Posted on Thursday, February 9th, 2017

Citipointe Christmas Concert is one of Brisbane’s biggest carol events of the Christmas calendar. More than 5,000 people attended the Christmas spectacular in 2016, bringing some of Australia’s finest performers to the stage.

Ash Neuendorf from High Impact Lighting was selected as Lighting Designer and Operator for the event, selecting a combination of SGM LB100 and Madrix control to the stage design.

“Citipointe Christmas Concert 2016 included 8 x SGM TLD612 art-net drivers and approximately 200 x SGM LB100 (1,400 balls) to create a canopy in the roof above the stage.  As the stage is over 15m wide the LB100’s are an awesome way to create not only a great effect but help to fill out the large stage working with the other lighting and LED screen to complete the look.” said Ash.

The LB100 LED system was controlled from Ash’s operating position by Madrix control software. Being integrated to the MA platform for this job, Ash could trigger any of the pre-programmed scenes or effects in Madrix from the lighting console.

Ash continues to comment about his success with Madrix. “Since purchasing a Madrix license for a recent tour, I have been using it on every show to process high volumes of LED channels.  I have been extremely impressed with it’s reliability and how Madrix is able to map and output art-net events in different IP ranges seamlessly. Another key feature which I have enjoyed using is the effect generator; instead of just playing back imported video files, you are able to select a specific effect and then manipulate the parameters for the setup you are using. This can create some extremely dynamic looks when using LED to fill out the stage around conventional and moving lights.”

Lighting Designer – Ash Neuendorf

Lighting includes – SGM LB100 LED Ball, Madrix LED Control

www.etaust.com

 

Firefly FloppyFlex for Five Guys Named Moe

Posted on Wednesday, January 11th, 2017

Clarke Peters’ jukebox musical Five Guys Named Moe, featuring R&B pioneer Louis Jordan’s greatest hits, has been delighting audiences at the Festival Square Theatre, Edinburgh. Called a “Christmas Carol in zoot suits,” the dazzling new production of the hit West End and Broadway musical features a cabaret set that includes 32 metres of the new Digital RGB FloppyFlex by Firefly.

“The rear wall of the set is a slice of an old vinyl record,” explains LD Philip Gladwell, “and we use FloppyFlex to simulate the record’s grooves, programmed to give a spinning effect. We chose Digital FloppyFlex to bring the scenery alive and achieved fantastic results. The smooth movement and vibrant colour is exactly what we needed. I can’t think of another product that could deliver such a stunning effect.”

Production electrician Gareth Clowes adds, “I highly recommend FloppyFlex. It’s really a nice product to work with and the installation tools needed are remarkably straightforward. It also seems practically indestructible. I’m sure it would withstand most things a tour, for example, could throw at it.”

Programmer Liam Jones pixel-mapped the stunning effects. Produced by Underbelly Productions in association with Cameron Mackintosh, the production will run until January 7.

Digital RGB FloppyFlex is the newest addition to the Firefly FloppyFlex LED neon range. DMX multi-pixel control at eight pixels per meter offers unlimited creative potential, including colour fades, chases, and unlimited colour-animating possibilities.

Original FloppyFlex offers the ideal replacement for glass neon in both entertainment production and architectural applications: It is easy to install, long lasting, durable, and at 24 volts DC, safe! In addition to a DMX controlled RGB version, a wide variety of both single-colours and white colour temperatures are available. Ideal for use indoors and outdoors, a range of dome sizes and bend axes are available. A comprehensive selection of mounting accessories facilitates any installation. A variety of ProPlex controllers are available for applications from portable touring to permanent install.

http://fireflylighting.com.au/

 

ZZ Creative ring in the New Year

Posted on Tuesday, January 10th, 2017

The 2016 NYE Sydney show was taken care of by Ziggy Ziegler of ZZ Creative with lots of Lightsky AquaBeams and custom LED bridge effects, units totaling about 175 lights on the bridge.

“They were all provided, installed and maintained by the wonderful talented people at 32 Hundred Lighting,” said Ziggy. “We worked together with Forch and his family at Foti as well, very closely to get the bridge to shine brightly this year.”

Total number of fixtures on bridge and foreshore was around 900 plus hundreds of metres of festoon on top of that. Fixtures on the foreshore included Claypaky and Martin fixtures with a lot of K20 B-Eyes and Mythos featuring amongst ETC generic fixtures and hundreds of happy tubes. Lots of smoke machines and strobe lights also featured across the foreshore.

Seven MA Lighting MA2 consoles and one Chamsys console were used along with an immense amount of networking and time code gear including 1500m of fibre data network cabling to link it all.

Concepts featured power analysis to choose the most effective lights whilst minimising power draw. LED lights featured heavily in the design.

Iain Reed, Joe Cox and Martin Bevz headed up an amazing team of people at 32 Hundred Lighting who were a pleasure to work with, according to Ziggy.

Some very talented lighting directors collaborated to make this all work including Matt Tunchon, Ben Ronczka, Greg Kershaw and Baz Barrett.

The creative team was Imagination.

www.zzcreative.com.au

 

BAAC Light are Wicked

Posted on Tuesday, January 10th, 2017

 

 

 

 
The BAAC Light team have just completed a huge production of Wicked for PLOS musical theatre. LD Braddles “I chose a very over saturated pallet “Disney” to light the show on this occasion. The results are almost cartoon like and help provide a feeling of fairytale to the script”

BAAC light provided all LX, VX and atmospheric effects for the production. Due to a tight 2 day programming window 3 networked Hog 4s were used to program the show with a 4 th acting as SM cuelist relay.

Gear list.

2 Road hog 4 Full Boar.
1 Road hog.
1 hog4 PC.
12 Fine Art 600L.
8 Fine Art Pixie.
6 Fine Art 1500.
4 Robe 600E.
8 Robe 300E.
20 Robe 300 LED wash.
8 Robe Points.
1 Panasonic 13k .9 lens.
Arkaos Media master pro.
Various BAAC light dry ice, smoke effects and haze.

Numerous RGB and set prac was also used via LSC GEN 6, Delta distribution and artnet splitters.

Crew:
LD: Brad Alcock
Sys/programmer: Daniel Gosling
VX: Andrei Chlebnikowski
Op: David Bodison

Special thanks to Mike Fletcher for both the fantastic pics but also the incredible set.

