Martin MAC Quantum Profiles go to the Zoo
Posted on Thursday, February 15th, 2018
“We’ve been looking at Martin MAC Quantum Profiles for a while now and finally the time was right for us to make our first purchase of these remarkable LED Fixtures.
“We did an A / B test in our factory against a Martin MAC Viper Profile and decided we very much liked their brightness / light output plus the colours and gobos were also very impressive,” commented Neale Mace, managing director of EI Productions. “The Quantum appeared to hold its own in brightness against a MAC Viper in both OW and colours.
“Not only is it close, in our opinion, to the output of a MAC Viper, it is also much lighter, smaller and LED based – so there wasn’t much not to like.”
Neale further remarked that the Martin MAC Quantum is also on lighting riders, so as they were looking for new profile fixtures, the Martin MAC Quantum was almost a no-brainer for them.
The first eight units went straight onto the Twilight at Taronga concert series (twenty shows at Taronga Zoo across Feb / Mar) and so far they look amazing and have performed flawlessly.
“As usual, Show Technology, from their new Italian Embassy premises, provided a flawless, efficient service in getting the units out to us,” said Neale.
Pictured are the MAC Quantums in action at the Neil and Liam Finn show held last weekend at Taronga. Lighting the show was Bryce Mace who had four Quantums on the mid truss and four on the rear.
“Being an LED fixture, they’re ideal for Taronga Zoo because once the rig is up, it stays up and with Quantums we know we won’t have to get to the rig to change lamps,” said Bryce. “They’re also good power wise as we also only have two 3-phase to use.
“Against the MAC Viper, I’d say they’re the same if not brighter. It was the first time I’ve ever used the Quantums and they were awesome!”
Also in the Taronga Zoo rig were MAC Auras, MAC700 Wash, Claypaky Stormys, ShowProLED Fresnels and some 4-lites, all driven by a grandMA2.
Chauvet for Parkes Elvis Festival
Posted on Wednesday, February 14th, 2018
This year, for the 26th year that the Parkes Elvis Festival has been running the festival celebrates the 50 years since Elvis made his unforgettable and iconic TV show, ‘The 68 Comeback Special’ which was arguably one of his best performances. The town of Parkes NSW came alive in early January for various shows to coincide with Elvis’ birthday and, featuring tribute artist direct from the UK – Ben Thompson, with four special performances at the Parkes Leagues club. In addition, there were other various shows and performances that were held throughout the town as part of larger celebrations throughout Parkes.
For such a special festival celebrating an icon like Elvis, Pristine Productions from Griffith were hired to look after production lead by Managing Director Mark Macedone with John Matkovic the lighting designer. Both Pristine Productions and John Matkovic oversaw production for the four performances at the Leagues club as well as another eight which included Elvis tribute competitions, a Beatles show and the Ultimates show. To equip the events at the leagues club with the proper lighting, trussing and staging equipment, Mark Macedone and John Matkovic decided to use CHAUVET Professional lighting, Eurotruss Trussing and Nivtec Staging supplied by Showtools International.
The lighting rig included:
Rogue R1 spot x 6
Rogue R2 wash x 6
COLORdash Par-Quad 18 x 5
COLORdash Par-Quad 7 x 8
COLORdash Par-Hex 7 x 8
COLORdash Batten Quad 6 x 16
After having great success using the CHAUVET Professional range of fixtures as technical operations coordinator for the Griffith Regional Theatre on various shows, it was easy for John to again trust the fixtures for a show like this, “I have been using the CHAUVET Professional range for a while now and the brand always delivers on performance, innovation and reliability.”
The Rogue R1 spot and R2 Wash were used to create maximum dimension for the show with the fixtures across the stage to provide bright and punchy looks, in addition to the gobo effects allowing John great design options. The sharpness, output, as well as colour and aerial effects of the R1 Spots highlighted creating a great look to the Elvis performance throughout each of the shows. The R2 Wash provided 5 zones of LED control for pixel mapping control, unique lens design for excellent color blending and the zoom that could cover the stage.
The COLORdash fixtures were used for general colour wash of the stage. The COLORdash Par-Quad 18 and Quad 7 were positioned behind the performers for a back wash while the COLORdash Par-Hex 7 added brightness and intensity that produced a rainbow of deeply saturated colours, “The Par-Hex 7 was ideal for a concert like this, as it is both lightweight and provides a great saturation of colours,” stated John.
