Claypaky Scenius Profile an Intense success
Posted on Friday, July 21st, 2017
“I visited the Show Technology office to have a good test of the Scenius Profile and discovered that it showed a level of sophistication that I couldn’t find with other fixtures I had investigated,” commented Ian. “We bought six as a pilot purchase, seeing as they’re a new product we wanted to test the markets response to them, but I can say we will be looking to purchase additional units soon. As most of the work that we do is in theatre, almost every rider calls for a moving light with shutters.”
The Scenius Profile’s 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.
“Our clients love the four plane focal system, you won’t get any shutter clash like you do with some other fixtures where it will push out another shutter to get that shutter in,” said Ian. “The aperture is so compact, the edge remains consistent in the focus field which is a really nice feature.”
“They loved the Scenius Profiles,” said Ian. “We fitted a custom glass gobo for them which was hassle free. The lighting designer Daniel Barber had nothing but good things to say about them.”
Ian was impressed by the stock gobos that come with the Scenius Profile, which he describes as texture heavy and thus very good for theatre.
“One thing I’ve found with a lot of moving heads in this range is that they try to please everyone in the lighting market,” he remarked. “So you’d get a couple of good texture gobos and then some aimed at the nightclub market, fan break ups etc that are not so critical in theatre.”
Ian reports that he has received a lot of positive feedback on the linear frost and CPI wheel, saying there’s good controllability of the linear frost – something lacking in past fixtures that have attempted this.
“The modular setup of the Scenius Profile makes it easy to service,” added Ian. “The major forefront of technology I found with it is that it utilizes turbine fans, which I havent seen in any other moving head. I believe they have good longevity and they also run a push/pull cooling system across the lamp which is quite nice.
“Their brightness is second to none. We used them on a show at the City Recital Hall with one situated in the bio box acting as a follow spot in parts. It was a 30 metre throw and it was very punchy. The colour system is smooth and variable, you get a nice range of pastels. When you pair such a quality product with the support you get from Show Technology, you can’t go wrong.”
All six of Ian’s Scenius are currently on Opera Queensland’s production of Gilbert & Sullivan’s Ruddigore, or the Witch’s Curse with lighting design by Andrew Meadows
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!
Photo: Stephen Henry
Martin Kinnane lights Thai’riffic
Posted on Thursday, July 20th, 2017
Based on Oliver Phommavanh’s best-selling book of the same name Thai’riffic is about an Australian born boy of Thai heritage coming to terms with the fact that most people find his background much more interesting than he does. It’s a play about acceptance for 7-14yr olds. The producers The Theatre Division have been working on getting this show to the stage for four years and from reviews it was well worth the wait.
Lighting designer Martin Kinnane was given a brief that was fairly simple yet tricky; light the actors and make it fun and interesting to watch.
“My biggest challenge was achieving a fun and interesting design without washing out Mic Gruchy’s vision design which totally covered Mark Thompson’s set,” explained Martin. “It’s all about the angles. So we brought in five extra pipes to span the gap between the venues Lx 2 and 3 to create the positions I required. And of course the challenge ahead is that Monkey Baa’s Lend Lease Theatre is very different to the next venue the Seymour’s Everest Theatre.”
The rig is made up of the venues equipment; a variety of ETC Source 4 Zooms, Fresnels and Selador Vivid-R11 Led fixtures. Some LED tape and festooning for set electrics was added to the set.
“What I love about working in theatre for young people is hearing their excitement, the noises they make as a group and the occasional uncensored comment at random moments during a show,” said Martin.
Griffith Regional Theatre gets Wicked with Chauvet Professional
Posted on Friday, July 14th, 2017
Following the success of the recent Ratcliff concert thanks to the use of their newly acquired CHAUVET Professional lighting fixtures added to their lighting rig, Griffith Regional Theatre recently held their newest community production, ‘Wicked.’ The production was about the untold story of the witches of Oz and was held over two weeks from the 21st of June to the 1st of July. Lighting designer John Matkovic once again used a variety of CHAUVET fixtures supplied by Showtools for the production to generate various moods for the show as well as create a professional theatrical quality to the theatre and for the audience.
‘The overall design process of the production was based on the three arches of the set and how they got smaller as the set extended up stage, lighting had to be set lower and tighter across the center sections of the lighting bars, side towers and the heavy side light made up for most of the lighting scenes,’ John stated.
The equipment used for the ‘Wicked’ production included: Rogue R2 Spots, R2 Washes and R2 Beams, Rogue R1 Spots, Rogue R1 FX-B’s, Ovation C-640FC and COLORdash Par-Quad 18’s. The Rogue R2 LED Moving Head Spots were used to provide maximum dimension for the show, while the R1 Spots were used for its varying overhead gobo effects as well as its colour sharpness and aerial effects. In addition, the Rogue R2 Washes fixtures created bright and intense theatrical looks placed over head and on top of side booms that helped set the mood for the ‘Wicked’ theme. The R2 Beams were used for their great intensity and colour saturation as John stated, ‘The lighting was a character in itself, just the lighting and its focus, the great intensity of the Chauvet LED beams and color saturation really helped establish the right mood for the musical.’
Other fixtures implemented include the Rogue R1 FX-B LED Moving Head System which were strategically placed on the ground to create beams through the arches which were placed as a set backdrop for the action on stage. Thanks to infinite rotation of both pan and tilt for each fixture’s five individually controllable 15W RGBW LEDs, John was able to create a seemingly endless array of crisp beams, rocket quick movements and colour blanket effects when needed depending on the type of scene needed. The COLORdash Par-Quad 18 LED Static Wash Lights and the Ovation C-640 Static Wash Light were also used for general colour wash.
The Wicked Production was successfully held with eleven shows, eight of which were sold out which made ‘Wicked’ the most successful community production Griffith Regional Theatre has created. Thanks to the use of the CHAUVET Professional lighting rig, Griffith Regional Theatre has once again amazed audiences with Margaret Sands exclaiming on the Griffith Regional Theatre Facebook page, ‘Superb lighting and effects, equal to any! The highest of accolades to both Griffith Regional Theatre, and especially ‘John’ on the lighting desk, for bringing such professional theatrical quality, in every way to this region.’ The impact of the CHAUVET Professional lighting was also adequately summarised by a review quoted by John which stated, ‘Defying gravity was finally done right.’
Audio Visual Technician
Posted on Wednesday, July 12th, 2017
Due to business growth we are searching for an experienced, professional and highly organised Audio Visual Technician (Junior) to join our Sydney team.
Your duties will include, but not limited to:
- Preparation and de-preparation of Audio, Vision, Lighting and Staging equipment
- Delivery/Setup, Operation and Pack down/Collection of AV equipment
- Directly dealing with clients to achieve business outcomes
- General warehouse and office duties
- Packing and driving trucks and vans
- Equipment maintenance
- Take a proactive approach to own work performance
- Maintain and promote a safe and healthy work environment
The successful applicant must have:
- The right to work in Australia on an ongoing basis
- A valid passport
- No circumstances that prohibit travel to any particular country
- A valid Australian drivers license (HR license desirable)
- Ability to work after standard hours and on weekends
- 1-2 years’ experience in a technical role within the AV/ Corporate Events, Rental & Staging industry at a similar company.
