Lighting up the façades of Pacific Fair
Posted on Friday, February 17th, 2017
Pacific Fair, the iconic shopping centre positioned in the popular tourist area of Broadbeach in the heart of the Gold Coast, has recently undergone a major redevelopment and re-branding, resulting in a world-class shopping and lifestyle experience destination for both locals and the 12+ million visitors who choose the Gold Coast as their holiday destination each year.
With its prime location on the Gold Coast Highway and nestled between some of the most desired real estate on the coast, it was one of the main objectives of the redevelopment to make the retail precinct visually prominent from both land and air.
TDLD were engaged to design various elements of the lighting in the new look centre including upgrading the exterior lighting for the eastern façade which runs parallel to the busy Gold Coast highway, with the intent to bring the same high end modern make over delivered inside the mall to the outside.
High powered LED lighting was a natural choice for TDLD, its long life, high output and energy efficiency making it the perfect match for illuminating a 21st century facility. The aim was to use the existing lighting mounting infrastructure and replace the old metal halide floods with a more modern, suitable high-powered LED fixtures. The Anolis ArcSource 96 Integral RGBW LED floods were chosen as a suitable fixture for the project.
The Anolis ArcSource 96 Integral fixtures feature 96 high bright rebel LEDs, providing superior light output previously unavailable in the LED fixture of this size. The latest technology electronics ensure stable white balance is achieved while maintaining a minimum life expectancy in excess of 75,000 hours. Housed also in the compact IP67 rated aluminium body are the control electronics and integral power supply. Control is via DMX/RDM allowing for advanced programming options.
The new lighting system is operating as a cool crisp white colour across the entire eastern façade currently, with the possibility of running saturated full colour lighting schemes and dynamic fades for special events and functions occurring throughout the retail hub and Gold Coast Community. The system runs 7days a week and is integrated to operate seamlessly via the Venues Building management system.
Cleo Ultra Lounge
Posted on Wednesday, February 15th, 2017
Cleo Ultra Lounge, discreetly located in the Kings Cross area of Sydney, is a versatile and elegant venue that can be used as a cocktail bar, function lounge and night club. A luxurious venue, Cleo Ultra Lounge exudes an exclusive environment for prestigious clientele.
Full Throttle installed the lighting at Cleo, which was specified and supplied by Show Technology. With a low ceiling height and such an emphasis on aesthetics, a moving head light with a small profile and the ability to blend into its’ surroundings was required.
“We decided that the Martin RUSH MH8 Mini Profile was the ideal choice,” remarked Stephen Dallimore, Show Technology’s Business Development Manager. “Not only does its’ build suit the venue, it delivers some really eye-catching effects with its’ vibrant colours, gobos, strobe and dimming.”
The MH 8 Mini Profile uses the latest 18 W white LED technology that delivers super sharp optics with over 800 lumens via a 14° beam angle. High speed pan and tilt with separate colour and gobo wheels allow designers maximum flexibility from the lounge bar to the high-energy dance floor, and all within an affordable price bracket.
Show Technology also supplied LED downlights and LED tape, specifically around the bar area, adding accent lighting, creating a subtle, atmospheric vibe.
Control is by a Martin M-PC Lighting controller and computer which feeds through to an ELC AC612XUB lighting wall controller in the bar area, which is easily operated by the bar staff due to programmed presets.
ShowPro dreamPIX Spiral
Posted on Friday, February 3rd, 2017
ADDITIVE comprises of three well known lighting designers; Tom Wright, Paul Lim and Ben “Bosco” Shaw.
After years of working on productions and festivals around the world, these experienced professionals, and close friends, have joined forces to harness their collective industry experience and technical knowledge.
The marvel that is The Spiral resides in Robina shopping centre. Initially created as an alternative Christmas decoration, the chandelier has proved so effective and popular, the shopping centre has requested that it stays indefinitely
“The brief was very loose with a couple of chandelier images shown to us as an idea,” said Tom. “I presented five chandelier ideas, the fifth of which was the most complex to make and typically they chose that one!”
Fortunately ADDITIVE had the help of Michael Petrani of Diversity Rigging who turned Tom’s CAD drawing into a spiraling reality. At four and a half metres in length, this was no mean feat!
Tom has used several LED tube products in the past and knew they could be fiddly and temperamental so he was delighted to discover the ShowPro dreamPIX Tubes that were simply plug and play. The dreamPIX Tube enables awe-inspiring 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.
“Not only were they plug and play, they were in a price point that was completely attractive,” he said. “I could have paid less for some Chinese tubes that require a lot of extra effort to get to the same start point I would be out of the box with DreamPix. Alternatively, there are more expensive products out there, but they lack the elegant cabling and PSU of the DreamPix. With 150 LED tubes our elegant spiral could have been a cabling nightmare.”
With the dreamPIX, it is possible to use one cable for sixteen Tubes so Tom was able to have fifteen per PSU, with the ten PSU’s in a rack thirty metres away using a standard 4 pin cable. It really was plug and play!
“Plus The dreamPIX tubes are very bright, incredibly responsive and quick,” Tom reported. “The hanging bit on the top is fantastically versatile and allows several options. We were able to rig all our tubes quickly and efficiently, but we’re also keen to see what other configurations we could do in the future.”
Tom remarked that another advantage was that the PSU’s have ArtNet straight in and there is an Ethernet switch built in. This allows you to send one signal to a rack of PSU’s and daisy-chain them with small Ethernet cables. The PSU’s themselves are simple to use, set the IP address, tell it what universes to listen to and then, with one simple command, it assigns the DMX addresses to all the Tubes.
Whilst one rack is full of PSU’s, the other has two mini Mac computers; one running Bootcamp and MA onPC, the other the media server. At the moment the client only requires a white rainfall effect however ADDITIVE is hoping to increase The Spiral’s possibilities by making it an interactive sculpture where shoppers are able to change colour and effects via a touch panel.
Lightmoves at Euneva Avenue Carpark
Posted on Tuesday, January 24th, 2017
Having recently built a brand new multi-level car park in the heart of Glen Waverley’s shopping precinct, the City of Monash wanted to highlight this building and make it a feature within the area. What started as a call from the client wanting to temporarily light up one of their buildings in time for Christmas, developed into a permanent installation project with further stages planned for the rest of the facades.
Lightmoves had full creative control of the project and provided onsite ‘proof of concept’ tests and installations at each stage of the design process. 12 Space Cannon FIM 900 RGB fixtures were used to highlight the mid-section of the intricate brick work of the carpark, whilst 3 Elle 60 RGBW fixtures on either side were used to flood the two main pillars and also skim and highlight the brickwork allowing it to really stand out.
Pharos was the chosen control solution for the programming.. From its ease of use and programming to its scheduling capabilities it was the best control, dynamic programming and playback solution for this project. Power management and data distribution control for the fixtures was achieved using Philips Dynalite.
Multiple challenges were presented for the project, mainly due to the unusual brickwork design. The lighting had to be modified to fit in with the available space, whilst highlighting the intricate brickwork design and enhancing the structure’s overall aesthetic. As vandalism is a real possibility, special consideration had to be given to the design and installation process making sure fixtures couldn’t be accessed or damaged.
Due to their previous successful work with the City of Monash, Digisen Integration became the nominated electrical contractor and installer for this project. Lightmoves and Digisen worked closely to ensure the project was delivered to the clients’ requirements and within their very narrow time constraints.
