Studio Due and ShowPro transform Garvan Institute Dome
Posted on Monday, August 14th, 2017
The Garvan Institute of Medical Research is one of Australia’s leading biomedical research institutes. The building was designed by architect Ken Wooley and has six floors with the most amazing staircase in the form of a DNA Helix.
The Institute’s Library is located within the building’s Atrium with an oval glass dome on the roof. The space is used for functions and rather than just a dark night sky, it was decided to make the roof dome a focus point with the aid of coloured lighting.
Myall Quint, Electrical Electronics Technician at the Institute, worked closely with Show Technology’s Gareth Mealing to produce an unobtrusive solution that was easy to operate.
A small LED lighting bar that would complement the current architectural design was required. It needed to be 500-600mm in length to match the size of the glass panels and its colour needed to be the same or similar to the current paint work. The Studio Due ArchiBar SL300 RGBW/FC equipped with high powerful LEDs was the ideal solution. Robust and reliable, this IP67 rated LED bar is suitable for architectural and entertainment applications. It has a modern and appealing style which reflects the Italian design.
The eight Studio Due ArchiBars are located around the base of the atrium from where they can shoot coloured light up the walls leading up to the dome.
In order to colour wash the dome itself, the original floodlights have been retrofitted with eight ShowPro LED PAR Quad-18 fixtures. Compact in size and utilising the latest in LED technology, they are bright, look fantastic and are also inexpensive.
It was necessary to have an operating system that could be preprogrammed or used in a live event. An MA Lighting MA2 2 port node was installed with Show Technology providing training once the system was installed and running.
“We have the MA2 software on a computer in the engineering office from where we control all of the lighting,” said Myall. “That MA2 software is really quite impressive.”
CMG add life to The Precinct with ShowPro
Posted on Wednesday, August 9th, 2017
The Shellharbour Club recently opened a dining area entitled The Precinct and CMG Audio Visual were given the task of providing a versatile, immersive look and feel for this brand new innovative food-theatre space. CMG provided a comprehensive AV design for the room, encompassing lighting, audio and video, all to be controlled with a simple user interface by any staff member.
CMG combined architectural highlights, building facade wash and general purpose lighting, all using RGBW colour changing instruments so that the room can go from a bright white cleaning state to a deep moody midnight lounge feel at the push of a button.
Because the room was a converted rock’n’roll theatre, the client wanted to pay tribute to the history of the room and incorporate some of the old technology to create a sense of nostalgia. Getting these items to sit within a cutting-edge 21st century system provided a few challenges, and as they were gradually unearthed from storage and delivered to site during the project, there were a few moments of rapid design adjustments!
CMG decided upon a ShowPro solution as the ShowPro fittings provided a cost-effective, robust solution that was compact enough to install in a wide variety of places and bright enough to provide functional light for the whole space, even in richly saturated colours.
A total of sixty ShowPro Quad 18s provide the bulk of the functional light in the space. The dining spaces are flooded from overhead trusses whilst the streetscape and building facades are front-lit using these fixtures
Added to that are twenty-seven ShowPro Quad 7s to provide the column highlights in a part of the room constructed solely of steel beams. The compact body and tight beam angles really made this a logical choice for that part of the job.
ShowPro HEX16s are uplighting the entry corridor, which is actually a cut-up shipping container. They are hidden behind a pelmet on the floor and squeezed nicely into the concealed space, making the rich colour of the container really come to life, and the source is invisible until you get up close.
ShowPro EX21 units are lighting the windows in the streetscape from behind, changing tones to reflect time of day and to provide some contrast to the colour schemes in the room.
Control features Crestron time-schedule and client interaction via iPad control of all AV elements in the space. There is also provision for the lighting tones to be triggered by the content playing on the large-format projection screen on the wall opposite the entry, for a truly immersive dining experience!
According to CMG, the venue staff have been great to work with, and together they have really enjoyed learning how to get the most value out of such a flexible system. One of the great recent successes since opening has been the bluest room you can imagine for State of Origin, showing on the giant projection screen, complete with triggered colour-coded chase effects for tries and goals!
CMG added that Show Technology has been extremely supportive all the way through the project, from design through to commissioning. No challenge has been too great for them, and in some cases CMG stated that they received the items they needed only hours after requesting them!
Cruze redesigned with Martin RUSH and ShowPro
Posted on Friday, August 4th, 2017
Located within The Grand Hotel, Cruze is one of the very few nightclubs on the Mornington peninsula. The club consists of a large main room that plays house and electro plus there is a side RnB room that plays RnB, commercial and hip hop music.
