Production News

Colourblind give Rüfüs Du Sol GLP’s X4 treatment

Posted on Wednesday, November 29th, 2017

Australian electronic band Rüfüs Du Sol recently began their 2017 North America Autumn tour playing two sell-out shows at Oakland’s Fox Theater, along with headlining slots at CRSSD Fest in San Diego, CA and Austin City Limits in Austin, TX. LD Matthew Smith, of Australian lighting design team, Colourblind, provided stunning visuals to match Rüfüs’ style.

Helping to create these effects were the well-established impression X4 Bar 20 and impression X4 S from GLP — supplied by VER, along with all other lighting and audio requirements.

Smith was excited by the prospect of using the X4 Bars for the 2017 USA touring cycle; having used them for a previous tour in Australia, he was eager to push them to their full potential.

“I’ve been a big fan of the GLP X4 range since I took a number of X4 Wash lights on another Australian tour in 2014. They’re an incredibly reliable unit — both bright and fast, with a great zoom range and very nice saturated colors,” says Smith. And he has been using GLP lights ever since.

“With Rüfüs Du Sol, we used GLP extensively on our Australian tour in 2016,” he continued. “We were the first to take the X4 Bar 20s and X4 atoms around Australia, both of which are now favorite fixtures of mine.”

Smith was eager to find a fixture that was small enough to be transported easily, and yet could provide the power typically seen in a much larger fixture. “For the US run, we needed to fit the rig and backline into a bus trailer, so we opted for the X4 S.”

“The units are small but very punchy and they look fantastic in rooms like the Fox in Oakland but not out of place on larger stages like CRSSD Festival in San Diego, Austin City Limits or even when we played Red Rocks earlier in the year.”

Matthew Smith joined Colourblind as a partner in 2014, and the first client that Colourblind founder Lynden Gare and Smith worked on together was Rüfüs Du Sol.

The band wasted no time in making their partnership more permanent and Smith has been the lighting director for them ever since.

They recently relocated to Los Angeles to record their third studio album, which they hope to release next year. The current tour serves to refresh with some time away from the studio, while also reaching their fans in the US.

Summing up, Matthew Smith says he finds working with the band extremely exciting. “It’s been a fantastic journey watching their popularity grow, not only back home in Australia, but over in the USA as well.”

Pictures courtesy of Derek Rickert
Australian Distributor: TLC Global


Novatech’s busy November

Posted on Wednesday, November 29th, 2017






As we close out November, the Novatech team have been feverishly delivering some outstanding events around the country. Locally, one highlight has been over 450 square metres of LED screens being used over the past week on events such as the Food South Australia Awards at the Adelaide Convention Centre, Yusuf / Cat Stevens Concert in Botanic Park and the Boomers basketball match at the Titanium Security Arena to name but a few.

LED panels are certainly in demand as they are the clear choice for large scale, high resolution and high impact vision solutions. From music concerts, international sporting events and indoor awards ceremonies, Novatech’s range of versatile LED panels are being used in a variety of applications.


Eurotruss for Ferrari and New Academic Street Events

Posted on Friday, November 24th, 2017

RTR Productions is a hire production company that can provide for their clients with all their audio-visual hire and installation needs. The company has a reputation for excellence with over 20 years experience in delivering successful events at the highest level with one of the best service and the highest standards in audio visual events in Australia.

As part of their extensive inventory, RTR Productions has acquired the world renowned Eurotruss truss system for their rigging hire and production needs, supplied by Showtools International. Recently, RTR have used the Eurotruss System for two highly successful events, Hublot Celebrates Ferrari’s 70th year Anniversary and New Academy Street Event at RMIT.

This year world-renowned Ferrari celebrated its 70th anniversary, where Hublot announced its diamond partnership, during Motorclassica from 9th-15th October 2017. Along with a new collection designed by Ferrari and crafted by Hublot, the truss archway designed and built by RTR productions stole the show. The truss archway provided the perfect backdrop and entrance to the various Ferrari’s that were on display as well as provide a platform for the Ferrari brand and Hublot brand logos to be on display. The truss used for the arc design was the Eurotruss HD34 Square Truss supplied by Showtools.

