The Birtles Shorrock & Goble Live DVD was filmed at the Forum Theatre Melbourne from 15th to the 19th July 2003. Tour Manager was Ross ‘Fergy’ Ferguson, Lighting Design was by Chris McGuffin with both Chris McGuffin and Jeff Wickenden operating. System Engineer was Steve Richards.
Lighting supplied by Chameleon Touring Systems included:
Moving lights: 10 x Vari*Lite 2000 Wash, 12 X Vari*Lite VL5, 10 x Martin MAC2000, 6 x Martin MAC500
Generic lighting: 20 x ETC Source 4 Profile, 40 x Par 64 MFL 4way Black, 32 x Par 64 NSP 4way Black, 4 x Par 64 NSP 1/2 Bars c/w Floor Stands, 10 x Selecon 1000w Ground Row 4way, 6 x Molefay Duets c/w Floor Stands, 4 x Ripple Machines, 12 x Single MR16 Chrome Pars, 2 x Jands Hog 1000 c/w Monitor, 1 x 80m 8way Multicore, 2 x 48way Touring Dimmers, 2 x 24way LSC Dimmers, 1 x 48way ML Distribution, 2 x DF50 Hazer, 2 x Griven Kolorados, 16 x Selecon 500w Fresnels, 8 x Selecon Acclaim 500w PC c/w Floor Stands, 2 x Selecon Pacific 23-50deg Zoom, 2 x EFXplus2 FX Projector for Selecon Pacific, 10 x Single Par 56 NSP and 2 x Par 56 NSP 4way Bars.
www.chameleon-touring.com.au
The
John Butler Trio - Post Natal Expression Tour
John Butler has emerged from the studio, where he has been recording his
new album, to hit the road for his first national tour in over a year.
John is joined by new members Shannon Birchall on bass and Michael Barker
on drums for the tour. Having debuted at number 6 nationally The John
Butler Trio's double live album 'Living' is now certified gold.
The Post
Natal Expression Tour kicked off on July 9 and runs through until
August 15 taking in major capital cities and some regional areas. Nearly
all of the shows are sold out.
Lighting designer
is Paul Owen who is supplementing house rigs with six bars of rays, eight
bars of par cans as well as Martin MAC500 and MAC600 moving head fixtures.
For the first
show in Hobart, pictured, Production Works supplied six MAC500 and six
MAC600. Paul used the MAC500's to project a variety of effects onto the
back cyc.
"The MACs
are so reliable, they're great," said Paul. "The colour mixing
is good, even with the darkest congo blue I can project onto black scrim
and get a good effect. There's hardly ever any problem with them but if
there is I know how to fix them as I've done the MAC tech course. I know
then inside and out so obviously I stick to a familiar product."
Paul uses the
MAC500 to 'paint pictures' rather than for their movement ability. A couple
of times during the show he captures movement with spinning gobos rather
than moving beams.
"The gobos
in the MAC500 are great for that," he said. "They shoot right
out over the audience to spin over their heads and it looks great. The
MAC600's can be put anywhere and you know they'll be great."
Four of the
MAC600 were placed on the ground where they could shoot beams up between
the three band members for special, raw moments during the set.
www.productionworks.com.au
www.showtech.com.au
CLS
supply heaps of truss for We Will Rock YouCLS have supplied the new theatre production of We Will Rock You with truss, truss, truss and more truss! We Will Rock You has been the No.1 selling show in London with a standing ovation every night since its opening in May 2002. The show is due to open later this month at Melbourne's Regent Theatre.
We Will Rock You is the result of a unique collaboration between Queen, Ben Elton and an internationally renowned creative team. It features features 24 of Queen's greatest hits including "We Are The Champions", "Radio Ga Ga", "Bohemian Rhapsody" and of course "We Will Rock You".
Truss supplied included:
ALLOY BOX TRUSS (400MM C-C)
24 x 3m Section (standard design)
1 x 1m Section (with extra bottom centre hanging rail)
2 x 1.5m Sections (standard design)
1 x 2.5m Section (standard design)
3 x 2.5m Sections (with extra bottom centre hanging rail)
14 x 3m Sections (with extra bottom centre hanging rail)
2 x Curved sections (standard design)
ALLOY BOX TRUSS (500MM C-C)
4 x 3m Sections Alloy Box Truss (500mm C-C)
www.clsa.com.au
Staging
Connections use CP Colors for Macquarie Bank Conference
Macquarie Bank recently held their Staff Conference at the Harbourside
Auditorium in Sydney with Staging Connections designing and supplying
the audiovisual elements.
As the event
was a staff presentation the requirements were a lit back cyc that could
provide some different looks for each presenter. The lighting of the back
cyc also had to compliment the style of the PowerPoint presentation that
evening.
"The PowerPoint
was mainly a green similar to that used in The Matrix so the lighting
was all colour mixes of green - blues, aqua's and green," explained
Rocco Anzellotti, Staging Connection's Lighting Director. "Really
the lighting was the main set element."
To achieve this
dynamic look Rocco used twelve Clay Paky CP Color 400 colour changers
all mounted on the floor from where they could shoot onto the 26m x 9m
cyc. Control was a Jands Echelon.
"I think
the CP Color 400 are great fixtures," said Rocco. "We bought
them to replace cross-hiring any four-way cyc units. In the past to do
a solid colour on a cyc of this size we would need twenty-two four-way
cyc units - eleven on the top and eleven on the floor. Basically I've
replaced all that with twelve CP Color 400 able to cover the top and the
bottom of the cyc.
"When we
purchased the units we also bought different lenses. We have the ovalizer
lens which gives us an 85° throw and the medium lens which is about
60° and looks more like a Par64 throw."
For this particular
application Rocco used the medium throw lenses to wash the top part of
the cyc and the wide throw ovalizers to wash the bottom of the cyc.