The successful applicant should have:
- An exceptional work ethic with the ability to work autonomously with enthusiasm
- High level computer skills (PC and Mac)
- Technical understanding of equipment used within the AV Events industry
- Excellent oral and written communication skills
- Maturity to deal with people at all levels of an organisation
- Ability to work under pressure with excellent decision making and problem solving skills
- Time management skills; the ability to manage multiple and competing deadlines
- High level of accuracy and attention to detail
- Conflict resolution skills and maintain confidentiality at all times
- EWP, knuckle boom and working at height tickets will be highly regarded
Ideally the successful applicant will be available for an immediate start
If you think you have got what it takes, please email your CV to firstname.lastname@example.org
Note – Only successful candidates will be contacted
Chromatic lights Quantum Valley stage at EDC
Posted on Tuesday, July 11th, 2017
The event took over the grounds of Las Vegas motor speedway for three nights of dusk till dawn action.
“Already knowing the DreamState brand style, we felt this was in line with the sleeker tech style,” said Matt. “We had video forming the perimeter of 2 and 3 dimensional cubes. Being in a big top creates its own parameters, the working conditions of the heat in the Nevada desert, temperatures up to 47degrees during the day, its best to execute most work at night. “
The rig consisted of 57 x Elation Platinum, 48 x Ayrton MagicPanel, 14 x Robe BMFL Blade, 22 x Martin Atomic 3000 and 32 x Elation Lumina Strip.
Innovative find Martin VDO Sceptrons the ideal solution
Posted on Thursday, July 6th, 2017
Innovative Production Services (IPS) has added 200 x Martin VDO Sceptron 20 linear outdoor-rated LED video fixtures to their inventory. With its 20 mm pixel pitch and an extensive range of optical accessories for a wide variety of looks, the VDO Sceptron 20 opens up a wide range of creative possibilities.
“I had been searching for something different for a while and when two projects came along that would be ideal for VDO Sceptrons, I had the perfect excuse to buy some!” remarked Jeremy Koch, Director of Innovative.
One of these events was the Vodafone stand at CeBIT Australia held at the ICC Sydney, a premier occasion to launch such a product to the corporate display world.
“The client came to me looking for ideas to make the stand more dynamic and interesting,” said Jeremy. “They had a triangle design already happening with a roof of triangle shaped timber edge-lit with LED tape proposed. It was just going to be ‘on’ with no colour changing or chases ….. I knew then it was time to have a good look at the VDO Sceptrons!”
Innovative custom designed the rigging and brackets for the Vodafone system with Show Technology assisting with a cabling plan. The integrated power and data cabling of the VDO Sceptron allows for long daisy-chains with many fixtures per cable-run, while the power supply can be located backstage for a clean setup avoiding messy cabling and several driver boxes.
The Vodaphone stand featured a total of 280 x VDO Sceptrons, with 50 sub-hired from MPH and 30 on demo from Show Technology.
“When it came to how it would all look, we were stepping into the unknown,” admitted Jeremy. “But once it was flown and working, everyone was blown away by it especially as it was like nothing anyone had seen before.”
Jeremy spent time adding content, both stock and downloaded, commenting that while content may look great on the computer screen it does not necessarily look good on the output device and vica versa.
A few days after CeBIT, IPS had to deliver some creative for TEDxSydney, the leading platform for the propagation of Australian ideas, creativity and innovation to the rest of the world. Jeremy said they had been struggling for an idea for the stage backdrop and given how well the Vodafone project had looked, he decided to push for the VDO Sceptrons to be the backdrop.
“Initially, some of the creative team were against the idea saying it looked too geometric and bland in the renders,” began Jeremy. “However in the end they translated really well onto camera and everyone was very impressed.”
Bright and fully calibrated for optimal consistency, the VDO Sceptron 20 is driven by the Martin P3 System Controller family for easy configuration, mapping and setup, and is also backwards compatible with DMX for smaller setups.
Control set up was similar at both of the Innovative designed events with the VDO Sceptrons driven by the Martin P3 System Controller into which was fed Pandora’s Box. The Vodafone stand was all programmed into Pandora’s Box in the timeline but as TEDxSydney was a live show it was controlled by MA Lighting MA2.
Jands Vista integrates on System of a Down tour
Posted on Wednesday, July 5th, 2017
“How do we set up the control system to accommodate everything we need for a huge show including capacity for different festival rigs?” Matt Arthur, lighting director for System of a Down’s current European tour, and festival appearances asked Jack Moorhouse, Jands product manager from A.C. Entertainment Technologies.
Rob Sinclair’s ambitious creative design for the headline European tour by the American alternative, Grammy-winning rock band contained over 800 individually controlled elements, including a touring floor package, festival house rig and a large hybrid video wall.
The wall incorporated embedded RGB pixel “lights” alongside a traditional video screen. The lighting pixels themselves required 2,128 DMX channels. Matt originally planned to run the video and pixels from two separate media servers, with overall control from Jands Vista.
The solution was to network two Jands Vista L5 consoles together, alongside a Vista D1 distributed processor.
Jack commented: “Doing this provided more than enough DMX universes for the entire show and festival pickups, whilst simultaneously providing tracking backup and networked processing redundancy. Additionally, running all hybrid pixels directly from Vista’s inbuilt FX engine meant that a second media server was no longer necessary.”
The resulting control system allowed Rob and Matt to easily create and manage a fully integrated visual display for the show using a combination of video, lighting and pixel mapped effects.
Avolites Ai Media Servers Map Day of the Dead
Posted on Monday, July 3rd, 2017
Australian audio-visual production company, IKONIX, recently used one of their Avolites Ai RX8 Media servers to video map a Cinco de Mayo event (Day of the Dead) at Melbourne’s top trending event space, Peninsula. The Mexican-themed event marked the end of the five-day 37th Australian Dental Association (ADA) Congress 2017 with 700 guests in attendance.
“For the Cinco de Mayo event we worked with our client to choose a selection of 3D models that we could projection map on to,” says Richard Saunders, co-director of IKONIX along with partner Zachary Burton. “We had a small 3D model printed for demos and testing before moving forward with larger custom-built models made from foam and plaster.”
Focusing on the Mexican theme, IKONIX’s animator, Daniel, created a mix of bright, bustling 3D content that Burton mapped across multiple three-meter high ‘Day of the Dead’ skulls at the event.
“Daniel did a fantastic job of working to the theme,” says Burton. “He made up some great content inspired by the traditional painted Day of the Dead skulls, using multiple layers and blending them using alpha transitions.”
IKONIX ran two outputs with a canvas resolution of 1080 x 1080 for the projection, using Ai’s Auto Map feature to automatically calibrate their projector positions and warp the content onto the models. Burton utilized remote access to fine tune the projection with a laptop.
“Using the Ai Auto Map feature, we were able to get in close and do final touching up using the model vertices on the output page,” says Burton. “Auto Map works really well and is a really fast way of programming and tweaking. Having features like Auto Map made our bump in quick which helped with a tight bump in schedule”
The Auto Map feature, popular with designers and programmers, allows the user to visually map content using a digital model. The digitally mapped model can then be transitioned to the real-world model using a simple key point selection process on screen, meaning that designers can map visually without the need of complex mathematical formulas.