Brad Hurle of Diverse AV was tasked with designing and installing a light show starting with six Martin RUSH 1 LED Scanners which are designed to enable lighting designers to boost the wow factor and energize crowds with high-speed mid-air looks.
“We did a show in the venue and the owners were so impressed, they asked us to revamp the nightclub,” said Brad. “They wanted a rig that would be service-friendly and the RUSH 1 LED Scanner isn’t as complicated as a moving head. In fact I haven’t has a single phone call to say any of the gear is playing up.”
Brad added four RUSH MH4 Beams which are ideal for smaller venues as they blast intense and narrow beams for spectacular mid-air looks and effects. Brad commented that the MH4’s are super punchy and reliable, plus they’re not too expensive to purchase.
“You can’t go wrong with the RUSH MH4, they’re an easy solution,” he said. “We also added four ShowPro Sunstrips for a bit of twinkling eye candy and six RUSH Strobe CWL fixtures.”
Control is by the powerful yet simple Martin M-Touch, a plug-and-play solution with an innovative control surface.
“An important factor in deciding on which gear to use is the service behind it,” concluded Brad. “I know that if I have an issue, I can contact the Show Technology team for advice and assistance with all of their products.”
Iconic Ministry of Sound debuts at ivy
Posted on Thursday, July 27th, 2017
The venue has undergone some serious renovations to deliver a totally revitalised clubbing experience, including sound-proof and all-weather roof, extra lighting rigs, a brand new staging set up and an overall entire venue transformation from a brand new entry, right up to the main stage.
Creative production company Alfred did the production design for the fit-out including rigging, custom stage, DJ booth, lighting and video design, including video content to suit Alfred’s lighting brief. Merivale production team, specifically Bailey Holloway, tendered out the lighting system and awarded it to Chameleon Touring Systems.
Alfred engaged lighting designer Peter Rubie to design a new lighting installation as the previous install delivered a fair amount of light pollution.
“Sometimes the atmosphere was slightly uncomfortable and not the kind of vibe you’d want for a Ministry of Sound event,” said Peter. “The venue has a lot of white space so anytime you throw wash lights around the room it bounces everywhere. The giant LED screens they had also threw a lot of ambient light around the venue. It just didn’t have that dark, clubby vibe the Ministry of Sound guys were hoping to achieve.”
Whilst there are still LED screens, the content is now much darker and the lighting has been redesigned to be tightly controlled. The room has also been flipped around with the stage now at the opposite end of the venue.
The new stage structure consists of nine uprights that form a large curved panel at the back behind the DJ. The structure has eight screen hangs, staggered in length getting shorter towards the outside of the curve. It all wraps around the large internal stairwell. From the top are nine fingers that stretch out; each finger holds two or three Ayrton MagicDot-SX with the centre five tipped with a Claypaky Stormy CC.
“It means we ended up with twenty-one MagicDot-SX above the stage and they’re our workhorse in terms of looks that we can build into,” explained Peter. “We do a lot of work with them in terms of different positions and crosses, plus we do a lot of effects in the MA2 running across them. When we do our movement effects we put a lot of work into working with their groupings and offsets to make interesting patterns.”
Peter commented that he very much likes the Ayrton MagicDot-SX for their single optical collimator beam and although he has the zoom version, he hasn’t used this functionality very much.
“For Ministry of Sound we really want narrow, crisp beams to avoid light pollution plus we want the dynamics of razor beams that we can run effects across,” he said. “However the zoom function does give the venue the ability to flood them out and wash the room during the week on non-Ministry of Sound events.”
The tiny build of the MagicDot-SX is with its combined yoke, head and base is something Peter really likes as it means that you can’t always tell where the light beam is coming from, consequently they don’t dominate the fingers of truss. He also says that you can’t beat them on speed and that they get cranked up very fast for some of the dance tempos.
Two panorama bars, holding sixteen more MagicDot-SX, are attached to the bulkheads either side of the venue. They tend to follow the same programming as the stage MagicDot-SX making the venue feel all encompassing.
“Rather than have everything coming from the DJ end, we wanted to involve the crowds during the bigger moments,” added Peter. “The Stormys are used for their strobe effect rather than a colour wash as we don’t like to flood the area with colour for long periods of time. There are occasional moments where there will be a big bump and we’ll accent it, but they won’t stay turned on for more than a second or two. If we want to wash the crowd with a blinder effect we have eight tungsten Sunstrips installed between the LED panels which you just can’t go past. Having an all LED rig is great but having that one tungsten element is really nice and warms everything up. It’s just a great blinder effect, we run lots of different chases through them over the night which like everything else, are synced to tempo faders.”
Six Claypaky B-EYE K10 mirror the shape of the curved backdrop, one sitting beneath each of the three outer LED panels.