"I was
able to separate top and bottom and get full colour saturation top and
a different colour on the bottom," added Rocco. "All twelve
units were situated behind the stage so some of them were throwing to
the wings an extra three metres, as opposed to the ones going directly
onto the cyc, with no degree of loss of light output at all."
Rocco expressed
that he loved the colour mixing abilities of the CP Color 400 that allows
him to produce any colour required. He describes the colours as very rich
and true to their comparison with Lee colours.
"The units
are also very good in a flying position," continued Rocco. "We
often fly them off truss to do complete room washes in changing colour.
The other great thing about them is their size - we're able to take these
units into some of our smaller venues and be able to uplight cycs and
rooms without the fixture looking to big for the venue.
"They really
are a very handy and versatile unit. At the moment demand outdoing our
inventory, we have to turn them over very fast to get them onto other
the shows. They are on nearly every show that I do."
www.showtech.com.au
Chameleon's
Discreet LightingDiscreet provides the world's leading tools used by digital artists in four vertical markets: Post-Production, Broadcast, Game & Animation, and Web content creation. The list of award-winning productions created with their systems continues to grow. For example: films such as Gladiator, Mission Impossible II, Star Wars: The Phantom Menace, and The Matrix; games like Tomb Raider, Age of Empires, and Pharaoh.
At the recent SMPTE (Society of Motion Pictures and Television Engineers) tradeshow, held at Sydney's Darling Harbour, Discreet certainly made an impact with their big, blue stand.
Cleverly lit by Michael 'Simmo' Simpson the stand was the most noticeable of the show. Working closely with the client Simmo suggested a circular theme including the large oval scrim adorning the top of the stand.
Two circular trusses with black scrim acted as a floating roof stopping the bright lights of the exhibition hall from washing out the products on the stand.
Chameleon Touring Systems supplied the lighting including four Martin MAC2000 Profiles that were used to project a moving, mottled blue pattern that faded in and out onto the oval scrim.
Four Clay Paky Miniscans projected the Discreet logo in constant sweeps around the perimetre of the stand.
Other lighting included four ETC Source IV Pars, two Altman softlights, eight 650W fresnels and twenty-four pinspots that were used as truss warmers.
www.chameleon-touring.com.au
CLS recently designed and installed the lighting for the Toybox Day Party held at Sydney's Metro.
Equipment included heaps of CLS Tri Truss, a Jands Hog 1000 Lighting Console, 6 x Martin MAC2000, 4 x High End Cyberlights, 2 x Wildfire's and 4 x High End Technobeams.
www.clsa.com.au
AVI
and African FootprintThe journey of "African Footprint" began as Producer Richard Loring's dream to empower South African youth, especially talented young black dancers, through theatre. His vision evolved into a determination to create a unique song and dance experience as a platform to showcase emerging talents. This resolve, strengthened by his introduction to fiery words of passion and love of acclaimed poet, Don Mattera, and by exposure to the dramatic fusion of award-winning choreographers, Debbie Rakusin and David Matamela, materialised into the "Explosive Stampede of Song and Dance" that is "African Footprint".
Declan Randall's award-winning lighting is sophisticated and very effective in fact it serves as the main scenic element. At times it bathes the stage in pattern and colour for the hottest contemporary numbers whilst at other times it subtly outlines the well-muscled torsos of the dancers.
Although the lighting is the chief scene-changer, Anthony Farmer's set allows for a projected backdrop such as prison walls or a mine's aboveground construction.
Audio Visual Innovations have supplied the lighting and audio for the extensive Australian tour of African Footprint that started in Melbourne last April and will finish in Perth in September.
Lighting technician on tour is Anthony Mack who was operating a Strand 520 console that was shipped from South Africa
"They've set up the design and programme so we just have to adjust to what lights we have at each venue," explained Anthony.
Eight Martin MAC250+ fixtures provide the main creative aspect to the lighting.
"A lot of the lighting relies on the MAC's," said Anthony. "We trace them across the floor and the gobo usage is good. We're using mainly the stock gobos although we do have a couple of custom gobos - break up gobos and prison bars. The MAC's are also very reliable which is necessary for a tour like this."
Generic lighting consists of 162 ETC Source 4 profiles, 1 Selecon 25/50 Pacific profile, 18 Selecon 2000 watt fresnels c/w barn doors, 60 Par 64 cans, 5 Selecon Aurora Cyc Units 1250w, 5 Selecon Aurora Ground row 1250w and 3 4ft UV tubes (doubles). Dimmers are 14 Jands HP 12 dimmers and 2 Jands HP6 5k dimmer racks. Supplying the all important atmospherics are 2 JEM Technohaze and 2 JEM ZR33 fogger.
Audio Visual Innovations will be launching a whole new web site within the next few days.
Australian
Army band purchase more Martin gearThe Australian Army band is the oldest professional musical organisation in Australia, established in 1871. They not only play the type of music you would expect from a military band but also classical and contemporary scores. If you are lucky enough to hear them play don't be surprised if they launch into jazz, latin or african-cuban music.
Within the Sydney-based Australian band there are eight different ensembles ranging from classical quintets to a full concert band. The musicians travel all around the country as well as to places such as Papua New Guinea and East Timor.
"We fly in choppers to places such as Bougainville where we might land in the jungle, set up our gear and play reggae to the locals," explained Rod Mason, public relations supervisor for the band. "We use music to try bring harmony to the locals because of the mistrust they have for one another. It's been working really well. And in East Timor we've done several concerts which help unite the International Forces as well as the locals."
When it comes to production the Australian Army Band is a self-contained unit with even it's own roadies. Some of their productions have quite startling logistics such as the use of a ten-truck convoy to transport over ten tones of equipment on rough dirt roads. Then the crew set up a large marquee, staging and a fair size sound and lighting rig.
Recently the Band decided to upgrade their lighting in time for a tour of Australia's South Coast raising money for the Rotary Club to eradicate polio worldwide.
