Dance Company 'Ellipse'
What do Dick Pratt, Molly Meldrum and John McFarlane - chief executive officer of the ANZ Bank - have in common?
They all strutted their stuff on stage during Australia's first corporate battle of the bands held at the Hordern Pavillion on May 25. This was a rare change to see the nation's leading bizoids in a way they've scarcely been seen before.
Corporate Countdown, sponsored by Sydney City Lexus, aimed to bring the huge pool of musical talent that usually resides in the nation's boardrooms out onto the stage in a unique fund-raising event for the Alzheimer's Association of NSW. Fifteen bands performed on the night, and they had to include a senior executive to qualify for inclusion.
Chameleon Touring Systems were also one of the sponsors that night supplying the latest in lighting technology. Lighting designer was Michael 'Simmo' Simpson who worked closely with the event producers Harrow Productions.
"We wanted to show people our latest 'toys' that we've purchased over the past six months so I had nearly everything Chameleon own that is new," said Simmo. "I had two MA Lighting grandMA desks (one for the stage and one for the room), and the new Martin MAC2000 Performance fixtures. I also had the new Vari*lites and Quartzcolor 1K fresnels making the system top of the range."
Peter Lothian operated one of the grandMA desks to run the stage, whilst Simmo concentrated on the room lighting.
Symphony Orchestra at the SuperDome
of the Night
Elton John played to packed Entertainment Centres around Australia through April and May. Lighting designer was Kevin 'Stick' Bye with Bytecraft Entertainment supplying the lighting equipment. Equipment included 42 x VL5 Arc Luminaire, 26 x VL6 C Spot Luminaire, 8 x VL2c Spot Luminaire, 21 x Source Four Leko 575W 19 degree, 12 x8lite Molefay w/ colour changer, 8 x 4lite Molefay and 2 x Virtuoso Consoles. Kevin Bye was particularly impressed with the Byteraft crew of Sean 'Motley' Hackett (Crew Chief), Rohan Harrison (Technician/Vari Lite Tec)h, Andrew Mitchenson (Technician) and Kerry Paff (Technician).
Dominating this years Logie Awards held at Melbourne's Crown Casino was the projection work of the High End Catalyst. Visible in nearly every scene, the Catalyst provided a wealth of interesting looks. Lighting designer Rohan Thornton was also using the new Vari*lite VL1000 ERS fixtures that arrived in the country just in time for the Awards.
Also in the lighting rig were 32 x Martin MAC2000, 48 x VL5, 16 x VL2402, 12 x High End Studio Beam, 162 x ETC Source IV, 160 x Par 64, and more. Control was a Compulite Ovation console. Bytecraft Entertainment, Chameleon Touring and Clearlight Shows supplied the lighting equipment.
Kung Fu Monks
Every year on Good Friday a fund raising charity day is held in Melbourne on behalf of the Royal Children's Hospital. For many years Channel 7 have been involved in this event including an evening variety show held at whichever venue donates a week of space to the appeal. Many of the production crew do not work directly for HSV-7 but take a week off their usual jobs to help out.
This year the concert was held at the Concert Hall in the Victorian Arts Centre. The concert goes live to air in Melbourne with highlights shown elsewhere in the country. Acts this year included Marina Prior and the Umbilical Brothers.
The majority of the lighting equipment was supplied by Cliftons Productions including Coemar CF12 for the wash lights, and CF7 HE's for the profiles. Lighting Lab donated some SGM Giottos as well as Futurelight 660s and 640s. Show Technology and Lightmoves generously arranged for an MA Lighting grandMA and a grandMA ultra-light desk to be used on the show.
The Victorian Arts Centre also allowed HSV-7 to use their inhouse rig.
"As it's all for charity the lights, audio and general production is all done well and truly below cost or even donated," said David Tidy, lighting director for Channel 7.
The 47th Annual IES Lighting Convention was held recently in conjunction with the lightEX trade show. The Convention culminated in the IES dinner featuring the presentation of lighting awards and entertainment. The dinner was held in the Harbourside Room at the Sydney Convention Centre.
In the past these dinners had been rather conservative and so this year Steve Furzey, with the aid of BLM Productions, decided to produce a night to remember.
"I wanted to make sure the wives were entertained too!" laughed Steve. "I wanted people in the industry to enjoy the night and want to do it again. We've cut the award presentation time down to 35 minutes and introduced an element of fun."
The Three Waiters, moonlighting members of the Australian Opera, supplied the fun by pretending to be actual waiters. Their comedy routine coupled with excellent singing evoked a rousing ovation.
Steve used the night to present the new logo and IES image to the members in a spectacular lighting production that lasted seven and a half minutes. The show featured three dancers and a strong AV factor with a projection screen as a backdrop.