The combination of the Rogue R2 Wash and COLORdash Batten-Quad 6 fixtures delivered an incredible mix of saturated wide spread and linear wash lighting to provide exceptional visual consistency throughout the event,” commented John. “Working in tandem with the Rogue R1 Spot fixtures, they gave us an ideal blend of colour mixing and movement we needed to create a lively, invigorating atmosphere for the king of rock and roll, hanging off the highly trusted Eurotruss HD34 square truss with its 3mm wall thickness and quick conical connection system”
In addition, the bands drum set was put on the Nivtec Staging Module. The Nivtec staging modules were installed for its ease of use, the effective Nivtec hook on system provides strength with a high load capacity as well as providing a quick assembly process. These factors made Nivtec the best solution for staging in addition to being secure and safe.
With over 12 shows through a 5-day period, both Pristine Productions and John Matkovic played a huge part in making the shows at the Leagues Club a huge success with sold out shows, thanks in large part to the implementation of the CHAUVET Professional lighting fixtures, Eurotruss Trussing and Nivtec Staging.
50 Cent looking a million dollars!
Posted on Tuesday, February 13th, 2018
In celebration of the 15th year since the release of his acclaimed album “Get rich or die try’n”, American rapper and actor 50 Cent took to the stages at Parramatta Park in Western Sydney and then the following evening at the Melbourne Showgrounds with supports acts AB Original and Baker Boy.
Creative Productions was engaged by promoter MJR presents to provide complete Lighting and Video packages for both Australian tour dates.
The lighting designer and operator Alex Skowron used a substantial quantity of GLP products, with plenty of GT-1 spots, X4L washes and X4 Bar 20 moving LED strip wash units, alongside SGM X5 Strobes, lightsky F330 spots and, whilst relatively uncommon these days, conventional fresnels and profiles for stage wash all controlled from a Martin M6 Console.
A complete Lighting package was toured in and out on pre-rig truss giving the guys a huge advantage with the overnight move to Melbourne whilst a local motor package was used in both Sydney and Melbourne.
The Parramatta Park LED Screens were provided from the Sydney Office and consisted of a 10m x 6m backdrop screen with a pair of 7m x 4m IMAG screens flanking the stage. The Melbourne screen system was a separate package advanced out of the Gold Coast Office enabling it to be installed earlier rather than touring it over night as well.
Creative’s CEO, David Jackson, toured with the lighting crew and oversaw the company’s production team. Dave commented “the whole team were incredible once again, We had some pretty bad weather along the way but the boys managed to pull everything together and deliver full shows on both occasions”
Creative Productions is endeavouring to stay ahead of the game with technological advances and on this event we installed a 10G fiber network between stage and front of house which handled all lighting data and communication and some additional fiber cores were used for video. This saw our cable footprint in the FOH run become one cable. Efficient and effective.
Live cameras and video direction was supplied by Ben Alcott’s “DAMN GOOD PRODUCTIONS”
Equipment supplied was:
28 x GLP GT-1
20 x GLP X4L
22 x GLP X4 Bar 20
19 x SGM X5 Strobe
20 x Lightsky F330 Spot
01 x Martin M6 Console
01 x Martin M1 Console Backup
04 x Magic FX CO2 Jets
02 x Magic FX Stadium Blasters
232 x TourLED M-Plus 4.8mm LED Panels
American Idiot on the road
Posted on Friday, February 9th, 2018
The lighting is a completely new design, as is everything else creative in the show, and Matt was keen to use one of his favourite fixtures – the Claypaky Scenius Profile.
“I love the Scenius, they’re so punchy and I still want to do some shuttering looks with them,” Matt said. “I have eight overhead along with seven Martin MAC Quantum Wash complete with concentric spill rings which work really well as they take away the glare. I also added ten Sharpys for some big beam looks.”
Matt uses the Sharpys sparingly, and they don’t swing into action until a fair way into the show when St Jimmy enters, apt as he is the big rock’n’roll star.
Matt chose to use twenty ShowPro DreamPix LED Strips, mounted underneath the balcony and along the top truss top to form two lines, and he was ecstatic with their performance.
“I also build up to their use, in fact they’re only used twice during the show – I had to restrain myself!” he laughed. “I really like that they are so invisible until switched on.”
On the floor are four MAC Viper Profiles, chosen for the beam angle they deliver and the white light they emit.