With the band playing such diverse venues the correct choice of lighting equipment was essential. The lighting equipment needed to be versatile, reliable and very robust to handle the extensive and often rough travel.
As they already own some Martin Robocolor Pro 400 colour changers, which they are more than pleased with, it was decided to stick with Martins reliability. A further eighteen Martin Robocolor Pro 400 were purchased from Chameleon Touring Systems along with five Martin MX10 scanners.
"We find Martin lighting equipment ideal for the kind of work that we do," said Peter Bell, the Army Band's technician. "We also use the latest version of Martin LightJockey for control as it's so easy to use and all you need is a laptop.
"The MX10 was chosen for special effects using their gobos and colour range. They are also used as spots on band members when they play solo."
Peter commented that the Robocolor Pro 400 was perfect for the rigors of the type of touring the band does every year.
"The RoboColor Pro 400 is a tough, durable and versatile colour changer," he added. "It's useful for colour washing the band, is easy to set up and far better than a bunch of par cans."
www.showtech.com.au
Lighting
The MatrixCinematographer Bill Pope, ASC revisits an action-packed realm on the much-anticipated sequel
"The Matrix seems like child's play compared to how busy and complicated Reloaded is," confirms director of photography Bill Pope, ASC. Featuring approximately 70 sets and 1,227 visual-effects shots (compared to The Matrix's 200), Reloaded took up all available space and equipment at Sydney's Fox Studios. Jokes Pope, "I've had several friends come into town to shoot commercials, and they've rung me up and said, "We were going to invite you out to dinner, but we're not now because you've taken all the gear and crew."
Read more at American Cinematographer Online
The lighting department at Channel 9 in Sydney is always keen to test out the latest technology and the Pulsar ChromaRange was no exception. Show Technology's Professional Products Manager Andrew Winslade suggested putting a few ChromaBanks to trial on The Footy Show and Lighting Supervisor Andrew Veitch was very open to the idea.
Three ChromaBanks in a row, controlled by Stuart Anderson from a Hog1000, were placed in front of the monitor wedges for the band Machine Gun Fellatio.
"The ChromaBanks were great!" said Andrew Veitch. "We only ran them at 40% because they are so bright. They were brilliant - I love them! It's great that they have a heap of macros already built into them because it makes programming really quick. I can definitely see a future for the ChromaRange in television particularly using single units in sets. They would have been perfect as the truss warmers on The Footy Show as they produce no heat or fan noise."
As the guys did not have a fixture library for the ChromaBanks they were run as dimmer channels which worked well.
"We used the rainbow effect that they can produce and that was great," added Andrew. "It was perfect for the band. If anything the ChromaBanks were too bright for the studio but it's better to have a fixture that's too bright than too dull - you can always bring them down a bit."
Also appearing on The Footy Show for the duration of the season are twelve Martin MAC250 that are used for both the house band and visiting artists. Chosen for their versatility, the MAC250's cut through the traditional television lighting to become the dominant light source.
"We light the show down so that the MAC250's cut through, said Andrew. "For the upstage shots we set a level on the camera, set a level on the MAC250's and then we light around that."
www.showtech.com.au
click on image to enlarge
Canadian lighting designers - Kurt Wagner and Graeme Nicol - co-designed the lighting for Avril Lavigne's Try To Shut Me Up tour. Some of you may remember Kurt from his many years in Melbourne.
Production costs were kept fairly low so that tickets prices were affordable to the mainly female and young audience. Bytecraft Entertainment supplied the lighting:
22 - Martin MAC250's +
24 - Martin MAC2K's Beam
16 - Martin MAC600's NT's
12 - Par 64 ACl ( 1 x 4 )
24 - Par 64 Colour Changers
12 - 20 Lites each c/w colour changer
80'- Zip Strips
6 - Truss Follow Spots + Chairs
8- Racks of 6 Source 4 Pars
12 - Atomic Strobes c/w colour changers
2 - DF 50 Crackers
30 - High End DataFlash
2 - MA Lighting grandMA's
www.bytecraftentertainment.com
Perth's Concert & Corporate Productions recently designed and supplied the lighting for Church Together 2003 which was held at the Burswood Dome to 20,000 rocking Christians.This massive Christian Rock/Worship concert included a band and choir on stage, support dancers and special guests like Marinor Prior speaking and performing.
The tig consisted of two 60' Trusses (upstage and downstage) and three x 4m MEC truss circle: two of which had sails on them. Lighting equipment included:
8 x Martin MAC2000
14 x Martin MAC500
18 x Martin MAC600
2 x JEM ZR33 Hi Mass
1 x Hydrovane Oil Cracker
1 x Jands Hog 1k for DWE and 8 Light Chases only
1 x MA Lighting grandMA console
5 x Jands HP12 Dimmers
20 x DWE 2 Lites
4 x 8 Lite ACL
2 x Selecon Performer Followspots 1200w
8 x Kupo BO4 Chrome MFL
www.ccpwa.com
ESS
rough it in the Australian RainforestAudiences in the UK have been fascinated by the antics of the latest bunch of 'celebrities' in 'I'm a Celebrity, get me out of Here'? Also roughing it were the riggers from ESS who built the set in the virgin Australian Outback.
Under contract to Lucas and Roberts, and on behalf of Granada Productions, a team of four specialists from ESS in the UK along with six locals set to work in mid-December last year. The build took place in a tropical rainforest near to the town of Murwillumbah just south of the border between Queensland and New South Wales and was finished by 15 January.
The crew were exposed to snakes, leeches, funnel web spiders and a host of other nasty creatures that never feature in Australian travel brochures. "The first thing that happened when we arrived was a briefing about all the nasty bites you could get and which vegetation to avoid," said Steve Richards, project manager for ESS. "Some of these things could be fatal without treatment," he continued. Fortunately, paramedics were on site during the entire construction period and everyone lived to tell the tale.