“I’ve seen so many LED wash lights enter the market but you can’t go past the B-EYE in terms of effects,” commented Peter. “The definition you get between the rays when running the B-EYE effect is much crisper and as a result they end up looking great not only to the eye but in all of the promo photos. We only have six units but it looks like we have hundreds of rays coming out from behind the DJ.”
A simple grid above the dance floor holds twenty Martin MAC Quantum Profiles that Peter favours for their bright punchiness and crisp gobos.
“In following the concepts of the original Ministry of Sound Club, we wanted the lighting above the dance floor to be quite simple to contrast with the stage set up, with the console and programming being the workhorse,” he elaborated. “We very much rely on chases or interesting MAtricks configurations. We definitely didn’t want to see stock-standard ballyhoos going on in this rig, rather we wanted it to be constantly evolving over the night and kept interesting.”
Eight Martin MAC Auras line the lengths of the grid although these are mainly used for the venue’s day to day operations and not so much the Ministry of Sound nights. For other events, the venue offers the side MagicDot-SX plus the grid of Quantums and Auras but none of the special stage gear. The MAC Auras and MagicDot’s deliver plenty of colour wash for those nights. A further two MAC Auras are positioned above the stage from where they can light the DJ.
Control is by an MA Lighting MA2 light and a fader wing + touchscreen combination, with another running as backup. Peter, along with one of the Ministry of Sound operators Darcy Cook, spent a lot of time programming in the wee small hours.
“The venue doesn’t shut until 3am so we didn’t get any programming time until then,” he remarked. “I did the first few nights programming on my own and then Darcy came in to assist me adding a bit more layering and some of the MAtricks that we needed to make the MagicDot-SX and Quantum Profiles do interesting patterns and formations. Dan Morgan is our other operator for the Ministry of Sound nights.
“We have very little programming in terms of looks; we have a walk in look but the rest is just lots of layers. Loads of temp faders, layered buttons for things like stacks of position moves, stacks of intensity effects and strobe buttons, then we add colours and positions on top of that manually through the programmer. A lot of the work is done in the effects engine of the MA.”
Ministry of Sound Club Australia lights up ivy each and every Saturday night, featuring four rooms of music, and a carefully crafted lineup of killer acts.
Photos: Ministry of Sound, Peter Rubie
Pulsar lights St Kilda Sea Baths in all weather conditions
Posted on Friday, July 14th, 2017
Melbourne’s iconic St Kilda Sea Baths has been given a facelift in the form of beautiful coloured lighting, the perfect way to bring the heritage listed turrets and historic building on St Kilda Beach, to life.
Travis Atkins, Centre Marketing for Sea Baths was tasked with looking into a variety of ways to maximize the building’s appeal to passing clientele and enhance the building generally from Jacka Boulevard and the Upper Esplanade.
“You can’t see into the building so we wanted to make the most of that frontage onto Jacka Boulevard,” said Travis. “We decided that lighting would be the best option especially as we can change the colour of the façade to suit key events, both local and international. So now the building can turn pink for Breast Cancer Awareness, or red for World Aids Day or even our beloved St Kilda football club colours!”
Due to the marine environment, Travis required the absolute best product for the job; lighting fixtures that could stand up to the challenging wind and salt water. Marine grade is a critical requirement in this beachside location.
“It’s a very demanding environment and hence, with the help of our lighting architect, John Ford and production team RTR, we selected Pulsar products” he said. “The lights have certainly given more life to a very high profile iconic destination.”
RTR Productions assisted with the design, performed the installation and will supply long term technical support and maintenance for the client.
“The most difficult part of the installation was working within the client budget and expectations,” Cris Cochis of RTR. “The Pulsar products are well made and with extra options for harsh environments, we knew that they were the best product for this project. Also, as always, great support from the distributor makes the job easier.”
Sixteen Pulsar ChromaPixelStrip 25 TriColour 1200mm polycarbonate tube linear fixtures are installed above the window arches to reflect the building’s architectural design and curves. Eight Pulsar ChromaFlood100 TriColour are situated all around the historic turrets, where they deliver even coverage and light distribution to these impressive structures.
A couple of Pulsar ChromaFlood200 TriColour with 25?lenses are situated inside the turrets to give a full wash of the inside. Two more are located on the fascia facing each other to give an even coverage of the fascia’s long front.
Cris commented that the ChromaFloods are really good having stainless steel casing and extra coating on all electronic parts to resist harsh environments such as St Kilda’s seaside.
Colours can be controlled remotely from a laptop or iPhone running Martin software through a USB to DMX dongle that then controls Smartshow DMX recorder.
