Production News

GLP for Bernard Fanning

Posted on Tuesday, October 31st, 2017

Lighting Designer Jeff Pavey recently designed a GLP lighting rig for Bernard Fanning’s four sold-out shows at Brisbane’s The Triffid, selecting GLP X4 Bar 20s, GT-1 Hybrid Spot / Beams and X4s LED Wash.

“I’ve used the X4 bars a bunch of times but this was the first time I had gotten to use the GT-1s,” said Pavey. “The thing I like the best about the GT-1 are that they are fairly small and lightweight but the output is crazy. It really is a nice fixture. They have a really nice colour mixing system, the gobos are excellent, and the focus is very smooth and it’s a very easy light to work with overall.”

Jeff was responsible for the original lighting design at the Triffid so when it came time to add more to the rig Jeff choose the GLP X4s LED Wash.

“When the TLC guys first showed me these I thought they would be perfect for the Triffid, but this was the first I had gotten to use them since they were installed and I have to say I’ve really fallen in love with them, the zoom and output are amazing and they really suit these small to medium size venues.”

Creative will also be supplying another rig of X4 Wash and GT-1 for three Sydney shows at the Factory.

8 x GLP X4s
8 x GLP X4 Bar 20
8 x GLP GT-1 Hybrid Spot/ Beam

Control Via – Highend Hog 4 Fullboar

www.creativeproductions.com.au

 

Talking Heads with EET

Posted on Tuesday, October 24th, 2017

Elite Event Technology provided a complete audiovisual solution with quite a few twists for the official launch event of the National Gallery of Australia, Canberra’s latest exhibition, Hyper Real.

As much of the exhibition is quite futuristic, our brief was to create a sense of this in the space for the launch event. Working with the Gallery’s team, we came up with the idea of why don’t we make the launch totally content driven so that the content actually provides the launch of the event, rather than someone from the gallery making a speech or similar. the gallery then worked with one of the artists from the exhibition who created the character that is the head in some of these images. this futuristic “talking head”, then actually launched the event.

This “talking head”, that we have to say was slightly creepy yet appealing all at the same time, was projected around a large round surface in the middle of the space, for those of you who visit the exhibition, you will discover the connection of this cylinder with one of the major exhibits in Hyper Real.

We also provided Martin VDO Sceptron fixtures to emulate Neon tube within the room as a part of the continuation of the futuristic look.

Elite Event Technology

 

Fashion + Aid 2017 with Resolution X

Posted on Wednesday, October 18th, 2017

Celebrating its 10th year, FASHION+AID combines the latest designer master pieces and collections with fine dining to support several great charitable causes. Held at Crown’s Palladium, FASHION+AID is one night that is celebrated by any fashionista and those who love the finer things in life. The night was hosted by the celebrity comedian Dave Hughes, along with entertainment from DJ’s Chloe and Perio, Eva Soclaro, as well as many others.

Resolution X was chosen by Australia’s most exclusive special events company, Trumpet Events, to supply a spectacular lighting and stage set for the night. ResX supplied and programmed a myriad of fixtures, including Claypaky Sharpys, Martin Professional MAC Auras, and MAC Quantum Washes, controlled via MA Lighting International grandMA2 light consoles.

The jaw-dropping centrepiece of the lighting design was the custom LED archway – designed and production managed by ResX’s very own Jamie Russell. The LED archway used over 150 pixel-mapped ShowPro DreamPix Tubes supported by sections of T2 Box Truss. By individually pixel-mapping the DreamPix tubes, the team were able to extend the artwork on the rear LED wall through a coolux Pandora’s Box media server, creating some spectacular and unique looks. Mixing the DreamPix tubes with the curved T2 Box Truss made a unique spiky proscenium arch which wowed both the organisers and the attendees.

Photography: Carly Ravenhall Photography

www.resolutionx.com.au

 

CCP with RNB Fridays Live

Posted on Wednesday, October 18th, 2017

RNB Fridays Live tour rolled through Perth again on the weekend for the 2nd year bigger and better than ever.