Narrow bridges and tight bends all added to the excitement as tons of equipment was transported from base camp through to the actual site - 44 tons of GKN scaffolding was carried manually down hill. "We used the scaffolding to produce a platform with a minibeam roof in the treetops that would become the studio where contestants were removed from the game," said Richards. "Then we built a camera jib platform adjacent to the studio with a technical area beneath it. To give us access we had to build a 30m long ramp to a height of 12m where it joined the studio. We built the entire structure within a 2mm tolerance so the studio camera platform was useable."
No mean feat of construction when the hill where the build took place was so steep that footholds had to be cut into the side of the hill so the ESS scaffolders could work. The ramp was then decked bay-by-bay to enable equipment to be moved more easily than on the forest floor.
"The weather conditions in the main were stifling," said Richards, "and we drank vast quantities of water during the build period."
www.ess-uk.com
Crusty
Demons Global Assault Tour
click on image to enlarge
Not satisfied with
creating the world's biggest selling Action Sports Video the crew from
Crusty Demons of Dirt combined all the explosive action of their videos
with the power of a stadium rock concert to produce a $3 million dollar
show.
The Global Assault
Tour exposes the mad antics of Freestyle Motocross to fans during a two
and half-hour stadium extravaganza. With an all-star line up of riders
performing individually and in groups, the Australian tour was the first
of the global assault world tour.
Steve Alberts, with Nick Elvin acting as lighting director and programmer,
designed the massive lighting rig on the tour.
"The show
is still evolving which makes it interesting for me," said Nick Elvin.
"I'm finding the riders become more willing to take risks with darkness,
strobes going off and follow spots hitting them in their eyes! Last night
one of the riders decided he wanted to jump in near darkness, which he
did, but he then hit the back wall. Fortunately it wasn't to hard and
when the lights came up to reveal him lying on the floor, he seemed to
forget how much he hurt and leapt up to the crowds delight!"
The area that
has to be covered by the lighting is fairly expansive but it is the ramps
and take-off area that need the most lighting.
"The riders
need to be able to see where they take off and land," explained Nick.
"I can use a bit of movement and colour between jumps. There are
also the different segments in the show such as the Freak Acts where I
can create something a bit different. However, it's great to have the
whole arena floor to play with."
Martin MAC fixtures
including fifty MAC2000 and twelve MAC500 dominate the lighting rig. Added
to that were twelve VL2402. 250 par cans and some molefays.
"The Martin
MAC2000 is a great light," said Nick. "It's very good for this
show as the trim height is twenty metres and you need something with punch
to hit the ground. As with all Martin product they're also reliable."
Controlling
the show was an MA Lighting grandMA console, the first time Nick had ever
used one.
"I have
to say I really like this desk," said Nick. "The playback is
just so easy. After being a strictly Avolites person for many years -
I like this board. It appears to have all the best features from all the
consoles on the market in one package. Editing is so quick and easy. I
did receive a disk of the off line editor to put on my computer and that
was helpful, but once I sat down behind the console I realised how easy
it was to learn."
Nick was fortunate
to have three nights in Brisbane in which to programme the show as well
as a couple of days prior to acquaint himself with the console.
For followspots
there were eight Clay Paky Stage Scans, with the heads taken off, which
were controlled by a Jands Event 408 so all the spot operator has to do
is point.
Once you add
the exhaust fumes from the bikes, the pyrotechnic smoke, the dust from
the dirt as well as several smoke machines there was certainly plenty
of 'atmosphere' in the air. Nick found the dust was getting into the rig
but Martin MACs are notorious for their ability to withstand such conditions.
www.chameleon-touring.com.au
The recent New Zealand premiere of "Boris Godunov" (By Modest Mussorgsky Libretto by the composer after Pushkin) from The NBR New Zealand Opera came complete with a compelling story, operatic grandeur, theatrical excitement and a star from Moscow's Bolshoi Theatre in the title role.
Storytelling at its finest, this impressively dramatic opera tells the gripping events of Tsar Boris Godunov's guilt over the murderous crime that brought him to power and placed him at odds with his people. Eventually falling victim to his own conscience and the power of the Russian people, fate and madness close in to reach a terrifying climax.
Selecon supplied lighting designer, Tony Rabbit with 26 Pacific MSRs fitted with Dowsers (left) and Pacific 1200W 80V units (right) which he used to achieve some of the most stunning lighting effects seen in the production.
The Dowser is a modular accessory which slots into the front of the Pacific lamp house with the desired lens system mounted onto the Dowser.
The visually even fade is achieved by graduated photo etched glass blades which are driven across the light beam by stepper motors.
the first picture shows how four Pacific 1200W 80Vs were used at one particular moment in the Coronation scene - here we see Boris Godunov as he is crowned Tsar of Russia. The effect is glowing light - or so it seems!
The second image shows how the MSRs gave a white/frosty effect, pivotal to the "Brechtion" look of the show conjuring up a cold and chilly Mosco which also tied in with the psychological thriller aspect of the show shown in image number three.
Director and International Opera Lighting Designer Matthew Richardson* declared:
"I am very impressed with the output of the Pacific MSR and the smoothness of the dowser dimming action."
www.seleconlight.com
Melbourne
Fashion Festival
Resolution X supplied the lighting for the recent L'Oreal Melbourne Fashion
Festival 2003 held in the Plaza Ballroom. Lighting designer was Iain Reed
who used:
18 2kW Fresnel
80 Par 64 Chrome (Single)
4 1200 MSR Followspots
8 Clay Paky Stage Zoom 1200
8 Clay Paky Miniscan HPE
1 Jands Hog 1k
1 Jem Stage Haze DMX
1 Jem AF1 Fan
13 ADJ Mirrorballs - various sizes
www.resolutionx.com.au
Easter
Show 2003
click on photo to enlarge
32 Hundred Lighting supplied the lighting for this year's Easter Show
main arena spectacular entitled Jemma – Spirit of the Outback,
the story of a young Australian woman fighting for independence and recognition
in the outback. Developed especially for the 2003 Show, this new Main
Arena production had it all: edge of the seat drama, great horsemanship,
a stirring musical soundtrack, special effects and romance. Set around
the traditional Australian bush picnic race, the story was brought to
life by a cast of 20 stockmen and women, over 100 dancers as well as 50
horses and 30 cattle.