IKONIX stocks Avolites Ai Media Servers exclusively for use on their bespoke video-mapping projects across Australia. The team also own two Miami Dongle based servers and an Avolites Quartz console.
“We visited the Avolites HQ in London in early 2016,” says Saunders. “Meeting the team and having one-to-one training on Ai made us love this product even more and we couldn’t wait to implement Ai on exciting projects back over in Australia.”
IKONIX has since used the Ai RX8 servers on a myriad of projects including; Queensland Training Awards and John Paul College’s production of The Whiz, and will be turning the servers to use on the upcoming Creative Generation – State Schools Onstage 2017 event next month in Brisbane, Queensland.
Cunning Little Vixen lit by Trudy Dalgleish
Posted on Friday, June 30th, 2017
The forest comes alive in Victorian Opera’s new production of Janácek’s Cunning Little Vixen. One of the great masterpieces of early twentieth century music, this rarely-heard opera was staged for five performances only.
Celebrating the beauty of nature and cycle of life, Cunning Little Vixen muses on the interaction between human and animal life. Set in an idyllic forest, the story follows a Vixen’s lyrical journey from youth to adulthood.
It’s about a forester who catches a baby vixen and takes it home to his kids for a pet. The baby vixen grows up at the forester’s house and his kids annoy the baby fox by poking it with sticks, so it kills all his chickens and escapes back to the forest where it meets a boy fox and they have cubs. The forester spends the rest of the opera trying to shoot the vixen, until one of his neighbours does it for him, to make the vixen into a muff for his new wife. Boy you have to love opera, always a happy ending! It’s basically about renew and the cycle of life and its set in a European forest through all the seasons.
Lighting designer Trudy Dalgleish was asked to create two worlds; the world of the animals which was beautiful and full of saturated colour and the world of the humans, which was stark, black and white, devoid of all colour. Trudy had to light all the seasons, in both worlds.
Trudy’s biggest challenge was the set which was a raked stage surrounded on three sides by sharks tooth gauzes and the stage itself was filled with skeletal metal trees.
“It usually takes me a week to work out a design, but this one took me three weeks of working out angles,” admitted Trudy. “The problem was if I was to light it from the front I would run into the trees, if I lit it from the sides there was only a 1700 gap before I would run into the gauze – so it was a real challenge to just light the people. The gauzes were hard as there was no space offstage to light through them and if I lit them from the front I would run into those trees again!”
Trudy commented that lamp placement was the most critical she has ever done. The result was six Claypaky Alphas located three metres behind the back scrim and three Martin MAC Vipers on lx 1 to light the back scrim. The sides were lit with two Alphas and two Vipers per scrim from the ends of the onstage lighting bars.
“This meant I could just squeeze past the onstage trees from the side,” she explained. “I have to say it was the hardest design I have ever done in the challengers that I had to work out. It seemed that once I had solved one problem, I had created another one or two! It was a real brain strain, but it looked so simple.”
Trudy needed shuttered lights with a large beam angle and she wasn’t able to use what she first requested as the hire company the opera preferred to use didn’t have that equipment.
“So I settled for Martin Viper Performances and Claypaky Alpha 700 profiles for the scrims, Martin Viper spots for the floor gobos and Quantum washes for the colour washes and specials,” she said. “The people light was supplied by ETC Source 4 26 degrees on side booms. Control was an MA Lighting grandMA 2 programmed by Peter Darby, Head LX for the Victoria Opera. I loved how bright the Quantums were, I ran them at only 20% for most of the show and I can’t wait to use them in an arena environment next week.”
Trudy’s favourite aspect of the production was being able to reproduce all the seasons in the animal world, she was really pleased with how they turned out.
Trudy can be contacted via her agent http://www.artsmanagement.com.au
Additive Lighting’s sweet success with Hot Brown Honey
Posted on Tuesday, June 27th, 2017
Fresh from acclaimed seasons in festivals around the world, Hot Brown Honey returned to Sydney Opera House this June. With lashings of sass and a hot pinch of empowerment, this posse of phenomenal women smash stereotypes, remix the system and dare to celebrate our similarities and differences.
Lighting this audacious platter of dance, poetry, comedy, circus, striptease and song, was Paul Lim of Additive Lighting.
As the show title suggests, the set was designed to represent a bee hive with Busty Beatz, the musical director, the queen bee on top of this hive structure. The set designer Tristan Shelley came up with the idea of a honeycomb facade made up of yellow plastic buckets heat-formed into hexagons. As Paul thought about how to light this structure it became obvious to him that he had to light each bucket and create their own low resolution LED screen.
“I wanted it to be a backdrop for the performances in front of it, but also character in its own right,” he explained. “I spent many late nights exploring the grandMA2 Bitmap Engine in MA3D, finding images and text that worked on the unconventional pixel layout. It turns out text is not that easy to render in a hexagon grid!”
“I knew what I wanted it to do and I knew that if I ordered components direct from China, I could build it myself,” he said. “However this meant that there were many late nights soldering plugs and sockets and control boxes and hot gluing LED strip. We had a lot of reliability issues early on, but after a couple of iterations on how the set is constructed, we’ve made it robust enough to be transported and bumped in in two hours.”
The main touring rig consists of six profile moving lights (MAC Quantum Profiles), six LED wash moving lights (Claypaky K10 or MAC Aura XB) and six small LED Pars for footlights. In the Sydney Opera House, in-house stock consisting of MAC 700 Profiles and MAC 250 Wash were used. Control is grandMA2.
The hive consists of 266 x 24V warm white Led strip in buckets with twelve 27 channel LED controller.
“As the hive is monochrome I really enjoyed the different textures, images and text I could render on it,” said Paul, when asked for a favourite moment in the show. “We got enough variation with the single colour and I feel that the simplicity is part of its strength. I particularly enjoy the smiley faces bouncing around during Bali Bagus and scrolling text during Hair. The strength of timecode should not be underestimated in programming a show like this. It promotes repeatability as well as real visceral link between the music and the lighting.”
Recipients of the 2016 UK’s Total Theatre Award for Innovation and Australia’s Greenroom Awards for Best Production and Best Design, Hot Brown Honey have lit centrestage at the most prestigious venues and festivals across the globe including Sydney Opera House, Melbourne Arts Centre, Brisbane Festival, Tiger Dublin Fringe, Auckland Pride Festival and Hull Freedom Festival to name a few.
ShowPro LED House Lights ‘work perfectly’ in School Theatre
Posted on Friday, June 23rd, 2017
“We had 500 watt tungsten lamps in physically large fixtures, similar to warehouse lights,” he explained. “They used a lot of power and lamps were blowing regularly.”
The specification for the new lights was that they had to have smooth dimming to zero, silent operation with no fan, and the look and feel of a tungsten light so regular patrons wouldn’t notice the fixtures had changed.
The existing fixtures had a visible filament and this, combined with the fitting, threw shadows onto the brick walls of the theatre. Stuart remarked that they wanted to retain that look so that the building didn’t look stark and flat.
System Design and Integration was done by Michael Zagarn who recommended the ShowPro LED House Light with consistent warm white output suitable for live and broadcast applications.