The Eurotruss HD34 Square Truss was once again implemented by RTR Productions for the NEW Academy Street Event at RMIT University. The New Academy Street was the RMIT opening for a new project that will transform the heart of the City campus by creating new facilities that will enable RMIT to deliver better services for students. RTR used the HD34 truss for the stage set up, the curved LED screen and the flat LED screen.

The choice to use the Eurotruss Truss System for RTR was due to its excellent load capacity, with the 3mm wall thickness in the main tube assuring durability and extra strength as well as its fast-conical connection system. The fast-conical connection system enabled RTR’s team to create the perfect solution for what was needed and allowed the set-up times for both events to be optimized from time of bump in.

Thanks to the use of the HD34 Eurotruss square truss, RTR Productions once again provided quality trussing for two high profile events, Ferrari’s 70th Anniversary and New Academy Street Event at RMIT. With an ever-growing inventory of the Eurotruss System, RTR will have all the rigging and trussing needs for their clients covered with all event requirements from small scale events to large productions.


Outback Spectacular salutes SolaSpot 1000s

Posted on Thursday, November 23rd, 2017

Australian Outback Spectacular in Queensland’s holiday paradise, The Gold Coast, is a quintessential Australian experience. A purpose-built arena sees skilled stockmen and women challenge each other’s horsemanship with death-defying stunts and superb showmanship. Currently running the production ‘Salute to the Light Horse, High Country Special’ up to six times a week, Outback Spectacular’s lighting rig needs to cope with a difficult environment, a demanding schedule, and arena-sized expectations. That’s why the production team have chosen to install four High End Systems SolaSpot 1000s.

“We needed to replace four of our old 700W discharge fixtures,” explained Clint Dulieu, Technical Director of Australian Outback Spectacular. “We wanted to reduce our operating expenses, so we definitely wanted to go to an LED source. We wanted an equivalent or better output to our old fixtures, particularly in white; I’ve found most LED profiles are good at saturated colours, but white and lighter shades have been a challenge in terms of output. After a long search, the SolaSpot 1000s were pretty much the only fixture on the market that ticked all the boxes.”

The SolaSpot 1000s run a 440-watt Bright White LED engine producing 18,000 lumens. Unlike their old discharge fixtures, Outback Spectacular now also have rotating animation wheels, fixed gobo and colour wheels, CMY/CTO system, iris, frost, prism, and zoom to play with. “Yeah, it’s always nice to get new features!” Clint agreed. “Now we have the animation wheels and other funky stuff, we’ve added effects we couldn’t do previously. But we really appreciate the higher colour temperature and higher perceived brightness, that’s what we really need in our arena show environment. We’re after punchy, and I’m really impressed with the significance of the output.”

It’s not just out in the arena that Clint appreciates the SolaSpot 1000s, it’s also on the service bench. “The build quality and the well-thought-out design is fantastic from a maintenance perspective,” Clint observed. “The SolaSpot 1000 is one of the best internally thought -out fixtures I’ve seen in terms of modularity and ease of service. Outback Spectacular is a sand arena, so dirt is a major issue. Having a fixture that is LED with minimal cooling means little airflow and very little dirt. From a long-term maintenance perspective, that’s our number one consideration. This is a show that will run for two to three years. Once a fixture is it in, it’s in, so for us, it’s all about reliability.”

Outback Spectacular’s long runs will be supported by Lexair, High End System’s distributor for Australia and New Zealand. “We’ve got a really good relationship with Lexair,” confirmed Clint, “They’ve jumped through hoops for us, and made everything easy. We’re very much looking to High End Systems fixtures as we assess the venue’s future needs.”