ETA lighting Shields Street, Cairns QLD
Posted on Thursday, January 19th, 2017
Entertainment Technology Australia are very proud to announce their involvement as a major lighting and technical services supplier for the redevelopment of Shields Street in Cairns, Queensland.
When complete, the redevelopment will cover the entire city strip of Cairns centre, from the top of Shields Street to the Esplanade – approximately 1km. Stage 1 of 3 has now been completed and hosts 150m+ of local aboriginal art, native plants, projections and LED lighting.
The city centre is brought to life each evening with a theatrical lighting show lead by the SGM G-Spot. There are 14 G-Spots in the Stage 1 design, each hung atop 10m permanent rigging poles spread throughout the space. The moving LED spots are used to search the grounds projecting vivid colours across the street, people, trees and surrounding buildings. The gobo module has also been utilised by local Cairns artists, who have developed custom patterns for the G-Spot to project.
Considering the cyclone prone, extreme humidity, heat and rain common to the Cairns region, all of the lighting fixtures used in this project required a minimum IP65 weather rating. The SGM G-Spot is the only IP rated moving head light in the world, and what a perfect application to utilise it. The G-Spots will be exposed to the elements 24/7 without any protection from the bulky and disruptive ‘weather dome’ commonly used by other brands.
To ensure the success of this redevelopment, ETA provided technical lighting support and services alongside the design team from the very early stages of this project. ETA will continue to provide support to the installation team as the project develops.
ShowPro LED Fresnels at The Chapel
Posted on Friday, January 13th, 2017
Consisting of two theatres and a welcoming foyer, Chapel Off Chapel has hosted artists such as Coldplay, Foo Fighters and musicals such as Dreamgirls, Rent and Blood Brothers.
Simon Prentice, Technical Supervisor at Chapel Off Chapel, has been looking at replacing the venue’s aging 1k Fresnel’s with an LED option for quite some time.
“After testing out a few different brands including Selecon, Chauvet, and ShowPro, we all agreed that for the price, build quality, control and output, the ShowPro ticked all the boxes,” remarked Simon. “The added extra of the DMX zoom is really handy too.”
“During a recent dance season we used them as side lights and were able to create some great effects with live moving of the zoom,” said Simon. “This is something we would have used a mover to do in the past.”
The almost silent operation of the ShowPro LED Fresnel HP makes it ideal for venues hosting dance and theatre performances. Boasting an excellent colour temp of 3200K with a maximum light output of 8400lm, the light output is nice and flat yet the Fresnel has an electronic zoom of 18° – 60°.
“The integration of the ShowPro LED Fresnel’s into our mostly tungsten light rig has been seamless,” added Simon. “The ability to adjust white balance and dimming curve has been great. The lighting designers who have used them have also been really happy. Next year, when we replace the rest of our Fresnel stock we will look no further than the ShowPro LED Fresnel range.”
Photos: Phil Loughnan
Lightmoves at The Cube Wodonga
Posted on Friday, January 13th, 2017
Wodonga’s iconic public entertainment facility has been washed in colour and light. The council run venue used for concerts, theatre production, ballet and various other arts and culture events employed Lightmoves to transform the building’s façade with moving gobo projections.
One of the ultimate goals of the project was to be able to have the work of local artists adorn The Cube’s outer walls. The images and dynamic, adjustable, custom range of gobos needed to be capable of being projected from over thirty metres away and have a LED light source that could be controlled wirelessly.
Using three Martin MAC Quantum units were the first choice thanks to their ultra-bright 12, 0000 lumen output and variety of static and rotating gobos. This extremely bright LED profile fixture combines top-quality white light with a fast, smooth CMY colour mixing system and crisp gobo projection on surfaces as well as mid-air.
To protect the unit from the elements and to ensure continuous uninterrupted operation regardless of the weather, the Claypaky Igloo Easy Outdoor Enclosure was used to house the units; a tough, sturdy enclosure that offers complete protection against rain and humidity.
Wireless control came from the single universe Wireless Solutions F1 White Box, an IP65 DMX transceiver located inside of the roof in the Wodonga City Library. The transmitter would be located over 30 meters away inside The Cube itself.
For dynamic programming and control, a Pharos LPC 1 single universe DIN rail mount controller was provided due to its capabilities with timeline shows and astronomical time clock triggering. For push button access, the Philips Dynalite AntumbraDisplay was installed allowing the technical staff of The Cube to quickly access any of the pre-programed shows at any time.
Final commissioning and programming was carried out onsite by Lightmoves’ own service technicians and The Cube’s Technical Co-ordinator.
Solaspot Pro 2000’s Shine at The Joan
Posted on Monday, November 7th, 2016
The Joan Sutherland Performing Arts Centre in the Sydney suburb of Penrith is known affectionately by the locals as ‘The Joan’. Like the grand old dame herself, The Joan has fantastic stage presence, with a 580 seat concert hall, 378 seat theatre and a 90 seat studio. Like any flexible performance space, the concert hall at The Joan hosts everything from touring acts to local community groups, which means the technical staff have to get shows, and looks, up and running quickly.
Taking their place among the lighting rig’s static LED and traditional incandescent fixtures are The Joan’s four new SolaSpot Pro 2000 LED source moving head spots. With a 600W Bright White Engine kicking out 26,000 lumens, the 2000s also include frost, 5 to 45 degrees zoom range, linear and three-facet prisms, and more. “They’ve also got two animation wheels, two rotating gobo wheels, and great colour rendering,” said Geoff Turner, Technical and Production Coordinator at The Joan. “They’re feature-packed, really bright, and pack a lot of punch. We felt the SolaSpot Pro 2000s had more features than the Martin MAC Vipers.”
In addition to the CMY + CTO system that Geoff and other designers love, the SolaSpot Pro 2000 includes popular High End System features such as Active Thermal Control, their Lens Defog System, and Indigo Highlighter LEDs. It’s the brightest white LED spot fixture in the High End Systems range, with long-throw optics built to keep sharp focus through the entirety of its 8 to 45 degree zoom range, making it perfect for large scale shows.
Also needing a new lighting desk that’s nimble and easily navigable, the trusty crew at The Joan chose a High End Systems Full Boar 4, enhanced with a Hog Playback Wing 4. “We wanted a good busking desk for use with moving lights,” continued Geoff. “We have a lot of concerts where we don’t have much in the way of rehearsals – one-night wonders, dance performances, and schools. A lot of the time, we have to make it up as we go along, and we feel the Full Boar 4 really excels in those situations.”
The Full Boar 4 gives the lighting operators at The Joan fast access to everything parameter they need through two 15.6” 10 point multi-touch screens, 10 motorised faders plus master fader, 12 user keys and five encoder wheels. Adding a Hog Playback Wing 4 to the system gives them an extra 15.6” screen, ten more faders and an extra master fader – more than enough physical control to handle anything unexpected a show can throw at them.
The Hog’s Palettes feature, giving operators the ability to map multiple parameter changes onto a single ‘button’ on the touch screen, was another big selling point for the crew. “That was a big thing for us, realising what we can do with Palettes,” Geoff explained “Rather than relying exclusively on the faders, we can just hit a Palette. If you’ve set it up right, you have an unlimited amount of effects, moving head profiles, or gobo changes. It’s an easier and faster way to recall complex changes.”