 

Jands Vista makes Geelong Floating Christmas Tree a Total Event

Posted on Tuesday, January 10th, 2017

The Floating Christmas Tree in Geelong near Melbourne, Australia has become extremely popular with the community and this year the experience has been enhanced through the launch of personalised lighting shows.

Geelong-based Total Events began the installation at the start of November with the Christmas Tree operating from 11th November – 7th January. The lights run from 18.30pm – midnight, with six minute programmed light and audio shows from 20.30pm every fifteen minutes. The eight-week long installation is broken into three periods, with a different show running for each period.  The second period also incorporated an interactive element, where the public could control the colour of different elements of the tree in between shows.

The Christmas Tree is 25m tall, 10m wide, covered in 12,000 shimmering discs, and is continually moored in Port Philip Bay. The size and scale of the project, along with the challenges of remote access, seawater, and extreme weather to account for over the two month period, meant that this was always going to be an interesting project to deliver.

Over fifty LED wash and moving head fixtures, and almost 100 LED tubes with individual pixel control light the tree, spread over twenty-four universes and all run over a custom Artnet wireless solution.

A Jands Vista 16384 channel dongle was utilised to achieve the twenty-four universes – 8500 channels.

In control was Jands Vista v2 running on a beefy PC with another running tracking backup ready to swap to, but it was never required.

The Jands Vista’s date/time events feature controlled everything including striking and dousing fixtures as well as playing back the various shows. Other Vista features key to the installation included audio playback from cues, and serial control to take commands from the interactive controller.

“Lighting designer Mark Hammer was impressed at how easy editing cues and adjusting playback timing was, as well as the simple yet powerful ‘Undo’ command,” commented Greg Edge from Total Events. “Jands also added a few features to the audio playback side of things to improve ease of editing.

The interactive element consisted of four touch pads on the nearby ‘Carousel’ building’s window which controlled the main colour of the tree, the LED tubes, the main star, and the smaller stars around the tree. The four touch pads were connected to a local controller, which sent commands to Vista over a separate custom wireless system.

“Jands Vista was up to the task, and performed flawlessly for the entire show run, firing off all 24 universes for every show as programmed,” remarked Greg.  “The custom features allowed all of the elements to be incorporated into Vista without needing external software or servers. Total Events are proud both to have been involved in the project as well as with the final delivery and has increased its moving head and LED wash inventory again.”

Project Contacts

Scott Parker – Project Manager

Mark Hammer – Lighting Designer

Greg Edge – Technical Manager

Bill Busbridge and Ken O’Brian – Rigging & Structural

 

Martin and ShowPro for Geelong’s Floating Christmas Tree,

Posted on Tuesday, January 10th, 2017

Geelong’s infamous Floating Christmas Tree, supported by Geelong Port, has returned in spectacular fashion and this year includes an interactive element, giving people control of the floating tree’s lights.The interactive element is accessed from The Carousel, and operates in the nine minute breaks between the main lighting show.

Total Events supplied most of the fifty plus wash and moving head fixtures for the project, including Martin  RUSH MH7 Hybrids, ShowPro EX36 LED Floods, and ShowPro Quad-18 LED Pars. Additionally, almost 100 LED tubes with individual pixel control are suspended throughout the tree.

“The RUSH MH7 Hybrid has been a surprising performer” commented Greg Edge, Total Events’ technical manager. “The beam strength, even in most colours, along with the accuracy and relatively fast movement for it’s size, lets it compete with and sometimes outperform other moving heads in a higher price bracket. Along with its other modes (profile and wash), its great value for money and so far in trying conditions, they have been extremely reliable.

“The EX36s are just a solid benchmark; bulletproof, great output with all colours, and versatile. With both the MH7 and EX36, versatility and reliability is very important to us. We work in an extremely wide range of environments often on some odd and interesting events, and these new additions to our lighting inventory have the flexibility and performance to deliver consistently. Total Events are proud both to have been involved in the project, as well as with the final presentation.”

Scott Parker – Project Manager
Mark Hammer – Lighting Designer
Greg Edge – Technical Manager
Bill Busbridge and Ken O’Brian – Rigging & Structural

www.showtech.com.au

 

Kait Hall lights Missy Higgins and Symphony Orchestras

Posted on Thursday, December 8th, 2016

November has been a busy month for Kait Hall, from Let There Be Light Designs, as she has toured Australia doing lights with Missy Higgins, Dan Sultan and Peter Garrett. Kait has worked with Missy for many years but this tour was a bit different as it featured Symphony Orchestras from around the country.

Kait created a stage design with striking images projected onto white voile strips that hang in front of an LED star cloth.  She used projection a few years ago that was quite complex but this time, with the orchestra being the main feature of the show, the content was much simpler. Kait used a lot of still images that were more about metaphors, mood and colour.

Trying to find an idea that would work in Sydney’s State Theatre, the Brisbane Convention Centre and the Plenary in Melbourne (plus outdoor shows in Perth and Adelaide) was difficult given each one is so inherently different in size and mood.

“At the State, the asymmetry of the stage and fly bars upstage is very narrow in the centre at the rear,” she explained.  “I was really trying to create something much grander for this show but the orchestra was so big they filled the entire stage from wall to wall which left no room for flying backdrops or traditional masking. Soon it occurred to me the only way the projector idea would work in this venue was to abandon the idea of hanging the backdrops from the fly bars and instead follow the line of the two rear brick walls with one 20K projector on each.”

Kait used a coolux Pandora’s box media server to run the content and mask around the orchestra which she operated via her grandMA2 console.

Lighting wise the primary consideration was ensuring a suitable playing atmosphere for the orchestras. The angles of lights, positions of hazers, sconce lights and projector spill all had to be considered to ensure everyone in the orchestra was happy. Only about half the show features the orchestra but the songs are equally interspersed throughout the set so the lights are used to isolate the different areas of the orchestra and band when they are not playing.

Kait chose to use ten Martin MAC Viper Profiles for her gobo options and fifteen MAC 700’s for specials.

“MAC Vipers tend to be my first pick for gobos these days but for front light on people the MAC 700’s are fine,” she said. “In Melbourne, all the MAC 700’s were swapped out for MAC Quantum Profiles. Twenty MAC Quantum Wash and five Claypaky B-Eye K20 were used for front and back wash on the band and orchestra. Initially I had requested all K20’s because I like having the option of eye candy for a few songs. I hadn’t used the MAC Quantum Wash before but they were actually perfect for the job. I like the fact you can isolate the rings to break up the look too.”