CCP were on site again this year to provide all the LED screens and Video production alongside our friends from Showscreens who supplied the lighting for the show.

Its so nice to work with an awesome crew from both companies who just get in and get it done with a smile on their faces.

CCP supplied the large rear 14.5m x 6.5m Dicolor Tour Pro 4.8m M+ LED screen along with two 5.5m x 3.5m 10mm IMAG screens and the Onstage curved DJ fascia screen that was 6m x 1m Yestech from our friends at Showscreens.

CCP also supplied the Camera IMAG system that was operated by Big Pictures’ Dave Hendy and all signal distribution for the multitude of acts and VJs led by the amazing Ken Weston.

Thanks to all of the crew who worked on this show is some testing weather conditions.

Jake Batten
Alex Spartalis
Darren Tempany
Mark Nelson

and of course our friends at Showscreens:

Ryan Varley
Dan Hocking
Ben Fry
David Murdoch
Ben Davis

Great working with you guys!

www.ccpwa.com

 

Creative Productions’ Lost Picnic

Posted on Monday, October 16th, 2017

The Lost Picnic, an event held at the Domain in the heart of Sydney, was promoted as the city’s ultimate outdoor experience of food, music and performance. The headline act finishing off the festival was none other than Fat Freddy’s Drop.

Creative Productions was there providing a lighting and rigging package for the event. Lighting fixture highlights being the GLP X4 moving LED wash and ROBE Patt 2013 conventional lamps.

Control for the system yet again saw a MA2 light console used, backed up with a MA2 on PC package.

www.creativeproductions.com.au

 

Claypaky Scenius Unico for Dally M Awards

Posted on Friday, October 13th, 2017

Rugby League’s night of nights, the Dally M Awards, was held at The Star in Sydney with Mandylights supplying the production and lighting design.

It’s a gig that Mandylights has successfully done for ten years yet every year they manage to create a fresh new look for the stage and room. Fortunately the in-house rig already boasts some amazing fixtures, including Claypaky Sharpy Washes and Super Sharpys, to which Mandylights added eight of the new Claypaky Scenius Unico.

The Scenius Unico is a magnificent spot light for projecting effects, with six rotating gobos, a rotating prism, a beautiful animation wheel, and it is equipped with the most sophisticated and most precise framing system on the market today. The Scenius Unico is also an excellent wash light, since it features a system with different diffusion filters, which may be inserted gradually. However the most amazing feature is that the Scenius Unico can also generate a powerful narrow beam of super concentrated light, with a minimum beam angle of only 5 degrees.

At the Dally M Awards, six Scenius Unico were placed on the front truss for key light with two more upstage for back light, in fact all of the gobo looks in the back of shot were created by these two Scenius Unicos.

The Scenius Unico delivered a superior quality of light and a consistent colour range, a bright output and enabled Mandylights to convey a wide variety of different looks.

“I was already in love with the Scenius fixtures and use them wherever I can,” remarked Richard Neville, managing director of Mandylights. “The great thing about the Unico is obviously having the shutters, but they also have a really good beam diffuser. It means you have the option of being able to pull all of the beam diffusion out and do your big aerial shots, then you can push them in and use them as key lights really beautifully. Their colour temperature correction is perfect, they have great colour temperature, and because you can put this beam diffuser in to create a perfectly flat field, it means that the cameras – and the Technical Directors – love them.”

With the Dally M Awards, Mandylights did not have the luxury of fixtures that were solely dedicated key lights and consequently the Unicos were an absolute lifesaver.

“They are such a versatile fixture,” added Richard. “We could use them as key lights when required, then whack all the diffusion out and point them out into the room for a big awards state. We love the rich colour palette the Unico offers, which is especially good for TV.”

Not only is the Scenius Unico a very powerful design tool, it’s also very cost-effective when you take into account the ratio of high light output to low power consumption.