“The ShowPro LED House Lights work perfectly, and the DMX dimming allowed us to integrate control from Dynalite and our ArtNET theatre lighting system,” remarked Stuart. “Power consumption has been cut by 80%, with heat load savings as well.”
The ShowPro LED House Light also offers silent operation due to its’ advanced convection-cooled design. An adjustable PWM frequency ensures flicker-free, camera-safe performance. A removable yoke and permanent cable anchor allow for pendant suspension mounting. There are three interchangeable lenses to match beam angle to mounted height as well as an optical egg crate diffuser and top hat accessories.
“Our forty-six ShowPro LED House Lights have been performing better than expected,” said Stuart. “We are extremely happy with them. The small point source creates the interesting shadows we wanted to retain. Dimming is smooth. The light output is at least 30% brighter across the space, and the choice of lenses provides us with a narrower beam option which we used in the fittings around the edge of the theatre thus keeping the light intensity even right to the edges.”
Michael Zagarn also supplied a Martin M2PC Console and a Martin Ether2DMX8.
TDC uses Barco UDX-4K32 for Vivid
Posted on Tuesday, June 20th, 2017
Barco noted that Technical Direction Company (TDC) was the first company to receive and use Barco’s UDX laser projectors. TDC has deployed the projector for Vivid Sydney (pictured here) and other projects.
Technical Direction Company (TDC) is involved in some of the country’s most prestigious live events. The company recently bought the UDX for large-scale entertainment and events projects across Australia.
The first to receive UDX laser projectors – only two months after the product’s launch on 30 March this year – TDC is also the first in the APAC region to take delivery of Barco’s 31,000 lumen UDX-4K32 projector.
“When Barco previewed the technology at the ISE 2017 trade show, I knew that this was the way forward for the future of large-format video projection,” said Michael Hassett, CEO at TDC.
“Laser phosphor technology is the first significant innovation that we’ve seen in the last 10 years. The quality is quite unbelievable. Artists are just amazed by its reproduction of blues, purples, and other colours that can be a challenge to project. Its potential will excite artists to delve into the detailed animation that audiences have not yet experienced.”
As TDC is involved in a number of events every year in Australia, the company has a full range of Barco projection and IP solutions in addition to the UDX in its inventory. Furthermore, TDC’s feedback regarding the UDX provides Barco with valuable data for the company’s R&D and product development activities.
“This is just the latest step in our excellent working relationship with TDC. We see TDC as not just a long-term customer but as a truly innovative partner that contributes very significantly to the development of our products thanks to their valued beta testing and feedback from their groundbreaking projects,” mentioned Wim Buyens, Senior VP Entertainment at Barco and Chairman of the Advanced Imaging Society; “Everyone who sees the projector will see precisely what we mean – it is truly a stunning technological achievement.”
Launched on 30 March 2017, Barco’s UDX laser projector is a powerful projector in the events industry and a game-changer for rental companies and AV integrators. The most compact, high-brightness laser projectors on the market, the UDX projectors deliver reliable, razor-sharp 4K images to provide stunning experiences in terms of color, resolution, and processing for every type of event and venue. The UDX series also reduces costs significantly – with savings on installation, shipping time, and asset management.
Image Credit: TDC – Technical Direction Company.
Chauvet Professional for Great Australian Rock Musical
Posted on Thursday, June 15th, 2017
Camden Haven High School is a rural school situated in New South Wales, Australia that has outstanding facilities including a Multi-Purpose Centre. Following the success of their Back to the 80’s musical in 2015, staff and students at Camden Haven High recently held their latest production, ‘The Great Australian Rock Musical’ from March 27th to March the 29th. With this year’s musical, the school where actively seeking lighting that would give the school production an added dimension with fresh new looks. As a result, lighting designer for the show Peter Dick decided to acquire CHAUVET Professional lighting fixtures from Showtools International, to help transform the annual musical held in front of an energetic audience.
The show included songs by Australian rock icons AC/DC, Midnight Oil, Skyhooks, Dragon, Choir Boys, Daddy Cool, J.O.K. Sherbet, Ted Mulray Gang, Jet, Billy Thorpe, Rick Springfield, Divinyls and The Screaming Jets performed by a live band. The fixtures used for the show included: 8x COLORdash Par-Hex 12, 3x Ovation C-640FC, 8x Ovation FD-165WW and 6 x Rogue R2 Spots.
Peter explained why the school upgraded its lighting rig to CHAUVET Professional, ‘We decided to use a fully LED rig as we are gradually retiring all our old fixtures and didn’t want the unreliability. This left us without spare fixtures for specials so we flew some Rogue R2 Spots and they did the job beautifully.’
The Rogue R2 spots were used for gobo-morphing technology and two variable scrolling color wheels for an unlimited number of shape-changing and split-color effects. Rogue R2 Spot uses a powerful 240 W LED light source in a 16.5° beam angle for a brilliant light that creates an unparalleled audience experience, and were used to spot light various performances on stage.
The Ovation C-640FC’s were used for their rich colour as Peter commented, ‘We made extensive use of the rich colour opportunities of the three Ovation C-640FCs, which washed the cyc from above. This allowed us to create a set-type mood without moving sets or flats around – for which we have limited space.’
Furthermore, the Ovation FD-165WW fresnels were added for their incredible dimming system, ‘We appreciated the Ovation FD165WW’s natural warm colour temperature. We used its DMX controlled zoom to provide a highlight in one scene and reset it for a stage wash the next. There is so much value in one fixture. We also used 4 of these on a very high bar that has no DMX. This meant they were running solely on the dimmer, and they worked perfectly,’ Peter stated.
For a fuller stage wash, The COLORdash Par-Hex 12’s were used with 4 for front colour wash and 4 for backlight powered by RGBAWUV LEDs. ‘We were able to use the COLORdash Par-Hex 12s to match the colour of the FD-165WW owing to their amber and white LEDs,’ Peter said.
Thanks to the addition of CHAUVET Professional lighting fixtures, Camden Haven High School transformed their ‘The Great Australian Rock Musical’ for 2017 which was a successful night for all involved. With the new fixtures added to their lighting rig which produced dynamic looks for this year’s production, Camden Haven High School will be able to provide amazing musicals like this for the foreseeable future to support the school motto, ‘Aim for the highest’ with Peter adding, ‘The fixtures were so versatile we’ve left them in the air for future productions and assemblies where something special is needed.’
TDC uses d3 Technologies for Australian projects
Posted on Wednesday, June 14th, 2017
The past year has been busy for leading visual solution experts, Technical Direction Company (TDC). The company has completed work for the ‘King Roger’ opera, ‘White Night Melbourne’ 2017 and received a Live Design Excellence nomination for their work on Vivid Sydney 2016. TDC has offices in Sydney and Melbourne, and has long been a d3 rental partner. Last year they also officially became a d3 Studio, building their creative space with a 180º curved projection-mapped wall and a d3 4x4pro living in the space. Here is a few highlights from what they have been working on in the last year.