For beams Kait chose to use ten Claypaky Alpha Beams because colour mixing was important for this show and her first preference of Mythos were not available. Resolution X provided the gear in the eastern states with Eve Conroy looking after the system.

“Res X really prep and package their systems well so as a designer I always feel really comfortable with their gear,” concluded Kait.

Photos: Troy Constable

www.showtech.com.au

 

Claypaky Scenius Profiles – The Eighth Wonder

Posted on Wednesday, November 23rd, 2016

The story of the Sydney Opera House has more twists and turns than most operas: this is a tale you couldn’t make up. The architect walked out. The Premier died. The costs ballooned and the fate of one of the world’s most iconic buildings hung in the balance.

From the producers of Handa Opera on Sydney Harbour came The Eighth Wonder, an outdoor opera experience in an exciting new setting with the Sydney Opera House as the stunning backdrop. Enter a nostalgic Australian wonderland of Hills Hoists and cricket pitches, and Opera Australia’s first silent opera.

The 100-metre wide steps of the Sydney Opera House were transformed into an opera stage for the first time ever, harnessing cutting-edge technology to deliver a story that shaped the cultural landscape of Australia. Platforms glided across the steps, delivering the fast-paced action. Giant screens unfurled to display historic photos and giant glowing balls of paper, projections and lighting effects completed the spectacle.

Lighting designer for this extraordinary event was Trent Suidgeest with Peter Rubie and Blake Garner programming the lighting. Chameleon Touring Systems supplied the gear and crew.

“The lighting was mainly about bringing focus to the steps,” explained Trent. “As the stage width is so large and imposing we needed aphoto-by-peter-rubie-6 way of honing the eye to the rolling stages. It was all about micro and macro – going from a huge spectacle to a tiny piece of action.”

Trent didn’t have the luxury of an overhead lighting rig plus all of the lighting positions were shallow and even back light was difficult. The rolling stages were self-contained with wireless technology, waterproof Birdies and LED tape on their front edge. The giant paper balls were internally lit and coloured by ShowPro EX36 LED Floods and more Floods were deployed around the site.

Trent was thrilled to have four of the new Claypaky Scenius Profiles on the show and they soon became the workhorse of the production.

“I had a look at the Scenius at Chameleon and fell in love with it!” he declared. “I had some nervousness during rehearsals building my cue list as I was planning to rely on a fixture I didn’t really know well yet. They were also one of the last pieces of the rig to get installed so I needed to hold out even longer. However, I was quickly reassured as soon as we got them fired up. They were terrific; very responsive control, lovely colours especially in the subtle swatchbophoto-by-prudence-upton-3ok range, and super bright. They were rigged in well-worn weather tents – fairly scuffed and frosted up – two either side of the steps in a high-side position often throwing 50+ metres across the stage. They were remarkably bright, providing the keylight for the rolling stages, and were really cutting through the rest of the rig.”

Trent reported that both Peter and Blake were impressed with the Scenius especially its responsiveness with shuttering.

“It was great to use a fixture where the framing shutters responded quickly and fluidly, rarely hitting the physical stops that so frequently cause issues in motorised framing shutters,” Blake said.

Trent also utilized Claypaky Sharpy Washes which were sitting on the steps from where they could ripple up and down the steps.

“They were used forphoto-by-peter-rubie-2 few purposes including shooting low and across the steps to colour and find interesting lines across the step edges,” said Trent. “Then we could tip them up slightly to provide a Fresnel-style colour wash to the singers, and in the final moments, when the Opera House is unveiled as a finished building, they were used as a beam light running through the air.”

Robert Juliat Cyrano follow spots delivered the ‘perfect brightness’ according to Trent.

Claypaky Alpha Profile 1500s were rigged at a head height sidelight position staggered up the scaffolding system, five per side, becoming a framed sidelight option. Another eight were located FOH, two per side and four in the centre with custom gobos, including an Aztec motif which plays into the storytelling as part of architect Utzon’s inspiration for the building.

Photos: Hamilton Lund, Prudence Upton, Peter Rubie

www.showtech.com.au

 

BMFLs for New Zealand Fashion Week

Posted on Monday, October 31st, 2016

Simon Garret from Auckland based Oceania Productions designed lighting and visuals for the main showspace for New Zealand Fashion Week 2016, which was staged at The ANZ Viaduct Events Centre, a funky venue at the heart of Wynard Quarter, New Zealand’s largest urban regeneration project, right on the Auckland waterfront.

Simon, known for his own style in lighting, has been involved with the NZFW event as it’s been known since 2004, since the start. This year he again transformed the showspace with bold and dramatic looks and scenes with the help of 24 x Robe BMFL Blades and 12 x BMFL Spots.

The venue showcased creations by some of the most innovative and interesting New Zealand designers , and with up to five shows a day for seven days, Simon needed as much flexibility as possible to change the ambience of the environment and meet the demands and expectations of an industry renowned for its attention to visual detail.

In addition to that flamboyance, there were the de rigeuer fashion show pressures of producing fabulous shadow-less fleshtones for the amassed media.

Simon worked closely with event producer, founder and organiser Pieter Stewart and production manager Pak Peacocke who designed an adaptable runway scheme with five standard configuration options.

This could be set up as single, double or three parallel individual linear runways, a U- shape or a figure-8 all of which needed very precise lighting … all with corresponding seating block positions, and it was this for which Simon needed a powerful arc-source fixture with shutters.

After an initial demo of the BMFL Blade from Robe’s Australian and New Zealand distributor The ULA Group, he felt confident that “with these 24 fixtures I could provide sufficient and appropriate back light at around 300 foot-candles from about 7 metres distance for all five runway options”.

So he went ahead and specified the BMFL Blades with the intention of using them as his primary back-light sources, with Oceania making its latest investment in Robe.

With tungsten still being the ‘go-to’ colour temperature for fashion shows, Simon thinks that “this latest generation of arc fixtures are an ideal complement, especially with their refined and accurate temperature control”.

At the Viaduct, five lighting trusses were installed in the roof running the length of the catwalk – the centre one aligned with the middle of the single runway option and trusses 2 & 4 with the wider (outside) catwalks.

Eighteen of the BMFL Blades were rigged on trusses 2 & 4 and used as the three-quarter back-light for models walking below when in the single runway mode or square back-light for the dual and triple catwalk mode, with another six BMFL Blades upstage delivering the same colour control on the varying backgrounds of the entranceway.