All High End Systems products in Australia and New Zealand are proudly distributed and supported by Lexair Entertainment. “Lexair have been brilliant,” Geoff confirmed. “They’ve come to The Joan twice to run training for our staff on the Full Boar 4. Even when we first started looking at our options for a new desk, they bought units in to the venue and gave us a full run-down of all their capabilities. There’s a lot of different options on the market, and Lexair did a great job in showing us what the Hog platform can do. They really did a good job selling it, and that’s why we went that way.”
Martin RUSH for Scary Canary
Posted on Monday, November 7th, 2016
The Scary Canary is Sydney’s most popular destination for backpackers looking for a fun night out, and it usually doesn’t matter which day of the week it is. What drives so many to pick Scary Canary for their night out is the different themed nights including foam nights.
Any gear that gets installed into this venue has to be ready every night of the week and be able to take a bit of a thumping! No wonder the guys at TAVSA (Technical Audio Visual Systems Australia) decided to install Martin RUSH fixtures.
“We chose four RUSH MH5 profiles and four RUSH MH3 beams to compliment the system already in the venue,” said Alasdair Lockhart-Thomson from TAVSA. “We really like that they are low maintenance and have a low trim height so that they tuck up into the ceiling nicely. The power output from them, for their size, is quite impressive. The eight of them give us great coverage across the dancefloor, good effects against the mirror ball and also the rest of the room.”
Control is via a Martin LightJockey system.
MCEC grows with Clay Paky, Martin and ShowPro
Posted on Tuesday, October 11th, 2016
The lighting department at the Melbourne Convention and Exhibition Centre has boosted its stock with the recent acquisition of twelve Martin MAC Viper Profiles, twelve Clay Paky B-Eye K 10’s, four Clay Paky Alpha 700 HPE and sixty-four ShowPro LED Cyc RGBWA units.
These units were specifically chosen as a flexible production lighting solution for Plenary, both for corporate theatre sessions and entertainment concerts.
According to Michael Walker, the MCEC’s Infrastructure and Equipment Manager, customer demand was the primary driver behind the product selection.
“The popularity of the Clay Paky Alpha series purchased in 2012 has seen demand increase for a more powerful fixture, that was suitable for our 5,500 seat Plenary theatre,” commented Michael. “The HPE 700’s were an easy decision to expand on our existing fleet due to high demand in our special event spaces.
“The Clay Paky B-Eye K 10 satisfied our needs for a simple wash light, with the added benefit of beam effects and pixel mapping. We like their brightness (particularly in such a small fixture), zoom capability and effects.”
Michael remarked that the MAC Viper was selected because it was small and powerful enough to be effective from their Front of House bridges, as well as rigged around Plenary. It is also readily available for hire when they need to supplement our in-house inventory. He says that their brightness, great gobo selection, and easy to change gobos for their customers’ customised gobos, make them popular with the crew.
The ShowPro LED Cycs were purchased as part of MCEC’s continual commitment to reduce their environmental impact, while improving their quality of production.
“All of the new fixtures are performing reliably and are proving to be a popular choice amongst our customers,” said Michael. “They are quick, easy to transport and setup, and the macro modes provide spectacular looks in a quick turnover environment with minimum pre-programming time. To date, we’ve experienced perfect reliability from the units, and they are exceeding our expectations in the performance space. Due to the high turnover of events within MCEC, maintenance time is at a premium, so reliability is key for us.”
“They provided a friendly and personalized service, and demonstrated a commitment to understanding our customer and business needs,” he said.
Martin Rig for Newcastle Exhibition and Convention Centre
Posted on Thursday, September 15th, 2016
In another sign of urban renewal for Newcastle’s CBD, The Wests Group have opened the inner city’s largest exhibition and conference facility entitled NEX (Newcastle Exhibition and Convention Centre).
After the purchase of Newcastle Panther’s in mid-2015, The Wests Group has transformed the venue, relaunching the lower level as Wests City and the upper space as NEX.
The good people at Scion Audio were tasked to fit out the venue and having always preferred Martin lighting products, they turned to Show Technology for advice.
“We’ve always used Martin products as we know their reliability,” commented Louise Tillman of Scion. “I have MAC250’s that I’ve had for twenty years and I still send them out knowing they’ll work every time and do the job. The other factor is the incredible service we have always received from Show Technology. Our relationship goes back to when the company started 22 years ago!”
Consequently the venue is equipped with four MAC Quantum Profile, twenty-four RUSH MH6 Washes, eight RUSH MH1 Profiles and a Robert Juliat Roxy follow spot, all controlled by a Martin M1 console.
“The main requirement in the brief given to us was to use LED fixtures and as it’s a large stage, we turned to the MAC Quantum Profiles as they have a great output,” added Louise. “In fact the output is very bright and crisp, plus the Animotion FX is really cool.”
Martin RUSH fixtures were added due to their versatility and cost-effectiveness without compromising on quality.
“The RUSH MH 6 Wash offers full colour wash and tight beam effects with the quality and affordability you’d expect,” said Louise. “The colours of the fixture are excellent. I really like the gobo selection with the RUSH MH1 and again, the output of the RUSH MH1 is amazing. They’re also quiet and relatively quick.”
The M1 console was chosen for its small footprint and abundance of playbacks on the control surface. The standard 10 cuelist faders and the 12 playback faders make it easy to control any show – plus it can control video too.
“It’s an easy console for our guys to operate,” Louise said. “They like the layout of the console and the ability to easily grab things on the fly.”
Keeping with the idea of an all LED venue, the new Robert Juliat Roxie LED followspot was installed. With its ultra-compact dimension and low power consumption, Roxie is ideal for this type of venue.
Kurilpa Bridge Shines Under a New Light
Posted on Thursday, September 8th, 2016
Providing a pedestrian and cycle crossing over the Brisbane River in Brisbane, Australia, Kurilpa Bridge connects Brisbane’s Central Business District with the city’s South Bank and its major cultural precinct. As the world’s largest structure based upon a ground breaking system of balanced compressive and tensile forces named “tensegrity”, Kurilpa Bridge is a 470m long multi-mast, cable-stay bridge with a 120m main span. The tensegrity principle was required and successfully implemented in order to minimize the deck thickness and ramp length, while creating a strong but agile structure.
While the geometry of the bridge is informal, the cables (in tension) and tubes (in compression) have been arranged with a structural rhythm, in order to deliver the strength and resilience required to carry thousands of pedestrians and cyclists. Kurilpa Bridge not only provides a new connection across Brisbane’s river but also forms a new public space. Namely, it features two large viewing and relaxation platforms, two rest areas and a continuous all-weather canopy, which has become a symbol for art, science, technology, and healthy living. Its structural elements seem to be floating in the air delivering to the bridge a completely new identity and a unique appearance. Its innovative architectural style and advanced technology have deeply transformed Brisbane’s image to that of a city rich in walking and cycling opportunities.
Completed in 2009, Kurilpa bridge has recently had its lighting system upgraded with a new GRIVEN LED lighting system specified by Cameron Gunning of Vision & Sound Technology (VAST), working close to Griven’s exclusive distributor in Australia, the ULA Group. The project was initialized and managed by Adam Axten from electrical contractors Stowe Australia.