“As it’s a rock’n’roll show I really wanted a piercing white and the Vipers do that very well,” commented Matt. “I also have four Claypaky Stormy CCs in the rig mainly for their whiteness.”
Matt has ten MAC Viper Performance on the front truss because if there’s going to be a variable when touring the show, it will be the front truss. The MAC Viper Performances help keep the install as simple as possible for the guys on the road.
“All other trim heights stay the same on the road but the front truss does not,” added Matt. “I also really like the textures they can deliver, all through the show there’s hectic textured front light strobing away. I can also sweep the whole house with them, which I love doing.”
Twenty-one of the first Martin Rush MH6 Wash CTs in the country provide specials and Matt describes them as his little saviours in the rig, saying the colour range and warmth of the MH6 CT as very nice. Four MAC Aura dress the sides of the set with Matt commenting that he loves their dimmer curves.
“For an LED unit, they have such a theatrical curve to them,” he said. “They fade really beautifully. Three MAC TW1 and some Blinders provide a little bit of tungsten in the show.”
ShowPro Hex 7 LED Pars are used within the set particularly to light band members. A couple of Look Solution Unique 2 hazers provide atmosphere.
As the show is much more rock’n’roll than theatre, Matt switched the control from an ETC to an MA Lighting grandMA2 light with a NPU MA and a Command Wing System complete with all-in-one touchscreen for backup.
“It’s just quicker to run a lot of the effects on the MA plus we’re using time code,” he explained. “There’s a lot of video triggering through the lighting console and 420 called lighting cues during the show so the MA system is perfect.”
VuePix at the Australian Open
Posted on Tuesday, February 6th, 2018
Our VuePix digital AO Sign is shining brightly again at Australian Open 2018, creating probably the most photographed feature of the Happy Slam, putting smiles on the faces of all visitors to the first tennis grand slam of this year.
This unique 3-meter-high three-dimensional digital logo includes an automatic brightness sensor to enable the display to adjust to accommodate varying degrees of sunlight. The fully customized LED solution is based on our VuePix Q series technology and consists of 696 LED modules of 3.9mm pixel pitch. Supplied to Tennis Australia by The P.A.People.
EI Productions on the road with Parkway Drive
Posted on Friday, February 2nd, 2018
EI Productions supplied production for the rock juggernaut that is Parkway Drive – on their just finished A Decade of Horizons Australian Tour.
Lighting was designed and operated by Steve Granville and featured Martin MAC101, MAC Aura, MAC Viper Profile, Claypaky B-Eye K20, Stormy CC, Sharpy as well as LED Sunstrips and blinders.
All run from one of EI Productions’ High End Roadhog Fullboar 4’s.
Their Vuepix ER5 LED screen was also out there providing a stunning visual backdrop.
An audio package featuring their AVID S6L at FOH and a Profile on monitors as well as a touring package of Sennheiser EW300 G3 IEMs.
As you can see from the pics, this was a full-on rock show that went off at all of their Sold Out gigs.
As usual, the EI touring crew of Bryce Mace, Mat Kappert, and Murrey Carr smashed it.
Photos: Caitlin Pepper.
MJF Lighting get creative with DreamPix Tubes
Posted on Thursday, February 1st, 2018
New Zealand’s MJF Lighting purchased sixty-four which enable remarkable 3D effects with a double-sided pixel mappable RGB tube and an easy-to-use ArtNet interface that works flawlessly with popular industry standard pixel mapping tools.
“We have a whole lot of high end moving lights such as MAC Vipers, but we had a gap in our inventory for lighting units to primarily dress sets,” commented Michael Leger of MJF. “As a result, the DreamPix Tubes were purchased as an eye candy unit but we really like that they can work as a light source as well.”
Michael remarked that the compact nature of the DreamPix Tubes allows them to be rigged into interesting spaces and so far, the feedback from his clients has been very enthusiastic.
“Physically they’re really easy to handle as there’s one lead that has the data and the power through them, then they daisy-chain together,” Michael added. “Sixteen on each string is a decent amount.”
At the weekend, MJF’s DreamPix Tubes were used on Auckland’s Laneway Festival where one of the headlining acts, New Zealand’s Baynk, requested something a little bit special.
“Banyk controlled the DreamPix Tubes through his music software he runs onstage,” explained Michael. “We worked on him being able to output DMX from his system to trigger the DreamPix so in theory he was playing the lights live too.”