TDC have worked closely on the world’s largest festival of light, video and music, Vivid Sydney. For the last 5 year’s record breaking event, TDC managed Projection, Media Servers and Animation Systems using d3 for a number of their sites. Steve Cain, d3 Integrator and Advanced Trainer adds, “two features that d3 offers is 3D visualization and footprint features to show ‘hotspots’ and ‘coldspots’ in projection mapping areas. It makes my life so much easier. We can visually represent the object or building using a 3D fly-through showing how the projection will be laid out to the site to the millimetre of accuracy.” Vivid Sydney 2017 is currently lighting up the city until the 17th of June.
TDC has also recently deployed the d3 pro range when Opera Australia presented Szymanowski’s 20th century opera, “King Roger,” in the Joan Sutherland Theatre at the famed Sydney Opera House. Previous UK productions of the opera had used d3 media servers, and the client asked TDC to provide technical continuity for the Sydney and Melbourne run. TDC used d3 4x4pros with DVI VFC cards and Barco projection to meet the needs of the opera’s unusual set design.
“We had an eight meter fiberglass model head covered in mapped projection,” says Drew Ferors, TDC King Roger d3 Operator. “The head rotated with tracking projection; we had to follow the 3D angle of the head live by rotating a 3D model in d3. Projection mapping also covered the set pieces surrounding the entire upstage area.
Whilst d3 was “very stable and easy to work on, running perfectly night after night without a single issue,” he calls d3 support “second to none.” TDC itself is one of a handful of companies worldwide with a certified advanced d3 trainer on full-time staff.
TDC also used d3 4x4pros with DVI VFC cards and Barco projection to map the interior of the Latrobe reading room of the State Library of Victoria for Melbourne’s White Night 2017 festival. The 360º projection, spanning 114 x 25 meters, transformed the space into an underwater environment to showcase the astonishing sea life of Victoria. Says Peter Lynn, TDC Melbourne Project Manager.
“d3 4x4pros were used for this event last year with amazing results,” says Cain. “The stability and power of d3’s features were needed to deliver this important project again in 2017. The ability to play back large texture sizes was a big advantage. The show had a long continuous run so having the failover feature was also an advantage – not that we needed to use it. But knowing that d3 would keep running in the rare event of a problem gave us peace of mind.”
Becoming a d3 Studio has enhanced TDC’s production workflow, as Cain adds, “with 180 degrees of curved projection mapping and 4k displays, we do a lot of pre-visualisation and concept proofing in the studio. For example, we’re now able to bring in TV producers to show them the set and screens in relation to blocking camera positions, allowing me to identify and solve anything ahead of the actual studio time.”
The TDC team have also been using their studio for programming and as a place to teach students and staff about d3. As Cain concludes, “it’s been a great new asset for TDC and very well received with our client base and internal staff alike”.
Another high profile production TDC is currently delivering is The Voice Lives TV Show,
this broadcasts live on Ch 9 to a few million viewers every Sunday Night. “We use 2 x d3 4x4pros with DVI VFC cards to run all the graphics on this broadcast” Cain adds, “Stability, power and flexibility is what I need to deliver this ever changing show, combined with adding in NOTCH Effects, and control from Grand MA2, and chasing Kinesys, Timecode and Audio. It is the ultimate system for us to deliver this type of show”. The Voice is an ITV Studios Production.
Sheree Marris and John Power were the artists for the White Night 2017 library installation. At TDC Pete Lynn was project manager and designer and Tim Jones d3 operator.
Luke Halls was the projection designer for the Royal Opera in the UK and TDC’s Drew Ferors was the system designer and d3 show operator in Sydney.
GLP at Citipointe Church
Posted on Thursday, June 1st, 2017
Some absolutely cracking pics of very schmick design using GLP – German Light Products X1’s, X4 Atom’s and X4 Bar 10’s & 20’s. The design and operation was by High Impact Lighting. The innovative design called for some versatile fixtures and the GLP range was the best fit says Ash from HIL. The event ran over 3 days in late April 2017 @ Citipointe Church.
Colourblind on the road with Hog4 and Green Hippo
Posted on Wednesday, May 24th, 2017
Melbourne-based lighting and production company Colourblind are having a huge 2017, with lighting director Nicholas Beachen out on the road using High End Systems Hog 4 on the Hot Dub Wine Machine tour through March and April, and the company’s new Hippotizer Karst and Portamus media servers joining Melbourne hip-hop artist Illy as he traverses the country at the same time.
DJ Tom Loud’s genre-and time-spanning Hot Dub Time Machine has been a regular gig for Colourblind’s Nicholas Beachen for three years. But December 2016 saw the birth of a new concept from the artist – a curated, boutique festival that debuted at Serafino Winery in South Australia’s McLaren Vale. Gloriously named ‘Hot Dub Wine Machine’, the concept of combining a bill of bands and DJs with gourmet food and wine and a strictly limited number of tickets in an idyllic setting was a huge success. So much so that a mere two months later, a national tour was underway.
Starting in Tasmania’s Huon Valley on March 4 and ending in Western Australia’s Swan Valley on April 8, Hot Dub Wine Machine takes in five of Australia’s iconic wine regions, accompanied by party-starting acts like Pnau, Confidence Man, and Miami Horror, all culminating in a two-hour Hot Dub Time Machine set. Nicholas is running the whole light show on High End Systems flagship Hog 4. “I find the Hog 4 easy to use because of things like the Rate Wheel – that changes everything completely,” Nicholas reported. “I’m running the latest software with the new speed control ‘Batches’. Having two screens with the 48 Soft-Keys around them makes doing the things you need to do a lot easier. I will always try use a Hog 4 full-size console first.”
“I have a Hog4 show file I’ve been using on multiple different hot dub tours for the last year or so, every once in a while I will start this file again,” Nicholas continued. “Tom (Hot Dub) plays roughly 350 songs in his set. I’ve programmed the whole show before and it was actually quite confusing, but now I ‘busk it with intention’. It’s a heavy show to operate; he plays for two hours on this tour. When I get to a show, I know the things I need for Hot Dub cues, and I can create them very quickly with the Hog. People get too caught up in the tech and the tricks of consoles, and can lose sight of the end result. I try to focus on getting the lights looking good, and the Hog 4 helps me achieve that quickly and easily.”
When on tour, Nicholas is accompanied by Colourblind’s High End Systems Nano wing and MiniWing 4, the portable control unit that he connects to Hog 4 PC via USB. “I travel with it everywhere I go,” confirmed Nicholas. “So I can use it to do previs in my hotel room or use it to control smaller shows that I cant get a console for. Who really wants to be on site late at night programming anyway?”
Meanwhile, Colourblind have purchased Green Hippo Karst hardware media servers and Green Hippo Portamus software. Their first outing was on ARIA Award-winning rapper Illy’s ‘Two Degrees” Australian tour, kicking off in Fremantle 25 March, and ending five cities later in Brisbane on April 8. The 2-RU Hippotizer Karst includes two HD-SDI outputs and DisplayPort 1.2 connectivity, giving Colourblind the ability to drive 4K displays with a single cable. Green Hippo’s Portamus software is designed to run on an Apple Macbook Pro, with all the tools necessary to perform world-class events, and includes all the well-loved features from the Hippotizer V4 range. They were also then used on the Australian Logie Awards in April.
Colourblind enjoy a close relationship with Australian and New Zealand High End Systems and Green Hippo distributor Lexair Entertainment, back by their unbeatable pre and post-sales support.