There was also a ‘fashion lunch’ mode set up which included two additional perimeter catwalks with tables and chairs where the central catwalks had been.

The BMFL Blades enabled him to match, balance or complement the predominant colour temperature for each individual show.

Employing BMFLs in this context meant Simon needed far fewer fixtures to achieve the myriad backlight effects than if he’d been using conventionals, and enabled him and his team to gain time on every show’s load in and focussing, freeing up more to be creative.

The 12 x standard BMFL Spots were rigged on the centre truss, where they proved ideal for effects, fill, and adding drama and excitement as and when needed.

Simon deployed 144 x PAR 64s gelled in CT 202 for his side lighting, complementing the slightly cooler hues from the back, keeping the front at 3200K tungsten.

With all these options the back flats (entranceway) became very mobile show to show. These were lit using tungsten ETC Revolutions which balanced beautifully with the front light mainly from nine pole-operated 5K fresnels. Together this added warmth and depth that is sometimes missed in lighting fashion shows too clinically. The 5Ks, with adjustment covered all of the three linear catwalks and the crossover options.

Lighting was controlled via a GrandMA2 console programmed by Chad O’Grady and Simon also designed lights and creative for a second smaller room in The Viaduct, which was operated by Stefaan Simons using a Hog. Also key on his crew was LD assistant AJ Henningsen.

He enjoyed lighting all the shows, although there were a few stand-out moments including Adrian Hailwood, featuring a curtain reveal of The Graduate Choir onstage at the top of the show, who sang accompanied by piano. This live soundtrack added a rich layer of texturing and as the segments of the show unfolded, the natural ‘audio gaps’ helped focus the audience on the well-defined retro-modern elegance on the runway.robe-nzfw-2016-r2a2303-photo-by-deane-cohen

Also memorable was Trelise Cooper’s vibrant show with giant scenic flowers on the runway and a collection of bold and modern colours; and the avant-garde cool of the WORLD brand complete with stark raw white light and ear-shattering electronic soundtrack.

While Simon discusses the requirements and vibes with the individual designers, he’s lucky to be trusted and given largely a free rein to apply his experience and imagination to create the right lighting ambience for their collections.

After all those years in the hot seat … he’s clearly doing something right and still relishing the challenges and achievements.

www.robe.cz
Australian Distributor: ULA www.ulagroup.com

 

Martin, Clay Paky and MA in fashion

Posted on Tuesday, October 18th, 2016

pre-runway-6 Innovative and dynamic events company Rizer were responsible for the stunning Myer 2016 Spring/Summer collection fashion show recently held at the Hordern Pavilion, Sydney.

Paul Collison designed ethereal and sophisticated lighting to compliment the stark yet beautiful set with Resolution X supplying the equipment. Paul’s rig included 30 x Martin MAC Viper Profile, 49 x MAC Quantum Wash, 14 x MAC Viper Performance, 26 x MAC Aura and 4 x Atomic 3000.

On top of that, Show Technology lent Paul four of the new Clay Paky Scenius Profile fixtures which were in the country about five minutes before making their way to the Hordern Pavilion.

The theme of the event was ‘ombre’ (a fancy name for shaded) so there was to be no blocks of colour only gradients of colms-by-johnny-blogour and Paul was given a fairly strict palette of pastel colours to use.

“Having an all-white set was like being a kid in a candy store, you could throw a light anywhere and it was a lot of fun to light!” commented Paul. “The catwalk was massive (eight metres wide and thirty metres long) so it was quite a large space to light.”

Paul immediately thought of the MAC Quantum Wash as the most suitable solution, not only for its powerful output but also its presence as a light source.

“Their big fat faces gave the whole room substance,” he said. “What I find really impressive with the MAC Quantum Wash is its’ colour rendering; they render faces and material beautifully and the catwalk came up gorgeously.”

The MAC Quantum Washes were rigged down the length of the runaway, left and right, and were also used as a primary light source lighting down the runway. MAC Auras were rigged down the middle of the catwalk and were also used to ‘fill in holes’.

Paul worked closely with the show’s main photographer Lucas Dawson looking at the different colour variations the MAC Quantums could deliver ultimately using their standard 6K colour temperature.

“I couldn’t get over the amount of people who commented on how clean and vibrant the light was,” Paul remarked. “In fact I’ve never had so many people comment on how a runway looked so I think it’s safe to say that the MAC Quantum Wams-closing-lightssh will be my go-to light in fashion now.”

As the runway was so wide and the bulk of the audience was seated on the sides of it, Paul needed to fill the outer edges using MAC Vipers Profiles to do so. The MAC Viper Performances lit most of the set and the band who appeared behind a reveal.

Paul was very excited to have the Clay Paky Scenius Profiles available but did not want to assign them a set role preferring to be able to play with them. However, he ended up leaning on them quite heavily to fill in parts of the set he couldn’t get to from other areas as well as to light the upstage aperture for the models at given times.

“The thing that really stood out about the Scenius was their overall power,” said Paul. “They really are quite a grunty fixture! They are definitely brighter than any other framing fixture I’ve used. The 95 CRI from its lamp is beautiful – it’s the first time I’ve seen a discharge lamp light a person and I’ve thought it looks really good.”toni-maticveski-100-2

The 24 x custom built LED tubes supplied by Above and Beyond, were on two motor points controlled by the MA Lighting MA2. They provided shape and colour to the catwalk filling an area that normally would be devoid of any technology or infrastructure.

As well as the MA2, Paul had coolux Pandora’s Box but this time to run the audio, taking time code from it!

“It was such a cue heavy show we thought it would be good to have time code and this was the most efficient way to do it,” Paul said. “It works really well playing audio off the time line.”

Photos: Lucas Dawson / Danielle Castano

www.showtech.com.au

 

Dreamstate blisses out with Shapeshifters and Hog 4

Posted on Monday, October 17th, 2016

dreamstate American dance promoter Insomniac Events, the company behind the enormous Electric Daisy Carnival, teamed up with locals Symbiotic to bring its trance brand Dreamstate to Melbourne’s Hisense Arena on October 1 for a night of deep grooves and euphoric melodies, served up by Paul van Dyk, John O’Callaghan, Rank 1, Sneijder, Genix B2B Sunny Lax, and Mark Sixma.