Enter the Vortex

Posted on Tuesday, November 21st, 2017

Enter the Vortex is a commercial contemporary production from The Dream Dance Company. The third season featured a cast of sixteen of the most elite dancers in Australia. The audience is invited to enter a world of a source with so much power and influence you feel you have no control.  Enter the Vortex is about being drawn to a destination where you are your genuine self at the depth of your core.

Jeremy Koch (Innovative Production Services) was the lighting designer who has worked with The Dream Dance Company on their previous two seasons of “Genesis” (2015) and “Secret Society” (2016) with Darcy Cook as the Associate LD and touring production manager. Darcy’s brief was to create a show in each city as close as possible to the original design at NIDA.

“We learnt that we both light dance shows in a very similar way so Jeremy felt very comfortable with handing me the project,” commented Darcy.

Innovative Production Services brought in 10x Martin MAC700 profiles, 10x Martin MAC700 washes, and 8x Martin Stage Bar 54L’s for the first shows held at NIDA, and then again for the Australian Dance Festival. It was a simple and clean design – the MAC700’s were arranged in a 5×4 grid from downstage to upstage with the Stage Bars as side light. These fixtures formed 90% of the light show with next to no front light (only used to highlight magic and the bows). Control was from a MA Lighting grandMA2 light for shows in Sydney, and MA onPC kit for interstate shows.

One thing I took away from this experience and working with Jeremy was that it’s sometimes not what you light, rather it’s what you don’t light. This may sound a bit odd, but one example, the last piece all we have is the washes in narrow beam, focused straight down. Open white at about 20% intensity. The light bouncing off the stage deck was enough to illuminate the solo dancer enabling the choreography to be planned so she danced in and out of the light beams. This was a really cool effect in the show.

“We had over 220 lighting cues in the 50 minute performance so it was very intense and fast moving,@ said Darcy. “Especially the sequence we referred to as the “Boys sequence.” This was a track about two minutes long with five lads, each being individually lit at certain times for about 2 to 4 beats. This was a piece with about 40 cues – so it was incredibly fast paced, but looking back on it, it looked absolutely awesome.”

Biggest challenge of this tour was taking it to venues that had not had the opportunity to invest in newer technology and moving lights. Darcy did a show in Adelaide purely with conventional fixtures, which at first thought doesn’t sound so bad, but when the show is based around a purely ‘intelligent rig’, it becomes quite the challenge to stay true to the original design.

“This was an interesting process to create a similar light show where I really had to push the boundaries of creativity and programming skills to match the energy coming off the stage,” added Darcy. “Suffice to say, some very interesting dimmer chases were created, but worked very well, and given the limitations we walked out with a very ecstatic director (Marko Panzic).”


Chauvet Professional used for BTC Legally Blonde and BTC Barnum

Posted on Thursday, November 9th, 2017

Recently, the Bendigo Theatre Company (BTC) hosted two productions, The Broadway musical Barnum during the period of September 28th to October 8th at the Girton Grammar Black Box and the production of Legally Blonde: The Musical during the period of October 19th to 22nd at the Ulumbarra Theatre Bendigo. Barnum tells the story of Phineas Taylor Barnum, an American remembered largely for being a 19th century circus owner while Legally Blonde follows sorority girl Elle Woods who enrolls in Harvard Law School to win back her ex-boyfriend. A huge part of the shows held for the two productions was the double story set, 35 cast members juggling, twirling and jumping through hoops, and a 25-piece band. To complete the sets, BTC contracted lighting designer Ian Scott to integrate a lighting rig to give the musicals a professional touch.

To give all the shows a colourful look, Ian Scott was looking for a compact, yet powerful wash light and LED Ellipsoidal to do the job. After conducting some research, Ian decided to acquire CHAUVET Professional lighting fixtures for the lighting rig supplied by Showtools International. Fixtures included 8x Rogue R2 LED Moving Head Washes and 6x Ovation E-910FCs LED Ellipsoidals.