Photos: James Hughes
Vesuvio RGBA creates atmosphere for Midnight Mafia 2017
Posted on Thursday, May 18th, 2017
Midnight Mafia, the indoor festival featuring 13 International and local artists returned in 2017 on Saturday the 13th of May at The Halls at Sydney Showground. The Sydney Showground venue allowed HSU Events to have the biggest ever production at this year’s festival, which was three times that of Midnight Mafia 2016 and as a result allowed more space for an amazing stage to complement the addition of pyro, flames and fireworks with a venue capacity of over 15,000 people.
A key addition to the festival was the use of the Vesuvio RGBA from CHAUVET Professional, supplied by Chameleon Touring Systems. Designed by Arian Yeganeh from Integratd, Arian incorporated 16 of the Vesuvio RGBA vertical fog machines which permitted the look and feel of the conventional Co2 at the third of the cost, however being on moving trusses this was the only solution. The CHAUVET Vesuvio RGBA features a quick heating 1.6 kW heater and a 2.5 L fluid tank for dependability in production, and features an incredible 40,000 cubic feet per minute output (CFM), which delivered a huge kick to the large and enthusiastic crowd.
The Vesuvio RGBA brings together high output LED washes to towering fog output with ferocious intensity. This allowed bursts of fog to disperse on the crowd at various stages of the festival with the Vesuvio’s used for the intros of the artists to create a visualising and exhilarating experience for the thousands in attendance. It allowed each artist set list to have its own unique feel to highlight the energy that each individual artist created during the event.
Midnight Mafia 2017 was a success with the audience enjoying an energetic and vibrant night of international acts showcasing their talents, with the use of the Vesuvio RGBA helping to shape the mood and feel for each of the artist throughout the night.
Dave Taylor runs ChamSys MagicQ MQ500 Stadium
Posted on Monday, May 15th, 2017
Empire of the Sun performed at the Coachella Valley Music and Arts Festival’s Sahara Stage with artistic flourishes that included glowing pyramids and a six-pronged stage element cradling a white orb. The light show featured a blend of bright white light and vivid colors, programmed and controlled by Dave Taylor, who used a ChamSys MagicQ MQ500 Stadium console.
Dressed in flowing, futuristic silky black outfits and backed by robot dancers, the duo performed on a stage adorned with glowing pyramids and a six-pronged silver statue cradling a primordial white orb. Illuminating the fantastical scene with brilliant white light and vivid colors was a lightshow that Dave Taylor programmed and controlled with the ChamSys MagicQ MQ500 Stadium.
Taylor used over 1,200 different light fixtures and 3,000 channels of LED tape in his 86-active-universe show. In addition to his ChamSys console, he relied on a SnakeSys R8 eight-universe Ethernet to DMX converter, a SnakeSys R4 multi-purpose network distribution node, and two SnakeSys B4 four-universe DMX to Ethernet converters to run his massive rig.
“There was no shortage of lighting on this one,” said Taylor. “Empire of the Sun is always pushing the boundaries, not just musically but visually. They’re constantly searching for images that move people in new ways. Our show continues to build and, as a designer, I’m constantly evolving with it. This is the first time I used the MagicQ MQ500 Stadium, since it’s new. This is really the next step in controllers for me, kind of a natural progression. It enabled me to create the ideal workspace for myself to program and control the show.”
The speed and flexibility of the ChamSys MagicQ MQ500 Stadium made it easier for Taylor to preprogram the intricately detailed show. “Doing your homework is 90 percent of the gig when you have a show like this,” he said. “The ChamSys platform makes this task simpler with the excellent speed that it has when patching and manipulating fixtures. When you pair the console’s internal morphing and cloning capabilities with features like multi-patch, quick offset options and powerful pixel mappers, you find it quick and easy to build a solid foundation that can be adapted to different venues.”
This preprogramming notwithstanding, there were also quite a few last-minute adjustments that had to be made to the Empire of the Sun show for Coachella, because of the band’s ceaseless quest to incorporate new ideas. “We all constantly push the envelope, so there were a number of new elements added in the lead up to this show,” said Taylor. “In fact, we were still building LED systems into the set pieces in the days just before Coachella. As is often the case, time is in short supply when the show approaches, so bringing it all to life at the eleventh hour was a challenge.”
The user-friendly features of the ChamSys MagicQ MQ500 Stadium made it easier for Taylor to meet this challenge. “This is a very efficient console,” he said. “I’m extremely impressed with the advanced power of the onboard processing. We were able to output a large number of universes directly from the console without the need for any external processing nodes.”
Video played a key role in Taylor’s design. He ran video content out of his rig on stage. “This method of running video content is a great way to approach our setup for Empire of the Sun, because the time available to us out the front is often very limited and changeovers can be very tight,” he said.
Although the video content for the show was all time coded, Taylor ran his ChamSys console live during Coachella. “I have a great deal of fun punting,” he said. “Empire of the Sun is constantly making changes to visual elements leading up to the show, so there are still a number of live modifications throughout the performance that must be made to account for these new twists. This is great, though, because as a lighting designer you want to be part of the live performance.”
Pro Light & Sound honour ANZAC Ceremony
Posted on Friday, May 12th, 2017
2016 saw a pre match opening the likes of which Australian NRL has never seen. For the first time ever, the ANZAC Ceremony was performed live to broadcast under a spotlight amongst a blacked out AAMI Park. The bright lights of AAMI Park were momentarily turned off, creating an electric atmosphere to honour the heroic men and women who have served for Australia and New Zealand.
The pre-game spectacle included a cultural performance on behalf of both countries, prior to the lighting of a commemorative cauldron honouring the 100th Anniversary of RSL, the Battle of Fromelles and the Battle of Pozieres as well as the 75th Anniversary of the Siege of Tobruk and the 50th Anniversary of the Battle of Long Tan. In a stunning display, Melbourne Storm’s starting lineup was projected onto the roof of AAMI Park prior to the teams entering the field together, with the traditional Ode, Last Post and Minute’s Silence capturing the attention of the jubilant crowd.
Stav Hatzipantelis, Creative Director and Lighting Designer at Pro Light & Sound in Melbourne, envisaged projecting the players onto the inside walls of AAMI Park Stadium in conjunction with the Audio Visual presentation of the opening line up. Going to black was a huge concern for Fox Sport producers, but a simple demonstration by the PL&S Team showed that 8 x Claypaky HPE700 were more than adequate to the task of lighting up the ceremony for Live Broadcast around the world. A total of 18 x Martin Professional MAC Vipers were used for the projection of the players during the opening show.
The event was a tremendous success and the Pro Light & Sound team were again invited to produce another spectacular opener for 2017.
Colourblind’s Hippotizers Serve Video at The Logies
Posted on Wednesday, May 3rd, 2017
The Australian TV industry’s biggest night, the 59th annual Logie Awards, were held at Melbourne’s Crown Palladium on Sunday 23 April 2017, broadcast live on the Nine Network. Always a great opportunity for the broadcaster to show off its tech capabilities, fantastic visuals were spread across three huge screens onstage, a wrap-around screen surrounding the audience, and pixel mapped to onstage fixtures and LED chandeliers. Helming the mission-critical media server and console operation was Lynden Gare, director of Melbourne-based lighting and production company Colourblind, who relied on Green Hippo’s Hippotizer media servers to ensure that the show went exactly to plan.