Richard further noted that often when manufacturers create a profile fixture or what they term as a more theatrical fixture, the gobo wheels often suffer.

“The Scenius Unico has one gobo wheel of six rotating gobos instead of two wheels, but the gobos are extremely usable for concert and television, which is pretty rare – usually on fixtures that are marketed towards the theatre market get filled with less-than-desirable concert or live gobos” he said.

Control was a full size MA2 for lighting and an MA2 light for media servers, operated by Richard Neville and Clint Dulieu.

Photos: Jacqui Manning

www.showtech.com.au

 

Megan Washington Australian Tour

Posted on Friday, October 13th, 2017

This was the first time Megan has done a tour with a full orchestra instead of her band so she wanted it to be something a little bit different and special.

“When discussing with her in the early stages, we agreed a touring set element made up of lighting was the best approach so that we could achieve a consistent and unique look between all the different shows,” explained lighting designer Peter Rubie. “The LED pixel tube product was something I had used in the past on a design collaboration Trent Suidgeest. When showing Megan some design options she loved the look that the tubes gave in a suspended pendant style, and so we decided on that as our set element for the tour.”

Peter’s rig included sixteen moving profiles overhead, eight on the sides / floor and thirteen washes, make depending on what’s sourced locally. Plus there’s a house rig of front and side lighting, two hazers and some LED drape washes.

120 double sided LED pixel tubes supplied by Perth company Starfall LED are suspended over the entire stage with an additional 20 on the floor. The configuration of these was the result of many hours spent working with them in a 3D drawing to get a planned ‘random’ staggered hanging look that filled the air.  The problem with hanging something just randomly is that it doesn’t actually end up that way, ending with double ups and nearby units at the same height. There is also a slight tapering of the tubes down the side and the further upstage they are, which gives the audience the feeling of the stage and orchestra being all encompassed in the canopy of LED.

Control of the show was by a Jands Vista S1 lighting console which Peter describes as the perfect designers’ console.

“Contrary to some opinions, it does everything the other consoles do and its visual GUI interface means I can paint my design without spending valuable time entering keystrokes and thinking about numbers and tables to create complex looks and effects,” he commented.  “It also handles multi-element fixtures, such as the LED tubes, in the best way that I have come across allowing you to easily switch from handling fixtures as a whole, or as broken up elements when applying selection order to programming and effects. Using it on tour saves me a lot of time too. It models all parameters back to consistent ranges and even matches gobos by category so there’s barely any updating of palettes when swapping fixtures between the different stops on the tour. The tubes themselves are controlled half by Vista and half by MADRIX using a sACN merge. As there was no content created specifically for the show, the use of MADRIX enabled me to generate fluid content looks on the fly which are hard to achieve from standard effects engines which typically follow a waveform.”

Having done design work for contemporary music shows in collaboration with orchestras for a long time now, the biggest challenge Peter faces is always finding a balance in the design that fulfills his creative vision but also works for what can sometimes be 70 people on stage. Classical musicians are getting more and more used to performing under production lighting these days but it is still a huge contrast for them from the conditions they play under most of the time.

“Of course, some players are more accommodating than others!” said Peter. “The music stand sconce lights are often no match for our stage lighting, especially with everything just getting brighter and brighter. Newer LED source sconce lights help but aren’t always available. The looks that are the most powerful and effective from an audience point of view, for example beams in a breakup pattern through the haze, are often the worst for the orchestra trying to read the dots so it’s a fine balancing act.”

Peter holds back on the hanging tubes for the first few songs in the show, turning on only a few pixels. The first time they are revealed in full is a huge chorus moment reveal in the song Body Double. There is a big wipe up from the floor through to the air of all the pixels in the tubes and at the same time the overhead moving lights sweep a strong texture through the tubes which, due to their transparency, works really well. It is a big look and a bit of a wow moment for the audience.

There are three stops left of the tour: Hobart – 24th October, Perth – 27th October and Melbourne – 10th November.

www.peter.rubie.com.au