Cameron Gunning Comments: ”Griven manufacture an excellent product that is very robust and reliable. The LED sources are extremely high quality with consistent colour matching across luminaires. Both fixtures offer very accurate optics and powerful output in a really compact housing. The slim line design of the Emerald and small footprint of the Ruby fixtures provides an unobtrusive addition to the bridge structure.”
At night, the bridge is lit up by a sophisticated LED lighting system, which can be programmed to produce an array of different lighting effects. Depending on the different lighting configurations, 75%-100% of the power required is provided by solar energy. Solar panels are mounted directly on top of the bridge, generating a daily output of 100KWh.
32 units of JADE 16 in RGBW colour configuration with narrow optics have been installed in carefully selected points of the bridge in order to enlighten its structure, made of huge metal tubes, up to the top. Moreover, 10 EMERALD RGBW with narrow optics have been mounted on the external cornices of the bridge to deliver a splash of coloured light to the whole structure. In order to avoid any unpleasant glaring effect to pedestrian and cyclists and to better direct the light beams, these fixtures have also been equipped with specially developed anti-glare shields.
JADE 16 RGBW is a newly engineered rounded spotlight, which houses sixteen high power RGBW LEDs, as well as in-built electronics and power supply unit. Providing a vibrant and brilliant colour palette from such a compact chassis, JADE 16 RGBW features functional efficiency whereas spectacularly dynamic lighting performance is assured by digital control of all functions, either onboard for standalone operation, with Master-Slave selectable for multiple unit synchronization, or from external DMX512 controller. The wide choice of selectable optics groups, ranging from narrow aperture beams to elliptical wide distribution, and the aiming orientation adjustment further enhance JADE 16 RGBW maximum flexibility for any surface mount application purpose. JADE 16 RGBW Polar Edition features an integrated de-icing system with electrically heated glass, which assures a comfortable functioning even in the utmost severe cold weather conditions.
Benefiting from state of the art electronic colour mixing, EMERALD RGBW features 60 premium quality high RGBW power LEDs, coupled with a variety of high build and design optics groups for the utmost optical efficiency, balanced projection and photometric flexibility. The combination of RGBW LEDs offers an unprecedented astonishing white light output quality, as well as a wider variety of intermediate colour hues for an even broader range of application purposes. Such a remarkable performance is enhanced by the capacitive touchscreen display that allows for a direct access to all on-board functions.
Over 3000 Anolis Arc Dots for Elizabeth Quay
Posted on Tuesday, August 30th, 2016
Over 3000 Anolis Arc Dot LED fixtures have been utilised in an eye-catching light sculpture “The Artists Edge” created by artist Stuart Green for the new landmark Elizabeth Quay development that reconnects the Swan River with the city of Perth, Western Australia, creating a brand new entertainment and leisure precinct.
The design specification and realisation of the work – which traces the outline of the actual water around the centre of the new Quay area – was undertaken and co-ordinated by David Sparrow of Perth based architectural and creative lighting specialist, Light Application.
Stuart Green has a penchant for imagining spectacular, bold and interesting public art works, many of them involving light, and The Artist’s Edge is a border of animated light around this inlet, invoking over a kilometre of double-sided acrylic track. Inside which the ArcDots – a Cree MC-E RGBW multichip based high powered multi-coloured LED pixel fixture – are mounted.
The work was commissioned by the Metropolitan Redevelopment Authority (MRA), a government entity charged with redeveloping major sections of the city, who also asked Light Application on-board to specify and deliver lighting for the entire area. This also currently includes 9 separate building sites which when completed will include new Westin and Ritz Carlton Hotels, offices and retail outlets.
The idea of using fully addressable light-sources for this element of the lighting scheme was originated jointly by David, Stuart and project architects ARM. All agreed that it would be a perfect solution to be able to feed the source with video content that would produce beautifully organic effects.
It also enables guest artists to produce content and clips that can be featured and the installation can be coloured for special events like breast cancer awareness and festive occasions like Christmas, St Patrick’s Day, etc.
From there, David specified the Anolis ArcDots.
It was the first time he had used this particular product, but having used Anolis in his work for about 12 years, he was fully confident that the product met all the criteria of reliability and quality engineering, and knew that he would receive excellent back up and support from Anolis’ Australian distributor, The ULA Group.
Another primary reason to go with Anolis was brightness. It needed to be visible from afar and especially from the magnificent view of downtown and Elizabeth Quay from Kings Park on the mount opposite.
The ArcDots are fixed to a plate under both edges of the double-sided acrylic cover of the tubes which snake all around the space, and the two sides are independently controlled for additional dynamics.
The ArcDot power supplies are in eight different locations spread around the Quay all linked via a fibre network back to the e:Cue Light Engine controller which is integrated to the site wide system lighting controller, allowing The Artist’s Edge to change colour together with lighting on the trees, foliage, bridge, walkways, street lights and elsewhere. There are currently over 4000 sources in the complete lighting scheme.
The Artist’s Edge switches on at 7 minutes after sunset and runs – slowing down a bit at midnight – until 5 a.m. An anemometer is also linked into the control, triggering different shows created by the artist, which are played to match or contrast the weather based on wind speed and wave activity.
The Artist’s Edge leads these site-wide colour changing effects in all the other fixtures and David believes the overall scheme is the largest single intelligent lighting system installation in Western Australia to date.
Cuono Biviano, Managing Director of ULA Group comments: “We are extremely proud of being involved in this major redevelopment in Perth. As someone who has had a long history and passion for Perth, it has been a real honor to have our technology as the key visual center piece to Elizabeth Quay, the new prominent landmark of the city”.
“Working together with our long term trusted partner David and his team at Light Application is always a pleasure,” says Con. “Their ability of implementing the latest visual technologies into modern city structures is commendable. The Anolis ArcDots are the perfect fit for this project, offering total flexibility to create visual art and atmosphere to bring life to architecture and open space”.
The public reaction has been really positive – people love the Artist’s Edge and it also serves as a beacon to attract people to the area in which the first retail outlets, restaurants and bars are already open and trading.
“I’m delighted with the ArcDots,” says David, “They are extremely bright, rich in colour and evenly spread for a really smooth effect. The amount of intelligent control in this project has opened up new and exciting possibilities for multi-level lighting control here in Perth and elsewhere,” he concludes.
CHAUVET DJ Intimidators add zest to Spice Market
Posted on Wednesday, August 24th, 2016
In the heart of the central business district of Australia’s second largest city lies the popular Spice Market bar, ultra lounge, and nightclub. Offering an eclectic programme of DJs, live performances, and award-winning food against a stunning backdrop of Indo-Asian design, the chic nightspot draws a diverse cross section of people. Recently, in hopes of continuing their longstanding success, owners Geremy and Dean Lucas decided to update and renovate their unique establishment, whilst adding a new dynamic visual spice. Designer Sohail e. Najafi of Najafi Design Group, helped them accomplish this goal with a new comprehensive theatrical and effect lighting system that featured approximately 30,000 pixel-mapped LEDs and DMX-controlled flying automation, all supported by CHAUVET DJ Intimidator Spot LED 350 moving fixtures.