"Many of the IES members are unaware as to what production lighting really is and so we decided to show them," said Steve. "In fact the real purpose of the show was to show lighting. The dancers were only there as one element to enhance the lighting which is why we didn't front wash the stage. We weren't lighting the dancers."
As all of BLM Production's Martin MACs were already deployed in the actual lightEX exhibition, Steve turned to Chameleon Touring who gave him a special 'mates rate' deal and sent Luke "trusswalker' Radin looked after the system.
In the entire rig contained 21 x Martin MAC250, 6 x Martin MAC300, and 7 x Martin MAC600. Analogue lighting consisted of 20 x Selecon Pacific 1kW Profiles. Martin MAC600s were used to wash the ceiling and walls of the room with an entrancing dappled effect that intrigued many of the guests.
Control was via two Martin LightJockeys and one Martin Proscenium.
Oracle Lasers supplied an Oracle 1W Argon Laser for effects.
bring out the Catalyst
- a magical Parisian fairytale
tour new Avo Dimmers on Spirit of the Dance
Auckland based Oceania Lighting, recently purchased a further Avolites ART 2000 dimmer rack. Now being used on the Spirit of Dance tour in New Zealand, Oceania selected ART 2000 for Avolites dimmers legendary reliability and robustness.
Oceania purchased their first ART 2000 in 2001, which was first used on NZ Fashion Week.
"We have two 48way ART2000's, and we love them," said Simon Garrett, Oceania's lighting manager. "Most dimmer racks here are distro and dimmer racks lashed up from
Theatrelight or Jands rackpacks in 19" roadcases. They suffer from the standard kit set problems of high weight and poor centre of gravity caused by chassis designed to be strong as a single rack unit.
"In my opinion the AVO, which is designed as a unit, achieves high dimmer density and superb balance. Indeed I can set the unit up myself after rolling it to the gallery as it takes one man to stand it up. Its' patch system is idiot proof and the mains input is very well thought out. Motor power and 3 x 16amp Ceeform FOH power supply's one on each phase with a brain whose phase supply can be selected make it simple to keep console and rack in phase.
"Another issue we liked was the rating, 16A or 4kw per channel means we have no trouble with 2.5kw loads and 4 x Pars per dimmer makes for a powerfull TV or fashion dimmer distro system. The 16amp hard power module can run 2 x Cybers per channel or up to 4 x Studiospot575s... bloody handy.
"We run Jands and Theatrelight dimmers in our smaller systems but I just felt the product development we could buy into with this company in terms of dimmers made it the clear choice..... hey, and AVO and ULA made the purchase very attractive!"
Avolites ART2000 Dimmers are 48x16A 100% duty cycle dimmers. The rack comes as an intergral unit with mains socapex patch, central electronic control module (set dimmer curves, switching or dimming, max ouput, etc), socapex or weiland outputs, utility outlets. There are also a range of options including breaker bays/switching modules.
Equipment used for the Irish dance tour entitled Spirit o fthe Dance includes the following analogue: 40 x ACL's, 26 x Selecon Pacific 23/50's, 24 x ETC Source4 26, 8 x 6bars pars, 10 x single scroller pars, 4 x Molefay8 lites, 10 x Wybron 7110 par scrollers and 4 x Colourset 8lite scrollers (thanks to Chameleon). Obedient equipment, as Simon phrases it, includes 8 x High End Cyberlight turbo, 4 x High End Cyberlight SV, 8 x High End Studiocolours, 6 Martin MAC600 (thanks Spotlight systems), 7 x High End Technobeams and 8 x High End Studiospot250. Control is Control 1 Whole Hog II (just bought it last week), 1 AVO Art2000, 1 TL36 dimmer and 1 4 universe 16way splitter.
From left to right: the new Avo dimmer rack, prepping the Cyberlights, the new Whole Hog 11.
Waters completes Australian Tour
on tour with Shaggy
UV/FX scenic productions of Los Angeles have recently completed the set design and painting for Shaggy's current tour. The Grammy nominated artist wanted a muslin backdrop (28ft x 40ft) and two side legs (28ft x 12ft) which would portray a traditional Jamaican beach scene under normal light and transform to a magical night scene of the beach under UV illumination.
UV/FX president Richard Green told us: "We had been speaking with Shaggy's people for a while and we finally decided to do a mixed Day to Night and Dual Image style." With the addition of the side legs and some smaller scrims designed to work in the front of the stage, the set had many lighting options and the multiple scenic elements gave incredible depth to the stage. The scenery was designed to work well under any lighting conditions and to simulate different times of the day based on the type of colored light used. When LD Bobby Baskin added the UV light, the audience receives the total transformation and responds with collective wows of amazement according to the tour production manager, Paul Lee.