Perth Concert Hall shines bright with Jands
Posted on Sunday, July 9th, 2017
Perth Concert Hall, renowned for having among the finest acoustics in the southern hemisphere, serves as the primary performance venue for the West Australian Symphony Orchestra, as well the venue hosts many diverse performances and events all year round from classical concerts through to contemporary music.
For their largest lighting update since the venue opened in 1973, Perth Concert Hall considered options for upgrading their ageing generic lighting rig. Alex Spartalis, head of lighting at the venue, was in charge of this process and said, “We wanted to replace a large number of our profiles with LED units and so shot some units out against each other. The Source 4 Series 2 Lustr from ETC couldn’t be beaten when the combined factors of brightness, colour & dimming quality, fan noise and reliability were taken into consideration.”
The venue took delivery of 66 Source 4 LED Series 2 Lustr units in October last year. Since then the units have performed flawlessly. “We only had 1 single unit fail out of 66 and that was replaced by our WA dealer Evolution 512 and Jands promptly” Alex says. Evolution 512 also supplied a number of Jands DD8-II DMX splitters to help distribute data around to all the fixtures and Jands PDS12 Power Distribution racks to power the new system.
36 of the units were fitted with 19 degree lenses to replace the orchestral downlights, a job which was previously done with Lekos. After the swap over was complete Alex said the toughest crowd, the orchestra, were happy with both the colour quality of light and brightness. “We were able to achieve a much flatter field and even wash with the new units than before, and were even able to reduce the amount of fixtures required. Having individual control rather than pairs of orchestrals which previously covered large areas has opened up a lot of flexibility and control in isolating small parts of the stage”. Alex further commented that the flexibility in terms of being able to instantly colour the overhead wash which was previously not able to be gelled due to the awkward location of the lamps has opened up so many more possibilities. “We can do contemporary performances without the need to add trusses of moving colour wash lights. When we have hire budgets for our bigger shows we can now spend all that money on units such as beam / profile movers that enhance the performance rather than blowing half of it on trusses of colour washes.”
The lighting towers attached to the auditorium walls loaded with 110v pars were also replaced. “What was previously a small selection of standard rock and roll colours now has the option to give us a whole host of pastel colours for our more classical shows thanks to 22 more Lustr’s fitted with 26 degree lenses.” Alex and the PCH team found in this location that they again required less units than before, so a few of these profiles became a dedicated colour wash on the 3000 pipe organ in the hall, which now looks rather impressive.
The final 8 units are fitted with 15-30 zoom lenses as variable focus and variable purpose fixtures in a few different locations. Since the main bulk of the standard rig is now covered by the new Lustr’s Alex says, “We have even lit a show or two solely with the LED fixtures. We now have a product that we can present to our clients and say, ‘Here is a complete package,’ without putting a lot of extra gear and labour in”. The entire project was made possible through the State Government’s Department of Culture and the Arts Infrastructure Improvement Program.
ShowPro LED House Lights ‘work perfectly’ in School Theatre
Posted on Friday, June 23rd, 2017
“We had 500 watt tungsten lamps in physically large fixtures, similar to warehouse lights,” he explained. “They used a lot of power and lamps were blowing regularly.”
The specification for the new lights was that they had to have smooth dimming to zero, silent operation with no fan, and the look and feel of a tungsten light so regular patrons wouldn’t notice the fixtures had changed.
The existing fixtures had a visible filament and this, combined with the fitting, threw shadows onto the brick walls of the theatre. Stuart remarked that they wanted to retain that look so that the building didn’t look stark and flat.
System Design and Integration was done by Michael Zagarn who recommended the ShowPro LED House Light with consistent warm white output suitable for live and broadcast applications.
“The ShowPro LED House Lights work perfectly, and the DMX dimming allowed us to integrate control from Dynalite and our ArtNET theatre lighting system,” remarked Stuart. “Power consumption has been cut by 80%, with heat load savings as well.”
The ShowPro LED House Light also offers silent operation due to its’ advanced convection-cooled design. An adjustable PWM frequency ensures flicker-free, camera-safe performance. A removable yoke and permanent cable anchor allow for pendant suspension mounting. There are three interchangeable lenses to match beam angle to mounted height as well as an optical egg crate diffuser and top hat accessories.
“Our forty-six ShowPro LED House Lights have been performing better than expected,” said Stuart. “We are extremely happy with them. The small point source creates the interesting shadows we wanted to retain. Dimming is smooth. The light output is at least 30% brighter across the space, and the choice of lenses provides us with a narrower beam option which we used in the fittings around the edge of the theatre thus keeping the light intensity even right to the edges.”
Michael Zagarn also supplied a Martin M2PC Console and a Martin Ether2DMX8.