In keeping with Insomniac’s dedication to providing the best possible experience to its audiences, Matt Chromatic, creative and technical director of set and lighting design firm Chromatic, was brought on board to deliver a unique custom look for the show, wowing the crowd and enhancing the beats. At the heart of Matt’s design were High End Systems Shapeshifters, and the flagship Hog 4 lighting console.

Eight Shapeshifter C1s, whdreamstate-3ich feature 126 RGB LEDs putting out 24,000 lumens arrayed across seven independently controllable modules, were specified by Matt and hired in from MPH Australia for the gig. “I had used the Shapeshifters previously,” explained Matt, “but that was the white-only model. This time, I went for the RGB version. The Shapeshifters give us something very different to other fixtures. It’s great to have something that can open up so ridiculously wide in such a short distance, so we can go from having a big look out to the room, and then wide for a detailed look for people closer to the stage. We also needed something we could pixel map video to.”

With lighting operator and programmer Michael Hicks on the Hog 4, Matt Osbourne running video and Craig De Vita on laser programming and operation, the Chromatic team kept the sell-out crowd of 7,000 in the moment throughout the eight-hour event. The Shapeshifters were rigged on one of the four circular trusses on the main stage, and controlled via Art-Net. “We used the Hog 4 to run the video component and our custom graphics to the Shapeshifters,” Matt elaborated. “It looked tight; it was clear that the video was triggering the lighting, and they became one. Eight Shapeshifters in that room was a big look, and I’ll definitely be using them again, they’re awesome!”

A self-confessed ‘Hog Boy’, lighting operator Michael Hicks chose to operate Dreamstate from the top-of-the-line Hog 4 console. With two 17-inch touchscreens, five encoders, twelve LCD User Keys, ten faders and master, 48 soft-keys, and dedicated Intensity and Rate wheels to hand, the Hog 4 put everything Michael needed to keep the show on the beat right under his fingers. Support for unlimited Art-Net Universes fromdreamstate-views-c the Hog 4 ensured that the control-heavy pixel mapping demands of the gig were handled without compromise.

With a tight timeline to get the rig built and running, Michael did extensive pre-visualisation and programming in advance. “It was a fast gig to get in,” confirmed Matt. “We had eight hours to install the rig, and we had to programme that night, ready to be up and running for the 6 PM start the next day. The integration from the Hog 4 to all our fixtures over Art-Net was perfect, and once we had all our programming done, it was plug ‘n’ play.”

With Australian High End Systems distributor Lexair supporting all users of Shapeshifter fixtures and Hog 4 family consoles, the dance community can look forward to more mind-blowing lightshows and integrated video running perfectly at events around the country.

www.lexair.com.au

 

Eurotruss at Mercedes Benz launch

Posted on Monday, October 10th, 2016

euro2 On the 28th of July 3 Point Motors was delighted to reveal at its Fairfield Showroom, the “Masterpiece of Intelligence” – the all New Mercedes-Benz E Class. In order to showcase the ultra-modern stylishness and refined sportiness of the new vehicle to its 300 guests, 3 Point Motors hired RTR Productions to deliver a spectacular sound and lighting show highlighting the great features the new Mercedes has to offer.

To help create an air of suspense in unveiling the new Mercedes to its guests, RTR Productions utilised a moving truss box using the Eurotruss HD34 Square Truss. This truss box was used to cover the car until its final reveal time and for the pre reveal. Additionally, the benefit of the box was that it enabled visual custom content made for the evening to be projected onto the truss box to help display messages and visual aid for the audience.euro4

RTR decided that the Eurotruss structure was the perfect choice for this type of reveal as Eurotruss provided the best solution when talking strength and durability along with a quick assembly process from time of bump in. The truss box was accompanied with lighting and lasers that together created a stunning reveal sequence that helped set the scene for the ground breaking technology and superior refinement that comes with the car.

The reveal event was a success with the new Mercedes-Benz given a spectacular platform to launch in front its guests and potential customers. In attendance for the evening was Managing Director of Mercedes-Benz Cars & Chief Executive Officer of Mercedes-Benz Aueuro1stralia Pacific, Mr. Horst Von Sanden. Mr. Von Sanden declared the vehicle launch as “a very special occasion where we are delivered a game changer.” He also added, “It was however the spectacular sound & light show reveal for the E Class that stole the show!” The use of Eurotruss truss box has reinforced RTR Productions reputation for excellence in delivering successful events at the highest level.

www.eurotruss.com
Australian Distributor: Showtools www.showtools.com.au

 

Show Technology wins at the NRL Grand Final!

Posted on Friday, October 7th, 2016

nrl1smLighting designer Tom Wright had the task of lighting the pre-match entertainment at this year’s NRL Grand Final at Sydney’s ANZ Stadium. Fortunately, he had done the job before, as well as several State of Origins, and knew how to overcome the complexities associated with the production.

“You never really know where you are until one to two weeks out,” he admitted. “I have to give huge thanks to the Chameleon Touring Systems team for riding that with me. Chameleon’s Luke Cuthbertson is one of the calmest account managers I have ever worked with! I think I sent seven versions of the plot and the seventh was only a week before the event.”

Tom designed a backdrop which consisted of five ‘Towers of Power’ that resembled medieval catapults being pushed onto the field. They sprung erect to backlight the stage area and add height to the lighting. The structures rose from flat to 45 degrees, then raised again, on cue, to almost vertical.

nrl2smConstructed by Stageset, each Tower was faced with ten ShowPro LED GoldenEYE 77 panels to produce a huge shaft of blinding light. They also had content played though them to give shape and movement to the back of camera shots. Each Tower also had twelve Martin MAC Aura’s (Aura XB’s on the outside and normal inside) rigged in a box configuration to mirror stadium light towers.

“My biggest concern with the Towers was weight especially as I wanted to put as much lighting as possible on them,” added Tom. “I knew the Aura XB’s were insanely bright and would work well. They also have nice looking faces which was important.”

Richie Sambora’s stage and performance was in daylight and so Tom placed four Clay Paky B-EYE K20 fixtures behind him and four Sunstrips to uplight the performers. Eight GoldenEYE 77 panels were placed upstage to create a cross pattern so whether Richie was shot from the left or right, there was always a panel in camera shot.

Keith Urban’s main stage housed twenty Clay Paky B-EYE K20, a fixture that Tom says always looks good on camera.