Pictured right are two views of the same backdrop: the day and night scenes created for Shaggy by UV/FX.
Feet Under Walks a Fine Visual Line Between Life and Death
John Calhoun, of Lighting Dimensions magazine, reports on the cinematography for this remarkable HBO series currently showing on Channel 9. DOP Alan Caso uses a number of techniques by which Six Feet Under nails its style. It's a long list of factors that come together to make up a slightly different view of the world than is usually presented on a TV series, he says. Lighting-wise, it's very naturally motivated: moody, yet not stylized like so many network TV shows now, which go for a very high style. We've denaturated the color quite a bit, because a funeral home is not Technicolor, it's much more of a somber, earth-toned kind of thing.
Six Feet Under
What a Night!
The Queen and 900 guests were treated to a showcase of Australian talent at the Opening Ceremony of the Commonwealth Heads of Government Meeting on Saturday 2 March 2002, at the Hyatt Regency Coolum.
Great Big Events was appointed to create and direct the Opening Ceremony, considered a prestigious and important component of CHOGM. The show, hosted by television personality Ray Martin, was staged in a purpose built tent with a magnificent stage and state of the art lighting and design.
Chameleon Touring Systems (Brisbane), with Brian O'Connor in charge, were contracted to supply the lighting. Providing the main lighting source for this important event were 20 x Martin MAC500 and 36 x Martin MAC600. Generic lighting included 16 x Selecon Pacific profiles, 24 x 2K fresnels, 2 x 5K fresnels and 4 x Voyager followspots.
Lighting Designer: Sydney Bouchaniche
Set Designer: Michael Scott Mitchell
Console Operator: Ian (Couch) Blackburn
Lighting/Moving Lights: Dave Mayer
Moving Lights: Troy Strybis
Lighting: Julio Rene Salazar
Rigger: Derek Weith
Gone South, Tasmania's big one-day rock festival, was staged at the Tasmanian Cricket Association ground in Hobart, on March 16th. In weather typical of Hobart, it was a warm and sunny day, but rained a few times anyway. To cope with the vagaries of weather, the promoters brought in an Edwin Shirley Orbit structure with a 20metre opening, to provide a sheltered stage and rigging points for the truss system.
Phaseshift from Melbourne, in the guise of Chad Spencer and Stuart James, supplied, fitted-up and operated the generic lighting rig. The system, based around Hugh Taranto's set-up for headliners silverchair, consisted of 72 x Par64 cans, 8 x Strand SL zoom profiles, 12 x Two-way Molefays, 12 x MAC600 washlights and 12 x MAC500 spots. Control was 72 channels of LSC dimmers in touring racks, driven by a Jands Echelon 1000.
Due to the illness of vocalist Daniel Johns, silverchair were forced to pull out of the festival just a few days before the show, and Hugh Taranto didn't actually get to use the rig. However it was put to good use by Chad Spencer for Something for Kate, Anthony Petruzio for Grinspoon, Graham Jelly (DB) for US act Incubus, while last minute substitute, Killing Heidi, were lit by Kait Hall.
Spears' Tour Makes a Big Splash
RADLite on Chemical Brothers Tour
The RADLite, which combines images, vector shapes, text and video to create a range of visual effects, received its debut on the recent tour of Australia by The Chemical Brothers. Lighting designer Andy Liddle first saw the RADLite at PLASA 2001: "It really lived up to my expectations. It can produce so many effects that its actually quite hard to decide which ones to use! The ability to insert your own video clips and images, as well as create your own shapes, means that you can really have the show you want."
The Chemicals have hired the RADLite from XL Video. The system comprises a heavy-duty rack mountable black box that holds a hi-spec PC inside, including dual processors and a dual head graphics card. The system is ethernet ready, supporting both ArtNet and Enttec protocols. An Artistic Licence NetLink I/P box is included in the RADLite package for DMX users allowing the RADLite to be controlled through any standard lighting desk. The output is via a projector, videowall, plasma screen or any video display device.
IRAD, the development company behind RADLite, are currently working on upgrading its list of features. The system currently has 44 parameters including full RGB colour mixing for both foreground and background, palette cycling, shape 1, shape 2, rotation, strobe, video overlay, aspect ratio and zoom. IRAD can also offer simple graphics packages to load into the RADLite system or can produce customized graphics, animations and videos.
Lighting was supplied by Bytecraft Entertainment including: WholeHog II, 8 x High End Dataflash, 12 x High End Cyberlight Turbos, 12 x High End PC Beams, dimmers and distribution as well as 264ft of truss.
Bytecraft Crew: Fergal O'Sullivan, Trent O'Connor.
Production News until 02-03-02
<< Back to the main page