Najafi was initially faced with a couple of significant challenges when asked to enhance the exotic and theatrical environment of the club. “Given the varied programme of the venue, which transitions from an after work bar to posh ultra lounge and finally to a high energy dance club, I required a versatile fixture that was small, economical, and feature-rich. At only 15 inches tall, the Chauvet Intimidator Spot LED 350 worked masterfully,” commented Najafi.
Thanks to the impressive array of features included within the Spot 350’s arsenal, Najafi and his team were able to use the fixture to fulfill several roles. “The solid gobo selection is a great feature for creating beautiful washes of texture during early evening bar and lounge hours,” said Najafi. “Combined with the rotating three-facet prism, which features good overlap orientation, smooth gobo rotation, and a good assortment of colours, the same rig allowed for a whole manner of different looks and dynamic effects during the later nightclub hours. Also very useful was the impressive speed of the fixture and the commendable light output from the frugal 75W LED engine.”
Given the fact that the club often features live performances, Najafi also needed a fixture capable of properly key lighting talent. “The great light output, even field, and pleasant native colour temperature of the LED engine allowed me to successfully provide key light for several performance areas littered around the venue. As seen in the accompanying shots, we were able to create true theatrical stage looks in the middle of the action within the club, allowing our client’s guests to feel incredibly connected to the performances,” Najafi said. “As such, I was very pleasantly surprised at what I was able to accomplish with this plucky little fixture.”
Another of Najafi’s key considerations of the install regarded the relatively low ceiling height of the club itself. “As is the case in many intimate venues housed within larger properties — Spice Market is located within the Grand Hyatt Hotel — height is invariably a key problem when installing comprehensive lighting systems,” continued Najafi. “Thankfully, the compact 15-inch height of the Intimidator 350 fit very nicely hidden among the ceiling beams of the venue. Subsequently I was able to discreetly place each fixture so that they would not litter the beautiful architecture of the venue.”
Thanks to the Intimidator’s varied abilities as a compact atmosphere-shaping moving light, Najafi succeeded in giving Spice Market an extra dynamic twist to its nightly programme. “For the size of the fixture, the output, gobo and colour selection, speed and value are fantastic,” concluded Najafi. “The Intimidator truly exceeded all my expectations.”
Hog 4 for Revesby Workers’ Club’s Whitlam Theatre
Posted on Tuesday, August 16th, 2016
The Revesby Workers’ Club in south-west Sydney is a regular stop for premiere touring acts. Its concert venue, the Whitlam Theatre, seats 750 in ‘dinner mode’ and 1400 in theatre mode. The theatre is known for its big PA and excellent audio facilities, but, until recently, its lighting systems were struggling to keep up with the demands of modern touring acts. Happily, Revesby has changed all that with the purchase of High End System’s flagship Hog 4 console plus a Playback Wing 4, bringing their venue back in line with the best in Australia.
The Hog 4 replaces a lighting desk known and loved by an entire generation of lighting operators – a JandsHog 600, first released in 1996! Obviously way past its use-by-date, the JandsHog 600 will still be missed. “It uses floppy discs,” points out Phill Webb, Revesby’s Audio Visual Coordinator, “and obviously that’s not supported anymore! As you can see, it’s not often we get the chance to upgrade, so when we do, we invest in the best we can get. That’s why we went for the Hog 4. From our perspective, it was not only important that our regular operators like the platform, but also that we had something rider-friendly.”
Scott Masters, Customer Service Manager at consultants and integrators Saltec has worked closely with Revesby over the last few years to keep their facilities current for touring acts. “We’ve been doing some work in the auditorium to get them up to speed,” reports Scott. “The club is very serious about providing first-class services to their customers and the room was at risk of failing to meet this commitment. We started with a few infrastructure upgrades, a little lighting system work, some projection improvements, and then converting their audio to digital. With all the new LED lighting fixtures in use, they needed to look at the standard for touring acts. We went down the Hog path, because most of the touring artists coming through are set up for Hog.”
It’s not just industry acceptance that drove the decision. “Our other argument for getting a new console is that the venue has 120 channels of dimmers and not one LED fixture,” explains Phill Webb. “We’ve got great dimming infrastructure but poor DMX infrastructure, so that’s got to be our next step. We talked to the financial staff at the club and told them we could save a lot of money by getting rid of the traditional fixtures and installing LEDs, explaining that by doing so, the fixtures use a lot less power and we’d be running the air conditioning a lot less. They liked that idea!”
With its two massive touchscreens, extensive channels and universes, pixel mapping capabilities and vast capacities for physical expansion via USB and Ethernet, the Hog 4 has future-proofed the Revesby Workers’ Club. The addition of the Payback Wing 4 expands the number of motorised faders in the system to twenty plus two masters, and adds another 15.6 inch touchscreen. “A lot of our shows involve busking,” continued Phill. “We like more faders, and tend to throw everything to a fader and run the show that way.”
Australian High End Systems distributor Lexair Entertainment are key to Revesby and Saltec’s peace-of-mind. “Lexair have been really helpful,” relates Scott Masters. “They’ve done everything they could possibly do to support this sale. They’re always there when we need to ask technical questions or need to follow-up on bits and pieces. I would recommend Lexair for anyone looking to purchase.”
Clay Paky A.leda B-EYE K10’s travel to Northwest
Posted on Tuesday, July 26th, 2016
The B-EYE K10 is a highly versatile light with three operating modes: wash, beam and effects. Its zoom ranges from 4° to 60° and is therefore suitable both for spaces with low ceilings where large angles are extremely useful and for larger environments or arena shows. The fixture’s front lens can also be rotated to create countless vortex effects, for aerial or ‘kaleidoscopic’ projection use.
“We use our A.leda B-EYE K10’s for a variety of events and looks, as they are so multifunctional” said Matt Morrisey, head of production at the church. “They are a powerful washlight, with a nice narrow spot beam, if turned to wide zoom, it is perfect to create massive blinding effects. The shape function gave additional effects to the stage in combination with the rotation lens system.
“Sometimes we use them to add ambient light in the auditorium; most auditoriums have those dark little spots people can find themselves in and so we use them to throw ambient light against the wall.”
Matt reports that the ShowPro HEX18 LED PARs have been really good and are their ‘skeleton’ light, pretty much always on to deliver a solid base of light.
The Star shines bright with Clay Paky SuperSharpys
Posted on Monday, July 11th, 2016
Every year for the past seven years, Sydney’s streets and skyline have come alight with the beautiful, inspiring, interactive festival that is Vivid Sydney. The lights and installations of Vivid Sydney illuminate some of Sydney’s most iconic landmarks, including the Sydney Opera House, Customs House, Maritime Museum and The Star casino.
In fact during Vivid Sydney 2016 The Star never shone so bright.
For Vivid Sydney 2015, The Star temporarily installed forty-four Clay Paky Sharpys and ten Mythos fixtures onto their roof as part of an installation entitled Mission Control. The resulting light display was so stunning and popular, the venue realized there was potential beyond Vivid Sydney.
To celebrate VIVID 2016 a total of thirty-six Clay Paky Supersharpys were chosen for their enhanced optical design. Famous for its powerful beam, the Supersharpy produces clearly defined mid-air effects even at long distances. The Supersharpy’s beam angle may be reduced to almost zero degrees by means of a perforated grid which provides a perfectly parallel beam, similar to a laser beam.
“We chose Clay Paky due to past positive experiences with the brand,” commented Bruce Dwyer, Head of Lighting at The Star. “We did look at using Mythos but decided we would be paying for a lot of amazing features that we just wouldn’t use in this application.”