“Keith likes big swathes of colour such as all orange or all blue,” explained Tom. “We knew if we had the B-EYEs as well as GLP impression X4 Bar 20s, we’d get nice big curtains of light over the stage whilst still able to have beams. I didn’t want any fixtures onstage that needed to be striked as you often find the stage is the last to get power and the last thing you want to do is be sending strike commands to the stage just as you are about to start. The crew hate having dimmers on these gigs; there’s a hell of a lot of cabling, and a lot more fault finding to do. So I tend to use Sunstrips to light up the performers although I put a massive amount of frost on them so there isn’t a hotspot of light pointing at someone’s chin.”

Tom was particularly impressed by the GLP impression X4 Bars, describing them as fast, responsive and capable of delivering great colours.

“When you put them into the tight 2° beam they are awesome.” He said. “Keith has something like 270 on his current tour, I was only able to offer him 20! Wnrl7sme put them in a criss-cross configuration on the stage knowing that if you tilted them forward, you would always hit someone on stage.”

With so many LED fixtures onstage Tom wanted something tungsten for the cameras and so he added thirty-six Elidy panels pointing in random directions so the camera would always pick up something.

Twenty-four Martin MAC Viper AirFX were hung from roof trusses (six per truss) to project patterns onto the stage and Tom was amazed by their long throw. Everything else that was not the main show – such as Jessica Mauboy’s solo performance and Dami In’s national anthem – was lit entirely by the MAC Viper AirFX. And when the pyro smoke got heavy towards the end of the show, the MAC Viper AirFX cut through like no other fixture could.

Twenty Clay Paky Mythos were rolled onto the field mainly behind the stage from where they could fill wide shots.

“You don’t do much creativity with them, you just point them in nice pretty patterns into the sky and they just perform,” Tom said. “You only need to put them in a classic fan and they look incredible. I also like to shoot them across the field in a criss-cross effect. It looks spectacular if you don’t put a pan effect through it, you just see a changing pattern of light on the field and it looks huge.”

Normally Tom would only install four follow spots into ANZ Stadium but due, to the increased number of performers on stage, he increased this to six; four always on Keith and two for his two guitarists. For the key moments in his duet with Jessica Mauboy, all six were put onto them.

“I chose Robert Juliat Cyrano follow spots as they are bright and so easy to use,” Tom said. “In fact the crew just walked up there and had them operating without any instruction from me. They’re smooth and for such a low wattage, you would mistake them for something twice as powerful.”

For control Tom used an MA Lighting set up of two grandMA2 light consoles, two MA NPU Nodes, and four MA NSP Nodes.

nrl5sm“MA2 is the leader and you wouldn’t choose anything else,” he commented. “There’s no way you can do some of the networking on any other consoles that I know of, to that level of stability and security. I knew I could work in the pre-viz suite, take a show file, load it into the console and it would just work.”

Fortunately for Tom, Chameleon Touring Systems’ managing director Tony Davis is a big Cronulla Sharks fan and as such, was somewhat generous with his supply of lighting!

www.showtech.com.au

 

Clay Paky takes flight at Defqon.1

Posted on Friday, September 30th, 2016

Every14362634_1462081527142449_232565262328752844_o-copy September Defqon.1 Festival takes place at the Sydney International Regatta Centre, transforming this breathtaking venue into the ultimate party island.

This year Chromatic designed the stage and lighting, using thirty-four Clay Paky Sharpy and sixteen Mythos to full effect.

The theme was Dragon Blood but as the 2012 stage had been a dragon, inspiration was taken from another mythical creature – the Fire Phoenix. Naturally that inspired a colour choice of flame colours resulting in a vibrant red, orange and yellow stage.

The wings of the Phoenix gave rise to obvious fixture placement with the light beams used to extend the wings further. The Clay Paky Mythos and Sharpy beams made the whole Phoenix stage look like it was rising from the ashes about to take flight.

The top of the wings held Sharpys, the mid run Mythos and bottom run, two metres above crowd height, also had Sharpys. This resulted in a beam, gobo, beam effect with two more Mythos to internally light up the eyes. The Mythos were particularly good for this as they have a good pan which meant they only had to be placed 1.5m back to be able to get a nice spill across the 1.2m acrylic eyes. Obviously being such a powerful fixture with nice animated gobos meant the team could get some really cool effects. If the fixtures that couldn’t spill as wide had been placed further back, there would be more of a chance of getting a scaffold beam in front resulting in a shadow across the eye.

This is the first time that Mythos had been used on a Defqon.1 show and the crew were impressed by their brightness and performance. They were particularly impressed by the ability to achieve a broad beam whilst keeping the light powerful. Chromatic have been a fan of the Sharpy for quite a while now especially for dance parties, saying that they’re great for outdoor concerts where they may have trouble keeping fog levels up. The Sharpy’s compact size means it is ideal for hiding in the stage set.

The top of the Phoenix wing also held Martin Atomic scrollers each positioned directly above a Sharpy so that the source of the S14425550_1462083460475589_8981040151790651583_o-copyharpy beam was hidden. The result was a strong blinding strobe effect straight on with a beam coming out of it, plus there were enough Atomics in a row to do a nice chase effect too.”

Control was an MA Lighting MA2 fullsize + MA2 light.

www.showtech.com.au

 

W-DMX and Hex36 at Royal Adelaide Show.

Posted on Monday, September 26th, 2016

ras4Staging Connections Adelaide used their brand new ShowPro Hex36 LED Floods at the Royal Adelaide Show with sixteen of them arranged around the main arena as effect lighting.

Originally intended as “traffic lights” to start and stop the Drone racing, the Hex36 ended up being integrated into the rest of the show for ute racing, effects lighting and to engage the audience.

“The sheer brightness of the fixtures more than exceeded our expectations,” commented Ashley Gabriel, Staging Connections’ Regional General Manager. “Sixteen of them filled the main arena even if the stadium lights were turned off! The fixtures also had to withstand the Adelaide elements during the two week period they were in position facing high winds and driving rain as well as some warm sunny days – none of which affected the running or reliability of the Hex’s.”

Also making their debut were Staging Connections’ new Wireless Solutions BlackBox F-1 wireless DMX transceivers and BlackBox R-512 wireless DMX receivers with high gain aerials to control the fixtures.