Iain Reed, managing director of 32 Hundred, designed a light show that
included:
28 x Clay Paky Stage Zoom 1200
7 x Studio Due 2500w Citycolors
24 x Castor 2k frensels
216 x par64s
4 x 8 lites
12x duets
4 x 500w QI
2 x Jands Hog 1000
16 x Jnads HP dimmer racks
6 x Jands DD8 line drivers
4 x Gladiator 3kw follow spots
12 x pasific profiles
12 x 1tonne chain motors
6 x 40' box truss
4 x 6m tri truss
1 x 50 tonne crane
www.32hundredlighting.com
Photos courtesy of www.eventpix.com.au
Wild
Gravity use new MACs on Sealcorp ConventionNoel Anthony of Townsville-based production company Wild Gravity has increased his Martin MAC rental stock by purchasing eight Martin MAC500. This was on top of another recent purchase of four MAC2000 fixtures.
Noel finds the Martin MAC family of moving head fixtures ideal for the variety of work his company attracts.
"I purchased some more MACs because they give me a good return on my investment," said Noel. "Of course they're also a reasonably bright fixture. They cover everything from corporate to rock'n'roll. I purchased the MAC2000's because I wanted a fixture that could offer a wider spread but still had a good punch. I tend to use them for major washes or big cyc looks."
Being located in warm and sunny Queensland, Wild Gravity caters for quite a few corporate events including several held at Port Douglas.
The new Martin MACs went straight to work on a Sealcorp Conference that was held at the Port Douglas Sheraton Mirage. The conference incorporated three separate events - the conference held in The Glade (an air conditioned, double skinned outdoor venue), the band Gangajan playing in a hoecker tent situated in a clearing in the rainforest and an aussie barbecue with a bush band in a canefield.
In the Glade were six MAC500 and four MAC2000 plus profiles and par cans. Gangajan had eight MAC500 and four MAC2000 lighting the stage whilst multipars lit up the jungle in a spectacular fashion.
www.wildgravity.com.au
A
First for Normanhurst Boys High SchoolFriday 9th of May brought upon a first for Normanhurst Boys' High School. After more than eighteen months of campaigning by numerous pressure groups, the teaching staff finally agreed to have the school's resident ska band, ManCower, accompanied by a live DJ to play at a school dance. Previously, the only act at a school dance was a top 40's DJ with WinAmp or similar. Only a week's notice was given to the crew at NBHS to organise this event. This organisation was left to Martin Bevz, a year 11 student, and the total budget for light and sound was set at $400. The chosen companies were Turramurra Music (for sound) and Lots of Watts (for lighting). The total sound cost was $180 which included some of Martin's own gear. This left $220 for the lighting budget. Hired were 6 x Par38 portafloods, a Megastrobe, a pair of Geni Shiva moving mirrors and a Le Maitre Neutron Star. All of the school's fixed lights were also used. The par38s were an interesting inclusion in the rig. They served as audience blinders and were the most cost efficient lights on the rig, costing $2 each to rent. After three hours of DMX problems, a damaged multicore (and numerous soldering iron burns), and the unfortunate illness of a teacher (designated to transport the sound gear), the show went off without a hitch! Special thanks goes out to the NBHS Crew: Justin Callisura (Stage Crew), Sean Randall (Stage Crew), Lucien Schneller (LD), Danny Peppeou (Assistant LD) and Martin Bevz (Production Manager, FOH Engineer, Assistant LD). Here's looking forward to the next one!!
Equipment List
Fixed Lights - 6 x Par38, 5 x Par56, 2 x 1k Fresnel, 1 x 2k Fresnel, 1 x 1k Spot, 1 x 1.5k MegaStrobe
Moving Lights - 2 x Geni Shiva
Haze - 1 x Le Maitre Neutron Star
Control - 1 x LSC Atom 24/48, 1 x LSC EPak 12 x 2.4k Digital Dimmer
Utopia
19 Dance Party
Imagine a massive stadium, thousands of people going absolutely nuts,
the expectation for a sound and lighting show at an event such as this
would be high, and of course it should. A Utopia event is the culmination
of eight years of knowledge and expertise, knowledge of how to create
and install an absolutely crankin' sound installation, and the expertise
to bring some 100 intelligent and effect lighting heads to life, lighting
up every corner of the massive venue.
The 19th Utopia dance party, presented by Powerhouse Productions, was
one of the biggest Dance parties in Australian history. Since 1995 the
Utopia events have built into what is now an institution in the Australian
scene. The Utopia events continually expand with more patrons, more production,
more performers, basically more of everything. The 19th Utopia was held
at the SuperDome, Homebush, Sydney.
Seldom these days do the entire BLM team get together in the one place
due to the fact that they work all over Australia on all kinds of major
events. Due to the complexity of this Utopia, the whole BLM Team was needed
for this event. The main room featured a lighting rig designed by Brian
Walsh, Ian Jackson and Steve Furzey that stretched out from the DJ and
rose into the air to encompas sthe dance floor. Packed with the latest
technology the rig was capable of amazing pure colour saturation, deep
fog penetrating special effects, punchy UV and wicked multi coloured strobe.
The show was operated by Ian Jackson, Matt Sims and Matthew Newton. Lighting
systems engineer was Brad Gander.
Backing up an awesome Oracle laser show were gigantic visual screens,
placed either side and behind the DJ consoles. The screens showed the
best computer
animation, together with live video feeds from the roving camera crews.
Lighting suppliers were BLM/Chameleon, audio suppliers BLM/Norwest and
lasers were by Oracle.