To protect the Supersharpys from Sydney’s temperamental weather, each fixture is housed within a Clay Paky Igloo, a tough, sturdy enclosure that offers complete protection against rain and humidity, and maintains a perfect working temperature (between 0°C and 35°C) for fixtures even in hot or sub-zero conditions.
Thirty-six IP-rated ShowPro LED Flood EX36 are positioned between the Supersharpys for colour wash, thus adding another dimension to the design. Bruce commented that they actually looked at many other IP-rated wash lights but the EX36 really did work for what they needed at the correct price point.
The 2015 display was interactive so that the public were in control, happily bashing a touch screen which resulted in some fairly erratic beam movement. During Vivid Sydney 2016, the lights are tightly programmed and choreographed with little fast paced movement. Beam angles are carefully controlled so as not to hit apartment blocks, the Harbour Bridge or possibly interfere with air traffic.
Show Technology supplied a full turnkey solution for this project, with Technical Manager Mike Gearin working closely with Bruce Dwyer to put the system together.
“Essentially its thirty-six lights managed from two MA onPC computers, main and backup, with MA 4port nodes,” commented Mike Gearin. “The PC’s were custom made by James Moore at Show Technology. We’ve designed it so that you can program a show from down on the pier where it’s easiest to see the full effect of the lighting. The entire show is run from Agenda on the MA with Time Code taking over every hour; we spent a lot of time changing Agenda to be different every day so it’s not the same show triggered at 8pm every night.”
RDM has been utilized so every fixture is performing two-way communication back to the computer. Every day the software exports a performance report telling if there is an error in any of the fixtures. The Igloos are not just domes with extraction fans, if the fixture overheats or the unit stops air intake or outtake, the fixture won’t start. Supersharpys also have inbuilt safety system so if it loses data, or is on and stops panning, the fixture just fades out. If the Igloo loses power or data, the fixture returns home and lamps off.
PCC Event Services supplied a wireless networking link that allows a MA Gigabit link 400 metres away down at the pier. The project sees the inaugural use of air fibre for lighting networking in Australia: two point to point networking 24 GHz at 1GB a second, 400 metres away.
“It’s amazing, we are getting 1GB per second 400m away in an area that is jammed packed full of Wifi,” remarked Mike Gearin. “It’s super easy to configure the system and now its just plug and play. We roll out the grandMA light for programming and we have an MA session running in seconds with fast connection speeds and no latency. We have one air fibre mounted on the top of The Star permanently and one that we mount on a speaker stand on the wharf. We line it up with the line up tool on a laptop and we are away!”
Infrastructure included custom made power distribution from Indu-Electric in Germany, designed to fit the requirements of the project. Essentially, it’s a 12 channel Socapex IP55 Rated Distro with extra 16amp CeeForm auxiliary outputs for Igloos, fans, software which means they can be left on. The entire system is cabled with 16AMP IP65 CeeForm connectors so its water tight and all data connections are in Junction Boxes rather than XLR to keep it water tight.
“Mike Gearin has been shoulder to shoulder with us from concept proposal all the way to completion,” he added. “He has been a shining example of Show Technology’s ‘can do’ attitude. Our proposal had an extremely short lead time and a very tight time table. The support we received from Show Technology ranged from sourcing equipment, designing power and data systems to installing the gear side by side with our own technicians. Time tables were adjusted almost daily due to all manner of obstacles yet Mike and Show Technology just rolled with the waves and kept the ball steadily on course to the goal. Nothing has been a problem. The ongoing response we have received to technical queries post the install, has again has been immediate and succinct.
“In summation, Mike Gearin and Show Technology have been an invaluable partner across the whole project and we are very grateful for their involvement.”
The Star now has such a remarkable and reliable infrastructure, they have incredible scope for future projects and installations that will assist them in their vision of becoming Australia’s best integrated resort.
Client: The Star
Project Manager: Bruce Dwyer
Technical Manager: Mike Gearin
Programmer and Creative: Benjamin Ronczka
NIDA adds Robe Fixtures for Foyer Installation
Posted on Friday, July 1st, 2016
To light the foyer at the National Institute of Dramatic Art (NIDA), based near Sydney, Adrian Wight and Marcus Kelson from the institute’s lighting department augmented the existing Anolis architectural lighting fixtures used for the space with 16 Robe DLX Spots. NIDA’s assistant technical manager Bryte Cameron credited the Robe fixtures for energy efficiency, low maintenance and their ability to highlight specific areas and elements of any exhibition or artwork.
The National Institute of Dramatic Art (NIDA) is based in the Sydney suburb of Kensington adjacent to the University of South Wales (Australia) and is a high profile self-accrediting training institute for students of the performing arts. It has a great reputation and an interesting alumnae of talent who have made their names in the worlds of theatre, stage, film and TV.
Five years ago, the foyer – a huge, airy glass-fronted space that’s also used for art and other exhibitions, public displays and meetings – was architecturally lit with an Anolis ArcSource 48 MC LED installation, supplied via the ULA Group, Robe and Anolis distributor for Australia. This transformed the atmosphere and increased the flexibility of the space.
It was followed by an investment in 16 x Robe DLX Spots, a bright LED spot luminaire that outputs similar to a 1200W discharge light-source, but with an eco-friendly power consumption of 250 Watts!
These – specified by Adrian Wight and Marcus Kelson from the lighting department after careful consideration – are also installed in the foyer on a truss for full flexibility, and have further dramatically increased the functionality of the space. All areas in the environment can be fully used as it’s possible to light them meaningfully.
Energy efficiency was a key to choosing these fixtures explained NIDA’s assistant technical manager Bryte Cameron. So was the low maintenance and low on-going running costs of quality engineered LED products.
“The DLXs have really opened up the space,” says Bryte. “They are perfect for highlighting specific areas and elements of any exhibition or artwork. It has also made the foyer more attractive and accessible and a commercial and event space which can be hired out.”
Bryte comments on the good working relationship that has developed between NIDA and Robe’s Australian distributor, the ULA Group.
NIDA has five principal venues of which the Parade is the largest with a capacity of 706, and the smallest is the Studio with 96 seats. They run both graduate and undergraduate courses which encompass a wide range of topics from prop making to cultural leadership including a Bachelor of Fine Arts in Technical Theatre and Stage Management.
In addition to the success of its acting students, many of those graduating from NIDA’s technical courses have also been high achievers and respected practitioners in the Australian and international production industry.
Lighting control upgrade brings flexibility and reliability to Brisbane Powerhouse
Posted on Monday, June 27th, 2016
In August last year the Brisbane Powerhouse upgraded their lighting data distribution system with the installation of a Cat-6 network with Pathport nodes and Pathport manager software. Nine Pathport C-series nodes were installed around the venue where they convert lighting data that has been distributed over the Cat-6 network to DMX.
Previously the venue had two cabled universes of DMX and if they were required to expand beyond that, extra cables and infrastructure had to be installed which very time was consuming.
“We looked at a few options but the Pathport hardware allowed us to easily output any combination of two universes at any node, for example Universe 1 and 2 on node A and Universe 8 and 15 on node B and so on,” explained Simon Cook, Head of Lighting at the Brisbane Powerhouse. “You can use Pathport manager to configure everything to suit the particulars of your show.”