8x Rogue R2 Wash were used for both shows as a main backlight colour wash and were kept up with the high amount of backlight from the led panels. The R2 Wash was implemented for its ability to provide saturated wash lighting to induce a whole manner of theatrical atmospheres. The saturated wash colours produced by this fixture allowed Ian Scott to create a strong atmosphere on stage, which works in counterpoint and in combination with the Ovation Fixtures. In addition, the smooth color mixing of the Rogues really helped wash the stage as well as the zoom of the R2’s which allowed Ian to control the coverage and to pump up the energy when the shows started. This combined with the bright, powerful light and the ability to offer five zones of LED control to pixel map its 19 (15 W) RGBW quad-LEDs as well as a standout zoom range of 12° to 49° allowed Ian to spread to cover even the largest areas of the stage.

The colour mixing of the 6x Ovation E-910FC’s were used with the lime being essential as it allowed Ian to create both saturated and unsaturated colours without compromising brightness. The Ovation E-910s were used as a side light for the Legally Blonde production and as a front/side light for the Barnum production. The 910FC’s were great for the shows because Ian could rely on them as an all-in-one color source, instead of hanging a lot of different systems of blue, orange, green, and so forth. When a scenes atmosphere needed a change and contrast was needed, Ian was able to change colour or intensity easily, without swapping to a different system, “The brightness and colours of the Ovation E-910FC’s were beyond expectation. “Skin tones rendered nicely with different shades of colour,” emphasized Ian. “When a variation was needed to brighten up a lighthearted moment in the musical for example, the fixture allowed me to seamlessly roll out the saturation on one of the Ovations, and not muddy the rest of the scene.”

With the use of the Rogue R2 Washes and the Ovation E-910FC’s, Ian Scott was able to create a memorable lighting experience over the course of the two productions. The musicals were a huge success, thrilling sold out audiences with the combination of the brilliant young talent on show and the durable and dependable CHAUVET Professional lighting fixtures that provided the perfect backdrop to the performances.


Restraint(s) lit by Roderick van Gelder

Posted on Wednesday, November 8th, 2017

Once a year the sculpture Ken Unsworth creates a number of ‘environments’ in his Alexandria studio. He then commissions a composer to write music based on groups of instruments Ken puts together.

Then he hands both the music and environments to the dancers of the Australian Dance Artists who will use the music and the environments to choreograph on each other and themselves. As the lighting designer Roderick van Gelder is involved from the early rehearsals and is a part of the creative process. Later in the process a costume designer is commissioned to design costumes for the now more developed concepts.

“What makes the work challenging is that everything happens inside the studio / workshop and every inch is occupied with the various installations,” commented Roderick. “This was my third production with Ken and ADA, for the first one and this year the elements that make up the installations clear the ceiling by about 5 cm and are tracked on or off stage by dancers and crew. And when they are not in use they block the PS and OP sides of the stage.”

The second year the whole performing area was surrounded with floor to ceiling white walls so finding positions seems to be a reccuring yet interesting problem. However as Ken owns the building, cutting holes wasn’t much of an argument, and Roderick started installing RGB LED fixtures wherever he could.

“I still only had the width between the beams (~420mm) and the height of the beam (~250mm),” he added. “Event Lighting provided a nice range of fixtures at reasonable prices, due to the drawn out rehearsal period the equipment was purchased rather than hired. The rig consists PAR12x12 RGBWAU (22), PAR5x8 RGBA Par (4), PAN2x1x30 (8), PAN4x1x30 (3), PAN8x1x30 (4), PIXBAR12x8 (4) and assorted bits & pieces like PAR16’s for the five musicians who played live every show and the crystal chandeliers as house lights.”

This latest production was run off an ETC Ion and Roderick added six RGBAL profiles for some gobos from ResolutionX. The piece de resistance was a revolving door which had four 2.4m x 1.2m engraved perspex panels. The panels were surrounded by 60LED/m NeoPixels taking up 450 channels per panel. As this revolving door was brought on stage in full view of the audience and then turned at varying speeds, everything was battery powered and Wireless DMX controlled.

The whole project is paid for by Ken Unsworth without any external financial assistance. There are no tickets available for sale, people are invited to see the show for free.