Equipment List
Moving Lights - 24 x Martin MAC250 Moving Profile, 52 x MAC500 Moving
Profile, 12 x MAC600 Moving Wash, 12 x MAC2000 Moving Profile, 8 x Robe
150XT Moving Profile, 8 x Robe 160XT Moving Profile (Rot/Gob), 4 x Robe
250XT Moving Wash, 10 x Robe DJ Scan 250 Moving Mirror, 9 x Scimitar Plus
ARC150, 10 x Stratos Moving Profile, 4 x Predator Moving FX Projector
Stage Lighting - 12 x PAR16 Can Chrome Stubby + trans, 8 x PAR36
Pinspot, 16 x PAR56 Can MFL, 24 x PAR64 Can MFL, 8 x Multi PAR WFL 575w,
12 x Duet Audience Blinder, 2 x 1.2kw Profile Selecon Pacific
Foggers - 2 x Le Maitre G100 Fogger, 1 x Le Maitre Showmist Fogger,
1 x Le Maitre G150 DMX Fogger, 2 x Le Maitre G300 DMX Haze/Fogger, 2 x
Le Maitre Pro Hazer, 2 x Oil Cracker, 2 x Hurricane Fan c/w floorstand
Effects - 1 x Mirror Ball 48in c/w motor, 2 x Mirror Ball 24in
c/w motor, 6 x 2000 DMX Strobe, 4 x UV Batton 36w, 2 x UV Canon 400w
Rigging - 4 x 250 series box 4m section Penn, 14 x 250 series box
3m section Penn, 2 x 250 series box 1m section Penn, 8 x 250 series 6
way corner Penn, 4 x Baseplate Heavy Duty, 13 x 300 series tri 3m section
CLS, 1 x 6m x 8m @3m Free-stand MECH.
Control/Dimming - 1 x Whole Hog + Playback Wing, 1 x 12ch Atom
Lighting Console, 1 x Martin Light Jockey PCMCIA 1024ch, 1 x Martin Light
Jockey Club 1024ch, 7 x 12ch Jands FP12 digital dimmer
www.blm.com.au
Oxley
College production of PippinWhilst the colleagues of top Sydney barrister Peter Huntington choose to play golf to relax Peter has opted for a more unusual out of hours past time - lighting musicals mainly for schools and amateur theatre groups. And we're not talking just a few par cans in the local village hall these are large productions utilising the latest in lighting technology.
Over the past twenty-seven years Peter has worked on over eighty productions for schools such as Knox, Newington, PLC, Oxley College and Frensham as well as theatre groups such as the Highland Theatre Group. He has also lit many of the Law Society reviews.
Peter admits he has a passion for new technology in fact some local manufacturers, such as Jands and Selecon, have requested that Peter trial run their products before general release. Last year Peter saw the Martin Trackpod a single-operator multiple-followspot controller.
"I immediately thought that the Trackpod would be very useful in venues where there is no place to position followspots without erecting expensive scaffolding," he said. "Followspots a long way from the stage and at a poor angle give you a bad lighting position and often wash out the set. This is a common problem in amateur venues however the Trackpod overcomes these hurdles. Essentially you can have a followspot position at a great angle from one of the lighting bars."
Recently Peter has been lighting a production of Pippin for Oxley College in the Southern Highlands of NSW. Working closely with Robert Graham (director/head of English at Oxley) and Robert Loyd (professional set designer), Peter decided that the students should be introduced to the Trackpod. Consequently a Trackpod was used to control a Martin MAC500, situated on the front truss, as a followspot.
"The Trackpod is being operated by a boy in Year 10 who has never operated any kind of followspot before," said Peter. "And it carries a lot of the show. A boy in Year 9 operates a laptop that projects imagery on video, a boy in Year 10 operates the Jands Hog1000 and a girl in Year 12 is Stage Manager. Mark Hammer trained them all and it is most rewarding when you see the kids operating everything in a school environment.
"Mark Hammer progammed the show and Graham Harper acted as production electrician. Working with people of this calibre and level of experience make each project especially rewarding for myself and the young people involved."
Initially it was necessary to configure the stage and Trackpod system to enable it to function correctly. The stage was carefully measured and the resulting information was fed into the Trackpod. Next white markers were placed on the stage and illuminated by the Trackpod's laser. At the end of this process the Trackpod learnt where everything was on the stage and then the MAC500 was patched into the Trackpod. Then features such as intensity, iris, focus, offset, and colour can be set on the Trackpod itself.
"There are also a number of buttons that allow you to preset other functions in relation to other fixtures as well as a data screen," added Peter. "In fact it's almost like a mini control console. You can control up to 120 lights from the one fixture - on my next production I plan to have two lights front of house and two from behind. In professional musicals, such as Les Mis, where you often have several followspots on one character you could have one operator doing the work of four people.
"You can also control the fixtures from the console and then hand them back to the Trackpod and vica versa. I don't think I've even scratched the surface of the Trackpod yet and I think it's a valuable tool."
This production of Pippin also has a video element made possible by the Trackpod as a followspot at the back of the hall would wash out the projection.
The lighting rig was made up of six Martin MAC600, six MAC250+, four VL1000, a variety of fixed lights, hazers, gobo rotators and zip strips used as a light curtain. Mark Hammer programmed the show on a Jands Hog1000.
"The Martin MAC range is simple to use and is very reliable - great for students," said Peter.
The Trackpod didn't have a fixture library for the VL1000 fixtures and so Show Technology's Vince Haddad arranged for Martin to prepare such a library. This was done very quickly and emailed to Peter.
"This particular show uses a passarelle (where the stage extends around the orchestra) and I needed to be able to get the VL1000's to be able to dip down, in one hit, and pick up people when they went on the passarelle. The Trackpod was useful for that rather than programming numerous cues. It's obviously useful for controlling many lights and it opens up a new way of dealing with moving lights. It's almost like having a second console - it's far more sophisticated than just pointing a light."