Green Hippo is no stranger to the world’s biggest televised events, with their media servers used on The Eurovision Song Contest and The Academy Awards. At the heart of Lynden’s set-up for The Logies were two Hippotizer Karst servers, Green Hippo’s 2RU, three-out, tour-ready workhorse. The first server fed an image canvas 4884 pixels wide via SDI to stage to be displayed across three screens, and handled pixel mapping to a range of LED fixtures. The second Karst sent a 1920 pixel wide image to screens wrapping around the auditorium, and a 192×160 output to LED chandeliers. Another server, kindly provided by Australia and New Zealand Green Hippo distributor Lexair, was on hand as further back-up, an essential requirement for any live broadcast.
Terabytes of graphics packages were provided by the Nine Network, design agency Visual Playground, and the touring teams of musical acts Jessica Mauboy and Andy Grammer. Content wrangler Andrew Howie also directed and animated the content for James Blunt. On the night, Lynden operated a flawless show from his console of choice at the FOH position. “Green Hippo is my, and Colourblind’s, choice,” Lynden confirmed. “We like to drive media servers with a console, and Green Hippo has the best DMX profile for that. It’s really easy to add a nice blur to content, slow it down, speed it up, or play it in reverse. Most importantly, the colour manipulation is perfect for TV. For example, if Lighting Supervisor Shane O’Dwyer needs me to remove 3% red from an image, or add 10% contrast, it’s far easier and quicker on Green Hippo than any other media server. Colour correction from CTO to CTB is very handy too.”
While the Logies are exhaustively prepared and rehearsed, Lynden and the video crew were ready for anything to happen on the night. “We expect the unexpected,” said Lynden. “We’re always ready for an eventuality where a performance differs slightly from rehearsals. Operating a media server from a console instead of a timeline works well for us. With a timeline, you’re fixed to what was done in rehearsals, but with a console, we can change timings or move a fader slightly slower or faster. If one of the presenters walks out on a different side, we can very quickly recall a preset, or push up another fader rather than be locked in to what’s rehearsed.”
With a huge live television audience looking on, video performance was paramount. “Hippotizer has smooth and reliable playback,” reported Lynden. “All of our video backgrounds are 50 fps and run for about 30 seconds. We know that Green Hippo won’t drop a frame. When someone’s accepting the Gold Logie, you don’t want something stuttering or skipping and attracting more attention than the award winner. We also rely on Green Hippo’s colour averaging in our pixel maps. We were mapping to fixtures one pixel wide, and we didn’t want a jagged image. Using Hippotizers’ colour averaging got us a much smoother result mapping a narrow image to that many fixtures.”
With all seats taken in the Palladium, and a full complement of live broadcast equipment, production real estate was tight. “All the video equipment has to live at the back of the room near FOH, and there’s only three or four metres by one metre to fit all of it,” observed Lynden. “With some other systems, we’d be looking at a far bigger footprint to get this number of outputs. The beauty of our Green Hippo set-up is that we’re producing five video outs and three pixel map outs in just two machines.”
It wasn’t just during the show that Green Hippo made Lynden’s job easier, but also in the preparation and rehearsal leading up to the event. “One of the beauties of Hippotizer is that we can just open up the front panel and slot in larger drives for a project like the Logies, when we’re expecting terabytes of image sequences,” he explained. “We know it’s infinitely expandable with consumer grade SSDs. And in rehearsals, in the multi-user environment of the Hippotizer software ZooKeeper, we can have two of us working on different things on the same show file, on the same machines, at the same time. Media server supertech, Chris Lewis, can work on a new pixel map for a music act for me without interrupting what’s happening on stage.”
In the end, the 59th annual Logie Awards went off without a hitch for all involved, but support was there if needed. “Lexair went above and beyond to provide support and redundancies in Melbourne in case we needed it,” said Lynden. “It was a broadcast gig, and we needed to be protected in case of multiple points of failure. That being said, all of our support queries to date have been hardware related, but not about Hippotizer hardware, mainly questions of compatibility with third party equipment. It shows that Hippotizer is a reliable, mature product.”
Eurotruss at the Melbourne Grand Prix
Posted on Monday, April 10th, 2017
The first round of the 2017 Formula 1 Grand Prix rolled in to Albert Park at the end of March. Along with the main race, there are various attractions during the weekend for race enthusiasts and tourists to explore, one of them being the unique Renault truss structure with a Renault F1 car rigged from it.
Renault last year showcased a vertically rigged F1 car on a 12m high truss “ramp” at the Grand Prix Event that amazed fans with the result being both spectacular and memorable. To create another significant attraction for this year’s event, Renault’s brand experience agency, Neonormal, again contracted Get Rigged who designed and constructed last year’s structure, to create another ‘wow’ factor installation.
To successfully rig the F1 Renault car on this year’s structure, Get Rigged had to consider various factors. After careful planning and preparation, Get Rigged concluded that once again the Eurotruss truss system was the only truss that could be effective enough to cover the entire installation without the need of internal supports and have the capacity to rig the F1 Car. To build the structure, Get Rigged used Eurotruss HD34 square truss supplied by Showtools International using 100 Eurotruss sections along with custom brackets for the roof pitch and Get Rigged’s adjustable leg height adaptors that bolt on to the HD connector pattern, allowing easy levelling of the structure on uneven ground. Sixteen millimetre Marine Ply covered the entire perimeter for signage and a black custom roof was manufactured to keep the area underneath dry.
The Eurotruss Brand was the perfect choice as it provided structural integrity other brands don’t provide, which was reinforced by Dave when he stated, ‘Get Rigged won’t go anywhere else for truss.’ The HD34 guarantees optimum load bearing capacity, with a 3mm wall thickness assuring durability and extra strength. Additionally, the Eurotruss system provides fast and safe conical connection that optimized the set-up from time of bump in. Dave finally commented “Now that the bar has been set so high I think we’ll be purchasing the HD44 truss so we can push the boundaries even further-watch this space!”
Thanks to the use of the Eurotruss truss system, Get Rigged has successfully created another amazing and memorable structure for Renault at the Australian Grand Prix.
Philips Lighting brings magical effects to Wicked
Posted on Tuesday, March 28th, 2017
In the role of both lighting designer and technical supplier was Gareth Kays of GK Productions, Tasmania’s leading performance technology consultancy. His brief was to create an impressive, Broadway-style production on a comparatively small stage.
“One of my main challenges was disguising the ground support system which allowed lead character Elphaba to take flight during the number Defying Gravity,” Kays explained. “I used Philips Showline SL BEAM 300fx moving head luminaires at full zoom for back lighting Elphaba as she rose into the air. Light radiated out from her, masking the mechanics and giving the impression she truly was flying. I used Philips Showline SL LEDSPOT 300 luminaires to light the downstage in a dappled gobo wash, which added to the radiating backlit look.”
Kays also used the Philips Showline SL LEDSPOT 300’s advanced effects system and CMY colour mixing to bring the staging to life.