Due to the Cat-6 network that Pathport runs over, it is simple to scale your system up with additional nodes as required making it very flexible.
“We also have a Pathport Quattro which we can use anywhere we require additional universes, added Simon. “It’s great if you need to build a pixel mapped LED wall on stage or something similar.”
“We can go from two universe shows to sixteen universe shows with multiple protocols very easily,” commented Simon. “What’s also great is that any node can be an input or an output. Before we installed Pathport nodes, if you wanted to run the lighting console side of stage you had to run DMX cables back to the control booth. Now we can just plug a network cable in if we require more than two universes or make a node an input rather than an output if that suits, using the system management.”
The new system was invaluable when the Brisbane Powerhouse recently hosted the Australian Performing Arts Market where artists and producers presented excerpts of their shows. Several theatre companies brought their own lighting consoles, which would usually require DMX input merging or cabling swaps between shows, but thanks to the Pathport system this was not a problem.
“We could have multiple inputs into the system at the same time and with a little pre-planning have no worries about playback clashing or anything like that” remarked Simon. “You could leave your house console plugged in, they could patch their consoles in and playback their shows really easily.”
Simon commented that since its installation the Pathport system has been completely reliable.
“When a touring console comes in we change the IP address on the console and everything talks – it’s that simple. In addition, when the show bumps out we can re-load our standard input/output configuration from the control booth with no need to visit each node and reconfigure individually.”
Robe learns lessons at Academy
Posted on Tuesday, June 21st, 2016
Academy, Canberra is the city’s leading nightclub destination, ensconced in a subterranean shell below the Canberra Centre retail experience, its lively programme of commercial house and EDM is a big hit with both locals and the student population from two major university campuses.
As the 600 capacity venue has been a big success for its independent owners, they have always been keen to keep the production values high, and around four years ago a technical upgrade involved the installation of Robe moving lights for the first time.
This was undertaken by rental and production specialist, Elite Sound & Lighting. The arrangement was based around supplying a flexible quota of kit which could be adapted and moved around the space to accommodate different club nights and the requirements of the Friday night live performances.
More recently, the lighting rig was refreshed again to keep moving-and-grooving with the times, and this time Elite supplied Robe LEDWash 600s and DLS LED profiles.
It was originally a movie cinema – what is now the VIP bar used to be the cinema’s tiered seating – so the large void behind what was once the screen had new columns of LED screen panels added together with other lights and some LED effects panels over the main dancefloor.
The LED sources have been also pixel mapped so video clips can be played through all of them if desired.
Lighting and visuals are operated by Atley Jones using a ChamSys control system and he also co-ordinates all the technical production elements for the venue.
He had used Robe a few times before working at Academy, but since then has really had the opportunity to get the know the fixtures and the brand, which he’s found “Extremely reliable” … especially considering the lights are worked extremely hard for the three nights a week that the club is open!
He particularly likes the Robe DLSs which, apart from helping to create stunning looks that really enhance the atmosphere in the room, have also helped towards the overall power saving together with the LEDWash 600s.
Academy’s lighting installation will again be transformed in the coming months, with Elite intending to install Robe’s brand new Spikie and Linee products, both also LED based and launched at Prolight+Sound, Frankfurt last month.
“The agreement with Academy means we can consistently showcase new and exciting products which ensures that the environment stays visually dynamic in a highly competitive marketplace,” says Elite’s MD Darren Russell, “This is especially important for regular guests, and it keeps Academy right up with the latest technologies”.
Photo Credit: Louise Stickland
NW Group Positively Hog Wellington Venues
Posted on Thursday, June 9th, 2016
NW Group, the trans-Tasman live production specialists with offices across Australia and New Zealand, have won a ten-year contract as full-service technical providers to PWV (Positively Wellington Venues), a business unit of the Wellington City Council that manages seven major venues.
“We’re providing, lighting, AV, sound, crewing, production management, IT support, and rigging,” said Paul O’Brien, Technical Operations Director and Head of Lighting for NW Group in Wellington. “We’re setting up a new office in the city. For the NW Group this is a start-up venture. We’re building a new team to service the contract. As head of lighting, I’m also overseeing all the new lighting installations.”
The venues now under NW Group’s technical management include two proscenium arch theatres (The St James Theatre and The Opera House), a concert hall (The Michael Fowler Centre), a combined arena, auditorium and convention centre (The TSB Bank Arena & Convention Centre) and the Wellington Town Hall. Tasked with fitting-out such a diverse range of venues, Paul and the team have turned to the High End Systems Hog family for the ultimate in flexibility and power.
“It was natural fit for us to go the Hog route,” explained Paul. “It’s our standard lighting control format. I’m very happy with the arsenal provided by High End Systems, and it represents an upgrade compared to equipment installed in the PWV venues previously. For us, it’s about giving the lighting department more focus on programming than rigging, and give the operators more time behind the consoles to be more creative. We also appreciate the flexibility of being able to network consoles. That’s why we’ve chosen to invest in four Hog 4 and four Road Hog 4 consoles, which we’ll deploy across the theatres, stadium and concert hall.”
With the theatres and halls hosting a mix of concert, corporate and theatrical events, the flexibility of the consoles is key. “It’s the Hog’s ability to crossover applications that really works for us,” Paul continued. “You can sit down and dial up a simple orchestral wash without having to be a brain surgeon, but if, on the next day, you have a touring rock show with 100 moving heads, you can use the same console. We also have crew with varying levels of lighting experience. Those who are still learning are still pretty comfortable. For those that see themselves as programmers, there’s a huge amount of depth and capability.”
For the smaller breakout rooms across venues, NW Group have chosen the compact yet powerful HedgeHog 4. “We’ve already got three units, looking to go up to eight,” Paul expanded, “and I’ve been thrashing them! It’s a really useful little corporate lighting package. One of our focuses for this project is energy efficiency. We have a mandate from the city council to be 100% energy efficient by year five of the contract. I’ve been looking at embedding moving head LED fixtures into the corporate spaces. Having a console like the HedgeHog 4 to go into those smaller spaces is a no-brainier.”
All of NW Group’s Hog investments are backed up by Australia/New Zealand High End Systems distributor Lexair Entertainment. “Lexair are surprising,” observed Paul “They’re the team you can phone on the weekend. They’re on the phone and making things happen. It comes down to personnel, and the camaraderie you get you from people who understand the situation you’re in.”
Hamer Hall chooses Robe
Posted on Tuesday, May 24th, 2016
Hamer Hall is a premium concert hall venue, home to the Melbourne Symphony Orchestra (MSO) and one of the five main performance spaces at Arts Centre Melbourne, Australia, of which it is the largest indoor space with a seated capacity of 2464. It features a diverse variation of live entertainment, staging over 300 shows a year featuring local, national and international artists encompassing a multiplicity of genres and styles including pop, rock, jazz, classical, chamber, world, multi-cultural – classic and contemporary.
Built in 1982, Hamer Hall was fully refurbished in 2013 which included a full technical upgrade and updating of the lighting rig, a project specified and overseen in part by Bernie Manchee, head of lighting. The whole rig was automated for the first time as they purchased 22 X Robe MMX spots and 10 LEDWash 600s among other fixtures.