The Trackpod has it's own computer and monitor and that monitor can display all the moving lights in 3D complete with beam width and colour as they move. This is a feature that Peter found very handy.
"It's very useful to be able to look at what's happening and, when you're programming, it's a way of making sure you don't forget about a moving light! It's like a programming tool."
Chameleon Touring Systems, being Peter's company of choice, supplied all of the lighting.
"They provide an excellent service and support these productions by giving a reasonable price. The equipment is always well presented and works well. They also have a good mixture of equipment including all of the Martin range."
www.chameleon-touring.com.au
A new, fully staged production of the musical Hair opened at Sydney's Capitol Theatre. A sell-out when it was staged last year by The Production Company, Hair is now more topical than at any time since it opened during the Vietnam war 35 years ago. Presented by The Production Company and Macks Entertainment and directed by David Atkins, the lighting is designed by Gavan Swift. Lighting equipment was supplied by Bytecraft Entertainment with Browns Precision Welding making the circular truss.
12 x Martin Robocolor Pro 400
17 x Vari*Lite VL2000 Wash
11 x High End Studio Spot CMY
11 x Martin Mac2000 Performance
2 x Vari*Lite VL1000 - incandescent
6 x VL5B
10 x Martin Atomic 3000 DMX strobe
18 x Source 4 10° 750W
11 x Source 4 19° 750W
16 x Source 4 26° 575W
18 x Source 4 36° 575W
9 x Pollux 5K Fresnel
1 x Castor 2K Fresnel
10 x 1K Fresnel
26 x P64 VNSP 240V – chrome, single cans
4 x Source 4 Par NSP
15 x MR16 Birdie – black cans
21 x 3 circuit Zipstrip – globes TBD
4 x 1K 4way cyc groundrow
5 x 3 circuit Par 64 battens – globes TBD
2 x Nocturne 500W flood
4 x Altman UV 703 10” Blacklight Fresnel (or Wildfire equivalent)
22 x Geni Shimmer (SH-50)
5 x Clay Paky VIP 300 DIA
1 x Mirrorball & motor – size TBD
Festoon – lengths & bulb type TBD
3 x Robert Juliat 2.5Kw Aramis followspots
2 x F100 DMX smoke machine
2 x City Theatrical AquaFog
2 x DF50
2 x Strand 520i Lighting Console (running latest V2.6 software)
1 x SN100 node
www.bytecraftentertainment.com
Following on from the huge success of “Imaginate”, Taxi Ride hit the road again to promote their new album “Garage Mahal” on the Summer Stampede Tour. Featuring in the Lighting Design by Cam McKaige is a Highend Systems (HES) Catalyst. Cam, who has now been involved with Taxi Ride for the last two tours throughout Australia, Asia and Europe was keen to get Catalyst out on the road, says Cam "I ended up designing the whole rig around Catalyst using a 4m truss circle and screen for the projection surface - the key was rigging the projector, since we couldn’t use a front truss in some of the smaller venues we had to project from the FOH position which was up to 20m away from stage".
Melbourne based Phaseshift Productions supplied all the lighting, including Catalyst as well as their newly acquired Sony FX-50 for the tour, to fullfil the requirements of the tour.
Dave Rees, who is somewhat of a jack of all trades, covering everything from tour/production management to FOH engineer says, "the band really wanted to do something different for this tour, and when Cam came to us with idea of using Catalyst we all loved it."
Also used for the tour are 12 x SGM Victory II 250 and the now infamous wall of QI’s and flame lights all controlled from a Hog 1000.
www.ula.com.au
When it comes to Australian talent it doesn't get any bigger than Silverchair, so when the boys headed out for their latest, and much anticipated Australian tour, “Across the Night,” High End Systems (HES) was there to provide the control power and visuals.
Lighting designer Hugh Taranto has been providing the looks for Silverchair since the band's early beginnings. “The show is split into two parts with a 20-minute intermission between each part, so I really wanted a different look for each part," Taranto explains.
The first part of the show features a heavily-acoustic set with orchestral numbers from the new album. Visuals play a big part in this segment, and that's where the Catalyst system comes in. Says Taranto, "We used three Barco LED screens with custom-made picture frames surrounding each of them, and three Catalyst™ Media Servers to provide the custom content. The ability to program and control video content directly from the lighting console to get the cueing right is awesome."
In the second half of the show, the screens are lowered down directly behind the band with the frames removed, to reveal the rock part of the set. Adding to the look is a wall of 72 PARs, revealed when the red drapes are pulled back. “I only use video content for a couple of songs during the second half. For most of the time, the Catalysts are providing the LED screens with big blocks of color," Taranto says.
Debuting for the first time on a national tour in Australia is Flying Pig Systems' Wholehog® III console and MiniWing. Taranto says, "I looked at the Hog III just after Christmas 2002 and had actually decided not to use it due to the software capabilities, but when ULA (High End Systems' Australian distributor) product manager Dave Jackson called three weeks out from the start of tour and asked me to have a second look, I couldn’t help myself." Hugh also remarked that he couldn’t believe just how far it had come in just a short time. Sydney-based touring company, Chameleon Touring Systems were keen also to make the investment in the product, purchasing the Wholehog III and Mini Playblack Wing for the Silverchair tour.
Having been a long time Hog user, Hugh says with a laugh, "I felt like a Flying Guinea Pig at first, having some small bugs during the rehearsals, but with ULA's assistance and fantastic support from the Pig boys in London, I e-mailed my show disc to them and within a day they had found the bug and written new software, since then it has been much more stable."
Silverchair's standing as a band has seen the Australian concerts sold out well in advance of the March and April tour dates. After Australia, Silverchair head to more sold-out shows this year in Brazil, USA, Canada, Germany, France, The Netherlands and United Kingdom, USA again and then Europe.
Moving lights on the tour include 17 x Martin MAC2000, 8 x Martin MAC500, and 25 x Martin MAC600.
