Phaseshift’s Day on the Green
Posted on Tuesday, December 19th, 2017
They provided the following for all 6 shows.
22 x Martin Viper profiles
22 x Martin Aura XB’s
10 x Claypaky K10 Beye’s
6 x X-Beams
4 x Martin Atomic’s
32 x Par 64 ACL’s
12 x Source 4 profiles
4 x 8 lite blinder’s
2 x Robert Juliat Aramis follow spot’s
Controlled by a grandMA2 light with fader wing.
GLP X4 L for British & Irish Lions’ rugby tour
Posted on Friday, December 15th, 2017
Earlier this summer Oceania, the biggest lighting rental company in New Zealand, invested in 24x X4 L LED heads from GLP, which went out the same day they arrived to support the British & Irish Lions’ rugby tour down under. Over six weeks they were ever present on all regional games and the three All Blacks test matches.
At Auckland’s Eden Park, also New Zealand’s national sports stadium, the company supplied all technical rigging, lighting, vision and sound equipment, technical management and crew, both in the venue spaces and the large fine dining 1200 and 2000-capacity party marquees on the practice ground, measured a colossal 400sqm and 350sqm respectively, requiring a lot of truss and expertise.
“The GLP X4 L and X4 Bars really impressed us both,” confirmed Oceania general manager, Simon Garrett. “The X4 L offers both workhorse and bling modes. A fast, very compact wash light with a source range from low to very high 10,000K color temperature, giving some beautiful cold variation in straw, steels, lavenders etc. as well as some bling, with a myriad of looks. I particularly liked the straight lines and V shapes of the pixels, and the randomized strobes using macro mode.”
He said his company had needed some mid-sized LED wash for some time as their previous fixtures “ran out of puff at around 8 metres”. But none of the other options were inspiring him until he and designer Jeremy Fern ran into the impression X4 L at last November’s LDI Show in the States.
Oceania also supplied the same range of technical services at the Queen’s Wharf Auckland Fanzone Activation. This provided the Auckland hub for the DHL New Zealand Lions Series and the nationwide Rugby 2017 Festival, with live match screenings, free entertainment, live performances and exhibitions.
The 80ft. DHL Dome was animated using just 12 of the GLP fixtures. “This look had six ‘dots’, which gave the beams a pretty hard edge, and a further six in Wash mode as a backing color,” continued Garrett. “As the DHL Dome was pretty opaque it would have required between 24-36 compact LED washes to have animated this as successfully.”
Although it’s still early days he says they are delighted with their choice so far. “The 12 onstage provided a really big look, taking a six-channel distro feed. With their small footprint, they were delivered quickly to site in three cases, rigged easily and took up very little ‘musician and backline’ space.”
So successful did they prove on their first major outing that Jeremy Fern turned to them again more recently, using them on a major Darts tournament, “where they really filled the camera periphery shots,” according to Oceania.
Summing up Simon Garrett said, “It’s hard being the first adopter in any territory, and even harder on new product as it’s not yet on specs or available as a sub-hire resource. But to date we are extremely pleased with the investment.”
Mojo Barriers installs vast pitch cover
Posted on Thursday, December 14th, 2017
Mojo Barriers Australia recently undertook one of Australia’s largest stadium field cover installations, with over 15,000 sq.m. being installed for Sensation at Spotless Stadium, Sydney Showground, in November.
Sensation, the biggest open-air festival in Australia this year, was a great success, and protecting the valuable sports surface was of critical importance as Spotless Stadium is the home of Sydney’s professional cricket team Sydney Thunder and the Greater Western Sydney (GWS) Giants, part of the Australian Football League.
Mojo installed a complete Supatrac system to ensure the best possible pitch protection. It took 34 truck movements to freight the equipment in and out of the stadium and over 850 man-hours to install and remove.
The Mojo team installed over 15,000 sq.m. of 100% white Supatrac, along with over 500m of aluminium Mojo Barrier in a ‘D’ configuration. Since launching as a supplier of Supatrac in January of this year, Mojo Barriers is now able to provide both barrier and stadium floor covering as a combined offering. To further protect the stadium pitch at Sydney Showground, the team installed a layer of Enkamat under the flooring to provide additional protection at the areas with the highest footfall and crowd density.
As well as being on-site during the event, the Mojo team managed the daily installation and removal of the aluminium ground protection products during the stage build, and worked closely with the festival organisers and stadium groundskeeper to ensure optimum crowd barrier configurations and pitch protection.
Craig Edwards, general manager of Mojo Barriers Australia comments: “It was great to be able to showcase our logistical capabilities installing Supatrac and barrier as a combined service, and to be instrumental in one of the largest stadium field covers in Australia makes us particularly proud. Pitch covers are usually a combination of a variety of products; however we supplied 100% white Supatrac to Sensation to ensure the same high quality product throughout the entire stadium.
“Not only did our team need to ensure the products were installed to the highest standard for the biggest festival Australia has seen in three years, but due to it being hosted in such a busy stadium, the condition of the turf post-Sensation was critical with the upcoming sporting schedule.”