These were the first moving lights to be installed across the Arts Centre Melbourne complex. The Robes were delivered by Australian distributor, the ULA Group, and helped replace a large rig of conventionals and 5Ks … with a considerably greener and more cost efficient solution.
Robe’s news team recently visited to get an update about what a difference it had made having the Robes in the house!
Bernie and his team chose the Robe fixtures after following a tender process and undertaking a fixture shoot-out. Due to the variety of the performance schedule – from orchestra to rock ‘n’ roll – flexibility was at the essence of the decision explains Bernie.
The lights are installed and programmed to provide additional support to a standard orchestral white light ‘shell’ for MSO rehearsals and performances plus those by guest orchestras, or they can be used for other artists as a full show and effects rig.
Supervisor Matt King and lighting specialist Trent Barclay undertake around 70% of the lighting design work for the shows staged there, with the other 30% bringing their own creatives. Some artists and companies will also bring their own complete lighting rig, and another variation is a specials package carried on the tour which is combined with the house ‘top’ rig.
“The Robes are very punchy and efficient, they do everything we ask of them and having them available has also substantially increased the show turnaround times”. Often with two or three shows a day and a split shift of two working crews, this can make a serious difference!
They opted to have the wireless cards fitted into the LEDWash 600s , which are also frequently used as a ‘house’ floor package – it can be extremely quickly deployed which can add dynamics to any show.
The fixtures have also been extremely reliable.
Bernie had used Robe products before the Hamer Hall purchase and had also seen them in action and appearing more frequently with visiting productions. He also cites their excellent relationship with ULA Group which ensures that they are always kept up to speed with new and emerging technologies.
Canberra Theatre Centre Invests in Robe
Posted on Monday, May 9th, 2016
Canberra Theatre Centre (CTC) is a lively and proactive arts and cultural hub at Australia’s capital city / territory, comprising three main venues – the 1244 seater Canberra Theatre, The Playhouse which holds 614 people and The Studio, a black box space with 100 capacity.
Around 150 shows covering a wide array of performance genres are staged annually, an eclectic mix ranging from rock ‘n’ roll to choral music, shows to drama, musicals, stand-up comedy and dance – a massive cross section involving a host of one-nighters to much longer runs of 2 or 3 weeks.
Last year, the CTC invested in its first moving lights …which were Robe!
These were specified by head of lighting Andrew Tweedie and delivered by Canberra’s leading entertainment rental and production specialist, Elite Sound and Lighting.
Andrew has worked at CTC for 6 years, and the lighting upgrade with the generous support of the ACT Government, has been ongoing almost since he joined. In 2015 the time came to address the need for moving lights.
Elite’s Darren Russell had seen Robe’s powerful and elegant DL4X Spot at Prolight+Sound in Frankfurt earlier in the year, and thought it would be an ideal solution for the Theatre Centre.
Andrew specified the type of fixtures they wanted on the tender document, but not the brand and model – that was left to be determined by the market through the open tender process. The competitive selection process involved Elite going in with Robe and several other companies offering competitor products!
As part of the evaluation process, there was a shoot-out at the theatre – with the Robe options a clear winner, so Elite then won the contract to supply the moving lights, and delivered the 8 x DL4Xs plus 16 of Robe’s LEDWash 800s … which are moved between the three primary theatre spaces. The LEDWashes and DL4Xs proved a more attractive package than all the competition, and shortly after the decision was made, CTC had them delivered and up and running.
Elite has enjoyed a long and solid working relationship with the theatre explains Darren, but this was actually the first sale that they had completed with the CTC organisation. It was also the first LED lighting investment for CTC.
“I based the specs on what I was seeing with the touring shows bringing in their own rigs or specials,” explained Andrew, “It was absolutely the right time to go for LEDs and all the advantages they offer in lower maintenance and running costs” as well as improving their overall carbon footprint, an aspect under frequent scrutiny.
Also important in the context of occupational health & safety at CTC … is Robe’s commitment to building lighter fixtures. One person can comfortably and safely lift a DL4X and a LEDWash 800, all stacking the odds towards the final decision.
Two LEDWash 800s could effortlessly wash the whole of the Playhouse stage in dark blue! The high CRI of both luminaires is essential for producing good, healthy flesh tones which is always a tricky parameter in theatre style lighting, and apart from that, the sheer quality of the light output exceeded that of the competitors.
Having the lights in the house has made “an enormous difference” to how shows can be lit confirms Andrew with a big smile!
On several shows last year they didn’t need to use their 2K fresnels at all, such was the efficiency of the LEDWashes … “Eight LEDWash 800s deliver more lighting and colour onstage that our 32 x 2K fresnels,” declared Andrew. For certain shows – like the dance season at the end of the year – they hardly used the standard house rig, and the various dance companies were also suitably impressed as most of them had never had the flexibility afforded by moving lights
“The colours are really rich, while the transition between them is super-smooth and the movement of the fixtures itself is also excellent,” says Andrew.
The relationship with Elite is also an important part of the equation. The fact that they have such a large hire stock of Robe is handy from cross-rental viewpoint, right down to advice and hands-on expertise with the brand.
The Robe fixtures were supplied to Elite by Australian distributor, the ULA Group.
Lighting control – across all venues – is ETC. Andrews works with an efficient crew set up of two full time technicians plus a select pool of regular freelancers who also light most of the shows.
Martin RUSH MH5 for Adelaide’s Intercontinental Ballroom
Posted on Tuesday, April 19th, 2016
Adelaide’s Intercontinental Ballroom has installed forty Martin RUSH MH5 LED Profiles utilizing them for pin-spotting tables. With its’ super compact housing the RUSH MH5 is perfect for this installation which required a fixture with a small footprint and low weight.
“Putting an automated system in allows us so much more flexibility,” said Tim Bormann, technical director and head of lighting for Staging Connections South Australia & Northern Territory. “If tables are moved last minute, we can now quickly adjust the lighting to suit.”
The Intercontinental Ballroom has a bulkhead arrangement in the ceiling which allows the fixtures to usually be directly above the tables, somewhat concealed.
“The RUSH MH5 have performed extremely well and the client’s love them,” added Tim. “They love the fact that you can get unique looks such as gobos on a table, the ability to highlight tables for winners and the colour choice.”
The RUSH MH5’s efficient optics punches out a variety of effects and colours. With two colour wheels, two gobo wheels and rotating prism the MH 5 Profile offers full effect.
“As they have an LED light they are bright enough to highlight the tables but not too bright that they’re distracting,” commented Tim. “We had been worried about that forty fixtures with fans going would be quite noisy but we’ve found it’s quite quiet.”
ShowPro LED DMX Fresnels for Callaway Music Auditorium
Posted on Tuesday, April 5th, 2016
Using a massive 160Watts of Warm-White LED power this Fresnel is a great option for venues, theatres, studios and production companies looking to increase the versatility of their white light fixtures.
“The venue had Selecon Fresnels but constantly changing the globes was a nuisance,” said Guillaume Laurent, managing director at TLS. “They wanted a replacement that was also energy-efficient and required less maintenance.”
Guillaume commented that he was familiar with the ShowPro brand describing it as reliable with good quality light.
“The CRI (colour rendering index) with the ShowPro LED DMX Fresnel was just right,” he added. “In fact it was comparable to a normal Fresnel. Everyone is extremely happy with the fixtures and so far they have operated seamlessly.”