“The DMX was solid even with 20,000 people in the arena and the general RF in the area too. We are very happy with the fixtures and equipment supplied.”

www.showtech.com.au

 

CHAUVET Professional Shines for Ravenswood

Posted on Friday, September 9th, 2016

rav1  Ravenswood School for Girls staged two remarkable productions in 2016: Grease the Musical and Ravenswood Presents. Showtools International helped create the necessary dramatic mood and showcase the students’ fine talents for both events, by providing Chauvet Professional fixtures. Grease the Musical in particular featured 80 students from Years 7-12 on stage at one time. The use of Chauvet professional fixtures allowed for the creation of some memorable performances for this large-scale production.

Currently, Ravenswood School for Girls owns a variety of Chauvet fixtures including: Rogue R1 Spots, Legend 412z, COLORdash Batten-Quad 6, COLORdash Batten-Hex 8 and Ovation C-640FC fixtures. To give their productions a professional stage look, Showtools International recommended some new versatile fixtures to supplement their stock. The new fixtures included 4 extra R1 Rogue Spots and R2 Rogue Washes to create maxirav3mum and amazing dimension for the shows. Theatre Technicians Jason Grimsted and Conor Fitzpatrick explained enthusiastically, “The Chauvet fixtures have been a fantastic addition to our inventory, replacing our aging moving lights and complementing our existing stock of static fresnels and profiles!”

The Rogues performed several functions including spot-lighting for various singers on stage to really emphasise the performers and attract audience attention while providing atmospheric aerial effects projected on the stage. This earned the approval of both Jason and Conor, “We have been particularly impressed with the brightness and effects of the R1 profiles.”

Additionally, the COLORdash fixtures provided colour fills and wash for the stage which worked like magic as a counterpoint to Rogue fixtures, which as a result helped deliver deep saturated colours. Jason added, “We have enjoyed putting the COLORdash Batten-Quad 6 and the COLORdash Batten-Hex 8 in a variety of different configurations to achieve some unique looks. Also, it’s a real bonus having both 3 and 5 pin connectors along with the Power Con Connections on all fixtures as a standard.”

Thanks to the impressive array of Chauvet Professional fixtures, both productions (Ravenswood Present and Grease the Musical) were given a professional and dynamic touch, in particular Grease the Musical due to the famous material it was based rav5on. The productions were a huge success and ran smoothly for the college and its performances to the delight of the staff who worked hard to put the shows together, leaving an unforgettable moment for the audiences that attended the respective shows and which enthusiastically participated in a standing ovation at its conclusion.

www.showtools.com.au

 

Winter Lights 2016 comes alive with coolux

Posted on Tuesday, September 6th, 2016

LUX Events Brookfield Lights7th July 2016 Photographer - Travis Hayto PERTH, WESTERN AUSTRALIA Copyright Travis HaytoDuring Perth’s Winter Lights festival, the restaurants and bars of Brookfield Place came alive with lighting displays.

This year, a 3D animated light installation, graphic display, and music breathed life into the heritage façade along St. Georges Terrace. Drums and audience activation zones lined the intervals to entice the audience into their own expression of sound and correlating projections.

Produced by Lux Events, the projections utilized eight outputs of coolux and took advantage of coolux’s recent major software release. For this project coolux is talking to a lighting console which is running lights on an adjacent building that matches the projection on the main buildings.

An electronic drum kit was linked in to coolux so the public could generate visuals on the buildings and there was a second interactive element where a coolux AirScan tracked body movements to generate sparkles on the building.

“We incorporated the historic buildings located along Perth’s St Georges Terrace into our mesmerising animated design, created by our talented designer Pawel Piotr Przybyl,” added David Trapp, managing director of Lux Events. “As part of our leap into experiential events, we created two interactive projection activations where the public could create their own projection and light show on the buildings through drumming and hand movement.”

Photo: Travis Hayto

www.showtech.com.au

 

ETC fixtures deliver improvements for Ensemble Theatre

Posted on Monday, August 29th, 2016

Eric-Beecroft-as-Robin-and-Sophie-Hensser-as-Jacqui-in-A-HISTORY-OF-FALLING-THINGS,-photo-by-Phil-Erbacher-40_600pxThe Ensemble Theatre in Kirribilli, Sydney, is Australia’s longest and continuously running professional theatre company and has constantly maintained the highest standards in theatrical presentation.

A while back it became apparent that the theatre’s lamp stock was starting to age which meant the running costs for the fixtures were increasing. These aging fixtures were also adding considerable time to bump in and show preparation, it was definitely time to look at an LED solution.

“We also wanted to cut down on consumables such as lamps and gel stock,” explained Tom Blunt, Production Manager for Ensemble. “Prep time in cutting gels and running costs in terms of electricity were also a consideration. I had a look around at what was on offer from a few manufacturers, such as Philips and Chauvet, but the ETC products really were the stand out. The ETC fixtures also seemed to have the best reputation both here in Australia and overseas.”

As a result of his research, Tom ordered twenty-four ETC Source Four LED Series 1 with EDLT lenses from Sydney based Herkes Electrical, as well as an additional twelve ETC Source 4 fixtures with standard lenses, making a total of twenty-two units.

“We are running an ETC GIO console and the colour matching with that is just phenomenal compared to anything else. You just plug them in and turn them on. It means the designers can call up any Lee, Rosco or Gam colour that they want and it’s incredibly close, if not spot on.”

The ETC LED fixtures meant that Tom could reduce the amount of consumables he had to store such as lamp stock.GoodPeople_ProductionPhotos_clarehawley-38_600px

“We moved from having three different types of lamps in stock for profiles to just one,” he said. “Also the construction of the ETC fixtures is far better than our previous fixtures.”

Local support was an important factor for Tom who commented that he had a very good history with Jands and favoured their support.

“Not that we’ve needed any support with our ETC Source Fours as yet and hopefully we never will!” he laughed.

Also installed were twenty-two sections of Jands JLX-Lite modular lighting bars to enable a slightly flatter angle to the stage.

“The JLX-Lite lighting bars have opened up a whole different realm of opportunities to the lighting designers that was not available before due to their restricted position,” remarked Tom. “The ETC LED fixtures have also reduced the number of lamps in the air, so instead of having a two-colour profile wash, we’re now down to a single lamp with infinite colour possibilities for the designers. That has led to extra benefits too in terms of air-conditioning and general running costs as the fixtures are cooler.”

www.jands.com.au

 

White Night Melbourne 2017 – Expressions of Interest

Posted on Tuesday, August 23rd, 2016

Original__9702694_TVIC_WNM2015_Infinite_Curve_credit_John_Gollings_uaw1j18_1600X900White Night Melbourne will return to the streets, laneways and gardens of the CBD from dusk till dawn on Saturday 18 February, 2017 and the inaugural White Night Ballarat will follow on Saturday 4 March, 2017. Expressions of interest from artists and performers wanting to participate in White Night Melbourne are now open and full details can be found at www.whitenightmelbourne.com.au

The White Night Ballarat website will be launched and open for Expressions of Interest on 9 August 2016.