Joshua Green, Sensation event manager from Phoenix Entertainment Live said “The Supatrac product is the way of the future for stadiums, the product doesn’t leave indentations on the turf and a sporting event can be held the next day. Supatrac is an efficient product to install and remove, with 15,000 sq.m. installed in under eight hours there was minimum impact to production load-in – and it was even quicker on the load out. Coupling the supply of flooring and stage barrier products with Mojo delivered further efficiencies and made for a smooth and flexible operation.”
CCP with Idea of North and WASO
Posted on Monday, December 11th, 2017
The Idea of North partnered with WASO last Friday for one night only to perform some of their best ARIA winning works in a Christmas themed concert. Lighting Design by Alex, featured a CCP lighting rig augmenting the Perth Concert Hall’s venue equipment of:
12 x Martin MAC Viper Profiles
8 x Martin MAC 700 Washes
8 x Robe Pointe
16 x X Beam 230
66 x Source 4 Lustr 2 LED Profiles
20 x Source 4 750W Profiles
6 x Pacific 5.5 Zoom Profiles
8 x Arri L10-C LED Fresnels
7 x Elation SixPar 300 LED Wash
Festooning with droppers and decorative bulbs
grandMA 2 Control System
These concerts are programmed overnight, and then with one general rehearsal Friday morning, lead straight into the performance that same evening.
The concert featured:
Emma Rule soprano
Naomi Crellin alto
Nick Begbie tenor
Luke Thompson bass
Kai Kitamura vocal percussion/baritone
Benjamin Northey conductor
The West Australian Symphony Orchestra
CCP are now busy preparing for the Lotterywest Symphony in the City, this Saturday the 16th of December on Langley Park. It is WASO’s annual event, free to attend. Hopefully we’ll see you all there.
Mandylights light mountain range for Parrtjima
Posted on Monday, December 11th, 2017
Through a spectacular world of light and sound, contemporary and traditional Indigenous stories and artwork are brought to life under the night sky on an unprecedented scale.
Illuminating the epic 300-million-year-old MacDonnell Ranges and spilling into Alice Springs Desert Park, Parrtjima is a breathtaking outdoor gallery experience presenting local artwork, culture and stories, with interactive installations the whole family can enjoy.
The sheer scale of the lighting on the MacDonnell Ranges makes Parrtjima Australia’s longest-ever light show installation stretching for two kilometres.
Mandylights were contracted by AGB Events, creative consultants and producers of Parrtjima, to tackle this incredible light installation and they worked closely with the local indigenous Arrente people to ensure its success.
“We wanted the entire two kilometres of content to be as animated and moving as possible,” explained Richard Neville, managing director of Mandylights. “We also wanted the event to be more theatrical than the previous year, consequently we designed a six and a half minute long light show that moved from lighting positions around the localized viewing areas, then up into projected images across the ranges and finally across fixtures that we scattered over the sides of the mountains which were able to shoot back towards the viewers.”
With such an enormous canvas and a ridiculously long throw of between 400 metres and one kilometer, fixture choice was paramount. After testing a few contenders, Richard decided upon eighty Robe BMFL Spots to project onto the ranges along with twenty Robe Spiiders placed on top of the ranges to project light back onto the viewing areas.
The installation process was not easy with day temperatures over 40°C plummeting to -1°C at night. Dust and wind was a constant leaving the lights full of red dust at the end of the event.
“Basically we were up against every possible environmental condition you could imagine!” said Richard. “We worked with MPH Australia out of Melbourne as they have a really good Robe inventory and Matt Hansen and his team absolutely smashed the entire project. We couldn’t have done it without their support … even when asked to walk lights hundreds of metres into snake and dingo-infested scrub.”
The rich red of the rock and the dark green of the foliage doesn’t make the MacDonnell Ranges the best projection surface but fortunately there had not been much rain beforehand so much of the grass was bleached almost white.
The lights were choreographed to an aboriginal soundtrack so it was necessary to create meaning with the projections and to represent the culture.
“It wasn’t just a matter of throwing lights and patterns onto a mountain, we really went out of our way to communicate the concept that the local people and Rhoda Roberts, the curator, wanted to convey in the show,” added Richard. “Obviously there are some colours that read really well and others not so well, so we ended up with quite a limited colour palette but that kept the show looking really smooth creatively.”
Mandylights retrofitted a 20ft shipping container as a new, interactive control space. During the time the show wasn’t running, the local people could enter the control room and control the Robe BMFL’s with simple hand movements. Within the container there was also an area where the MA Lighting MA2 light console sat with a couple of large screens so that people could see how the control worked.
“It was a really cool experience to bring the lighting control element into the festival,” remarked Richard. “While people were waiting to have a go at controlling the lights, they could look at the console to see how the cues were running and how the lights were moving. So it wasn’t just a case of 100 lights off in the distance doing a light show, people got to see the timecode working and how the interactive control worked. It was a very rewarding experience to see heaps of aboriginal children entranced by this.”