“In a lot of the scenes I used very strong colours and large gobo effects to create a magical storybook feel. I found the stock gobos in the Philips Showline SL LEDSPOT 300 gave me plenty of creative options; I used the brick gobo for a not so subtle yellow brick road, and utilised the same gobo with a cyan for the interiors of the castle scenes to break up the stage floor. The framing shutter system is also fantastic for my theatrical work.”
Kays also selected Philips Selecon PLfresnel1 MKII high output LED Fresnel fixtures for front of house lighting from the ‘box boom’ position. He commented, “The fixtures provided a great colour palette from natural skin tones through to saturated deep colours.”
Colin Kavanagh, general manager Philips Entertainment Lighting said, “We are committed to leading the transition to energy efficient entertainment lighting and Wicked in Hobart was a perfect example of how our LED technology is a formidable match for tungsten in a theatrical environment, at a fraction of the power consumption. From precision shutter framing to sophisticated colour rendering, our theatrical LED luminaires offer designers true energy-efficient creativity.”
Wicked ran from 27 January to 11 February. The production also won several awards at the Tasmanian Theatre Awards on Sunday 12 March 12, including Best Production.
W-DMX™ extravaganza at White Night
Posted on Thursday, March 23rd, 2017
The team deployed over 25 W-DMX™ transceivers and receivers over the White Night weekend through several spaces, from the Royal Exhibition Building (R.E.B.) and surrounding gardens.
“Our control position was at the heart of the Carlton Gardens, where we had our new compact MA Lighting International grandMA onPC command wing systems, running two separate W-DMX™ networks, each with a BlackBox F-1 G4S transceiver, and an 19dBi directional antenna”, commented Mark Hopkins, of Resolution X.
The first receiving point was 80 meters away, on a roof, feeding DMX to IP64 ShowPro Quad PARs, Claypaky Mythos and Sharpys.
“The second system was the more impressive one” added Mark. “We placed 40 ShowPro Hercules, our battery-powered LED wash fixtures, lighting the trees along the path through Carlton Gardens and up the R.E.B. The system worked flawlessly over the 200+ meters, even with the antennae at only 1.8 meters high, and thousands of attendees all on their phones, creating a lot of noise in the 2.4GHz spectrum”.
In total, the team used a combination of BlackBox F-1 G4S transceivers, BlackBox F-2, and Micro R-512 G4S series, in a combination of transmitting and receiving to multiple locations, all interference and latency-free.
“We wanted to test how far we could go wirelessly, so we took a Hercules fixture and walked over 500 meters, without losing a frame”, Mark commented.
Show Systems Australia chooses Chauvet
Posted on Thursday, March 16th, 2017
Since 2013, Show Systems Australia has used 30 years worth of experience in the lighting, production and entertainment industry to specialise in bringing small to large indoor and outdoor events, installs, concerts, theatre shows, corporate events, wedding receptions and dinners alive. To continue to provide high quality lighting productions to their clients, Show Systems Australia recently upgraded their inventory with the purchase of 12 new CHAUVET Professional Maverick MK2 Spots supplied by Showtools International.
Show Systems Australia has chosen to invest into the CHAUVET Professional family due to the capability of the fixtures against those in the market. Michael Westcott, director of Show Systems Australia stated, ‘After deciding the time was right for us as to consider purchasing a quantity of high output LED Spot fixtures, we set about looking at different brands and price ranges in the market place. At the end of our search we found that the CHAUVET Professional Maverick MK2 Spot ticked all the right boxes and some extras as well.’
The features of the Maverick MK2 Spot really caught Michael’s eye, ‘’The Maverick MK2 Spots were chosen due to the 440w 4 driver LED engine, huge zoom range, CMY, variable CTO and variable frost. With two rotating gobo wheels feature all glass gobo’s which can also be layered to create unique effects as well as having SCANet, Artnet, and W DMX. Also, 5 and 3 pin DMX gives us a fixture that is versatile and future proof. The output from the fixture is blistering bright and the colour mixing system and optics is stunning in addition to the build quality of the fixtures.’’
The fixtures have been put straight into action for Show Systems with work on various shows from theatre to corporate events. One such show was the production of Wicked, the latest show from Encore Theatre Company held at the Princess Theatre. Jason Bovaird of Moving Light Productions designed and programmed the stunning looks with the new Maverick MK2 Spots. The Mavericks were used to highlight certain performers on stage as there were up to 40 cast members as well as for crossing aerial effects and gobo scenes.
The fixtures also created variable frost and variable CTO. Michael added, ‘Being able to frost out a gobo look and then fade back into a sharp focus gobo look is a great feature with these Mavericks. The LD was able to achieve some great aerial and set gobo looks from the powerful 440w LED source.’
Michael elaborated, ‘We have several Lighting Designers who are excited to put these fixtures on their shows and are impressed with the extra features on these Mavericks that are not available on some other fixtures.’
This acquisition has enabled Show Systems Australia to offer maximum production equipment for any scale event or install as evident by the successful Wicked Production. With the CHAUVET Professional investment, Show Systems will continue to bring their lighting and production experience to various events in Tasmania to open new design possibilities for all clients. Additionally, Michael has claimed the addition of more Maverick fixtures to their inventory a real possibility, ‘We are keen to be adding more of the Maverick range of fixtures to our lighting inventory over the next few months.’
Mandylights at the Mardi Gras
Posted on Wednesday, March 15th, 2017
Described as the party to end all parties, the Sydney Mardi Gras party attracts partygoers from all over the globe. It’s one of the biggest LGBTQI celebrations in the world and it is the only place to party after The Parade.
Lighting for the event this year was designed by Richard Neville of Mandylights, with Clint Dulieu, Mike MacDonald, Jean-Pierre Jammaers and Francesco Calvi operating, and gear supplied by Chameleon Touring Systems.
It was a massive Show Technology showcase with Martin MAC Vipers, MAC101’s, MAC Auras, LC Panels, Clay Paky Sharpys and Stormys, and even some ChromaBanks. Control was via an MA Lighting MA2 and a Martin M6 console.
“Every year Mardi Gras give us a creative brief and this year the idea was all linear and minimalistic,” said Richard Neville of Mandylights. “So I designed six huge pods that moved around the space with simple lines of lights and blocks of colour.”
The six pods housed Martin LC Panels that delivered geometric and big, bold colour looks. It was less about using them as video panels, but rather large block light sources framed by truss and MAC101’s.
“The MAC101 is Martin’s most under-rated light,” remarked Richard. “In raw mode they have an amazing output for their size plus they are so fast, the colours are instantaneous and they are super reliable.”
The Sharpys provided a cluster of beams effect, while the MAC Vipers were the overall workhorse providing a set of fast features.
Whilst most dance parties focus on the DJ, with the rig over the stage at the end of the room and all the lights pointing out into the house, Mardi Gras parties are all about lighting the party goers in the room. The focus is on an immersive room design with most of the firepower above the people’s heads.
“No matter where you stand on the dance floor you get this awesome experience of being surrounded by lights as opposed to looking at everything at the end of the room,” commented Richard.
An ArtNet merge in the Royal Hall of Industries from the Martin M6 console into the MA2 meant that both Francesco Calvi and Clint Dulieu could program at the same time. At the push of a button, consoles could be seamlessly switched.
Photos: Danyon McCue, Kineysis operator extraordinaire.