White Night Melbourne is one of Australia’s most celebrated cultural events that continues to draw record crowds into Melbourne’s CBD. Due to the success of the past 4 events, next year will mark the first regional White Night in Ballarat.

Minister for Creative Industries Martin Foley said, “Next year’s White Night events will be an opportunity to showcase the diversity and talent of our creative state to hundreds of thousands of people of all ages. These events will be platforms for independent artists, arts and cultural organisations and creative businesses from right across the state so if you’ve got an idea that will showcase Melbourne or Ballarat in a whole new light, I encourage you to get involved.”

Newly appointed White Night 2017 Artistic Director and Executive Producer, David Atkins, said “Over the last 4 years White Night has provided a unique platform for the presentation and performance of hundreds artists during its unique 12 hours of programming. Over half a million people attend White Night and this exposure and environment is an unprecedented opportunity for artists and performers locally, regionally, nationally and internationally to present their work. We have launched the Expression of Interest submissions for artists and performers for White Night Melbourne 2017 and we are looking forward to an overwhelming response.”

Expressions of Interest are open now through to midnight on the 23rd August 2016 via the White Night Melbourne website www.whitenightmelbourne.com.au

White Night Melbourne: 7pm Saturday 18 February – 7am Sunday 19 February 2017White Night Ballarat: 7pm Saturday 4 March 2017 – 7am Sunday 5 March 2017

 

NW Group unleash their Stormys

Posted on Tuesday, August 16th, 2016

nwgsThe Heineken City Shapers Festival, which forms part of the brand’s ongoing Open Your World platform, recently took place in Melbourne. The event featured music from Hot Dub Time Machine and lighting from NW Group.

It was the ideal chance for NW Group to show off their Clay Paky Stormys, the innovative LED strobe that still retains all the charm of a classic strobe. The Stormy comes with RGBW LEDs, which are able to flash in any colour: there is no more need for gels, which dramatically reduce the amount of light, or slow noisy unreliable scrollers. The fact that these Stormys could easily match the Heineken classic green colour was a huge plus for the client.

Operator Dan Evans commented that he found them to be a very versatile strobe fixture and he liked the fact they could also be used as a coloured flood.

Also in the rig were eight Clay Paky Sharpy and 16 x Martin MAC Auras, controlled by Dan using MA Lighting MA2.

www.showtech.com.au

 

Nivtec provides the stage for The Australian Latin Dance Championships

Posted on Thursday, August 11th, 2016

The Australiadance3n Latin Dance Championships is the largest street Latin dance competition in Australia and was recently held at Darling Harbour Sydney. This competition saw competitors of all ages compete against each other for the right to qualify for the World Latin Dance Cup to be held in Miami USA. In order for the event to go ahead,dance1 organisers needed a stage that would be able to withhold a certain number of dancers at any given time.

Nick Zahara of Party Hire Group was approached to build a stage required to hold 40 dancers at a time with minimal bump in and bump out access. Based on the requirements of the event, Nick approached Showtools International and after careful consideration the choice was made to provide a 8m wide x 9m deep stage. The effective Nivtec hook on system with no bolts was the best solution for The Latin Dance Championship as it was secure and provided safety for all dancers involved.

The event was a huge success and the competition was held in front of a large audience. Party Hire Group now has an inventory of 80 decks to cater for a variety of small to large scale events ranging from functions to corporate events.

www.nivtec-flexibel.de/en/
Australian Distributor: www.showtools.com.au

 

Firefly FloppyFlex LED Neon Tours the World with Coldplay

Posted on Wednesday, August 10th, 2016

FF2smallThe impressive stage set for Coldplay’s 2016 A Head Full of Dreams Tour is highlighted by the new, bright, RGB Firefly FloppyFlex flexible LED neon. Currently on a seven-city US stadium run, the tour began early this year in South America, then went to Europe, and will continue to Australia and New Zealand.

“We outline the active stage surface to highlight its shape and show the stage edge,” says the tour’s Lighting and Production Designer Paul Normandale of Lite Alternative. “This provides an artistic effect for the audience as well as a safety edge light for the artist. We’re using the large dome version which fits easily and quickly into a channel routed in the stage decks. The system is circuited into various sections of the stage – main, walkway, wings, etc. – and also outlines the flower-shaped video screens. FloppyFlex is proving reliable and very bright.” Normandale adds. “We also have 24 Solaris Flares on the set, which are super-bright and very reliable, indoors or outdoors.”

Joining the European leg of the tour, Heath Williamson of Brisbane-based Firefly reports, “Everyone is very impressed with the colours. Even the yellow is a great yellow; not the sickly greenish yellow common to most linear RGB products on the market. The yellow is of course put to good use during the Coldplay song ‘Yellow.’ The white looks great as well, as do purples and oranges, normally hard to achieve with conventional linear LEDs.”

Driving the FloppyFlex are up to 30 ProPlex RGB Drives, TMB’s new rugged, feature-rich DMX units with 24V RGB outputs. The PortableMount units are designed for both desktop, or truss-mounting with yoke, and are mounted at various locations around the Coldplay set. Brilliant Stages of the UK provided the set for the Coldplay tour, including the FloppyFlex. Control for the FloppyFlex, as well as the tour lighting, is provided by Lite Alternative.

Firefly FloppyFlex LED Neon is the perfect replacement for glass neon: Easy to use, long lasting, durable, and, at 24VDC, safe. Perfect for use indoors and outdoors, FloppyFlex is available in large dome (270° view angle), small dome (160° view angle), and flat versions.  tandard single-colour versions include Red, Green, Blue, Yellow, Orange, plus RGB and Digital RGB (pixel controlled) versions, as well as a wide selection of single color white options ranging from 2100 to 5700K. Also available in the Firefly range of decorative, outdoor-rated lighting systems are Festoon with shatterproof, outdoor-rated LED lamps, and Fairy Lights – long-life, heavy-duty LED Strings and Icicles.

http://fireflylighting.com.au/
www.tmb.com