As well as lighting the ranges, Mandylights lit the scrub and saltbush in the foreground immediately around the viewing areas. The festival site featured many light artworks with Mandylights on hand to assist the artists.
Parrtjima means the shedding of both light and understanding on a subject, something that Mandylights successfully achieved.
No Challenge too large for Novatech
Posted on Wednesday, December 6th, 2017
The Australian eChallenge has been run by the Entrepreneurship, Commercialisation and Innovation Centre (ECIC) at the University of Adelaide and has stimulated Australian entrepreneurship since 2001. The awards ceremony for 2017 was recently held at the Adelaide Oval’s William Magarey Room. Novatech were once again engaged to provide all audio-visual event staging for the evening and used the occasion to use event technology in creative ways.
Novatech worked closely with the event’s Technical Director, Jayden Sutherland, from The Bakery Design Co, to design a fitting stage presence for the Awards ceremony. The idea of a large central floor to ceiling screen as the focus point of the room was developed by Jayden to provide a point of difference from previous events but also act as central communication platform for event content as well as providing a backdrop to the stage itself. Using the stage as a base, the 12m x 5m LED screen was built from over 120 high resolution 4.8mm pitch LED panels to create a bright and seamless backdrop that could perform well even under full stage lighting conditions. Novatech’s in-house content studio worked closely with Jayden to create stunning custom content to bring the screens to life.
The stage was no ordinary stage! Working with the team at Nexstage Rigging & Staging, a custom triangular stage with black gloss finish extended from the base of the screen in a seamless fashion. Novatech installed custom LED lighting that lit the tiered steps surrounding the entire stage which enabled the stage to take on different looks throughout the night. Being unique, different and thinking outside of the square certainly encapsulated the evening’s purpose and meaning.
Jayden remarked that “Production design is key to every successful event. When a custom solution is required, as it was for the eChallenge event, Novatech was a clear choice to deliver just that. Their team is an invaluable resource on site when it comes to providing exactly what is planned within an extremely tight schedule! My client was blown away by the design and the fresh approach taken for their event, Novatech was an integral part of achieving that result.”
In regard to the stage, Jayden stated that “Nexstage went over and above to provide the best looking stage I’ve seen on an event in a very long time! It was refreshing to see such attention to detail and very polished result.”
Novatech prides itself on using event technology in creative ways and working closely with all stakeholders to not only meet the event’s desired objectives but to also surpass all expectations.
Robe Pointes create Sensory Overload for Transliminal
Posted on Friday, December 1st, 2017
Held in Hobart City Hall, the event showcased the dark, electronic underbelly of the subterranean club scene, and featured a stunning light show by audio-visual artist Robin Fox. Known for his mesmeric, future-forward, laser-driven light installations, Robin collaborated with Melbourne’s Additive Lighting who designed, pre-visualised and operated a disorientating and atmospheric light installation for the late night music venue.
“Robin had been approached by Dark Mofo to create a very streamlined, dark and moody nightclub,” commented Tom Wright of Additive. “Robin is a laser artist but he soon realized the project was more suited to a lighting installation.
“He wanted to do something that was very dramatic yet simple, which is why we came up with what is essentially a single line of fixtures but configured in a square around the room. We hung the truss exactly at the balcony level so people could sit above the ‘light ceiling’ or dance beneath it.”
In creating the light show, the Additive team decided to throw everything out the window that they would normally do, whilst prevising in their Melbourne studio. After a couple of day’s discussion with Robin, learning about his way of doing lasers and also audio, they built what could be described as a lighting synthesizer rather than creating the normal busking type show.
“So by the time we got to Hobart, I was in front of what seemed like an enormous synth!” said Tom. “Instead of firing off prebuilt effects we would play with frequency, amounts and details. In fact it got to the point where Robin could stand at the console and do it himself, with no experience whatsoever.”
The lighting fixture required had to be very bright and super-fast with a sharp parallel beam that can cut through the air with ease. As such, 136 ROBE Pointes were supplied by Alive Technologies, who also sub-hired some units from MPH in Melbourne to make up the total.
“We needed a reliable, sharp beam, one that would be speedy but accurate in creating the static looks as well as the huge sweeping movements we desired,” Tom said. “I found the Robe Pointes to be quick and they had a several features that I really enjoyed; the variable frost and the prism was real mood changers. They also proved to be indestructible, and we didn’t have to swap a single one out. They really played the lead role in that show.”
With its blindingly bright beam it’s no wonder many punters thought the Robe Pointe beams were actual lasers!
Tom also added a few Robe Robin 100 LED Beams to the DJ booth just to draw attention to that area.
“That way the crowd had a central point of focus around the DJ, rather than spending hours dancing around me at the lighting console thinking I was the DJ!” Tom laughed. “It really was a trippy lightshow, sometimes organic and beautiful and at other times harsh … in fact some people said it was offensive, which I kind of like.”
Whether you found the lighting offensive or beautiful, there is no denying that it was hypnotising, waving over the crowd like a comforting blanket. Cage-like and disorientating, the lighting joined a seamless cacophony of house/techno/dance tunes that banged on until 5am.
Photos by Anthony Smith