Lighting Designer: Hugh Taranto
Lighting Riggers: Graham Walker & Pat Clark
Lighting Contractor: Chameleon Touring Systems
LED Screens: Technical Directions Company
www.ula.com.au
Moby
click on an image
to enlarge
Award winning lighting
designer Dan Hardiman designed a stunning and energetic lighting rig for
Moby's tour of Australia.
The rig included 10 High End Studio Beams, 8 High End Studio Beams, 6
High End Cyberlight Turbo, 26 Martin MAC2000, 22 Martin Atomic strobes,
16 Dataflash AF1000, as well as pars, ACLs and molefays. Control was a
WholeHog II.
Of particular interest was the 60ft x 30ft custom LED starcloth curtain
- small clusters of four LEDs (two blue, one red and one green) that are
wired in strings. The cloths came in 6 x 10ft panels for flexibility and
each panel was split into four zones so Dan could achieve a variety of
effects .Controlled through DMX, each panel can be controlled individually.
The entire curtain pulls under 1 amp or, as Dan says 'you can run the
whole thing from a car cigarette lighter'. It is also far cheaper than
a traditional fibreoptic curtain.
Production was
supplied by Chameleon Touring Systems except in Perth where Concert &
Corporate Productions was used.
For a full lighting report of the Australian Moby tour read the May edition
of PLSN Magazine
Except
for four Gladiator 3kW followspots supplied by Bytecraft Entertainment,
the lighting for The Rising Tour in Australia was shipped in from the US.
Lighting designer Jeff Ravitz did not accompany the tour with lighting operator
Todd Ricci in control.Lighting Equipment
10 Altman 9-lights
5 Altman 6×22s
8 ETC Source Fours 19°
6 Lycian Starklite long lens with truss chair
3 Lycian Starklite medium throw with truss chair
10 Martin MAC 2000 Profiles
14 Morpheus BriteBurst™ 2000 wash luminaires
89 Morpheus FaderBeam™ wash luminaires
27 Morpheus M Fader™ CYM color changers
14 Morpheus PC Spot™ spot luminaires
13 Morpheus RomniFader™ wash luminaires
4 Morpheus XL Fader™ color changers
4 Morpheus nine-lights
16 10' sections Morpheus 30" FlipBox™ truss system
2 3'4" sections Morpheus 30" FlipBox™ truss system
10 10' sections Morpheus 24" FlipBox™ truss system
14 PAR-64 MFLs
2 PAR-64 WFLs
3 Syncrolite SX3Ks
1 Flying Pig Systems Wholehog II console
1 Avolites Diamond II console
To read Lighting Dimensions concert editor Sharon Stancavage's interview with Jeff Ravitz click here.
Photo: (c) 2002 ToddKaplanPhoto@aol.com
Australian
Nigel Levings — LD, music lover, vintner — returns to Baz Luhrmann's
La BohèmeA full-blown opera — sung in Italian — on Broadway? And not just any opera, but a knockout production of Puccini's beloved La Bohème, directed by Baz Luhrmann, with production design by Catherine Martin (or CM as she is known to her collaborators), costumes by Martin and Angus Strathie, sound design by Acme Sound Partners, and lighting by Nigel Levings. Having opened in December, La Bohème has quickly become one of Broadway's most talked-about hits. Its bold production design, sexy young cast, reduced orchestra, and use of vocal amplification have caused plenty of comment, especially from outraged traditionalists. But this La Bohème is an exercise in opera as popular entertainment, and audiences are coming in droves. It's also a welcome return to the New York stage for Levings, whose only previous Broadway assignment, the 1996 revival of The King and I, earned him a Tony nomination.
Read more at the Lighting Dimensions magazine website
Martin
Atomic 3000's blast across Australia
Australia's busy summer touring season has been brighter and more explosive
than ever - thanks to the Martin Atomic 3000 DMX strobe. Nearly every
international band that has toured the country has included them in their
lighting rig. With Bytecraft Entertainment, Chameleon Touring Systems
and Concert & Corporate owning a considerable stock of Atomic strobes,
international lighting designers have had no trouble picking up their
favourite strobe.
Chosen for it's powerful, high-impact strobe with 3000 watts of unlimited
energy, the Atomic 3000 DMX is is an ultra-bright strobe. Flash duration
is controllable and for ultimate flexibility and variety of effect, variable
adjustment of flash rate (20ms to 2 seconds) and flash intensity is possible.
The Atomic 3000 DMX is both intense and intelligent. DMX controllable,
it employs a smart, integrated heat control that eliminates the need for
cool down time.
"I used 20 Martin Atomic 3000 DMX strobes on the Kiss Symphony spectacular
and they were awesome," said Bryan Hartley, Kiss' lighting designer.
Red Hot Chili Peppers lighting designer Scott Holthaus described the 24
Atomics he was using as 'the coolest strobes ever'.
Vince Foster,
lighting designer for Massive Attack, used a whopping 24 x Atomic 3000
DMX Strobe for the band's recent Australian tour.
"I really
like the Atomic strobes, they're very impressive," said Vince. "They're
a kind of 'liquidy' strobe - very nice."
Other acts choosing
to use Atomic strobes were JA Rule & Ashanti (3), Counting Crows (3),
Pearl Jam (12) and Long Way To The Top (8).
Currently touring
the country is Moby whose lighting designer Dan Hardiman is using 22 Atomic
strobes in what promises to be a blistering show!
www.showtech.com.au
Wild
Zebra
Wild Zebra is a multi million dollar production that has received enormous
billing in its home country and this will be the first time it has toured
outside of China's mainland.
Performed by
the Shanghai City Dance Troupe, the 80-strong cast brings to the stage
a grand scale dance drama set in the animal kingdom and weaves a tragic
love story between two zebras as they desperately try to escape their
destiny.
Wild Zebra has
been likened to Cirque du Soleil because of its elaborate costumes and
lighting, and the merging of modern dance, acrobatics and classical ballet.
The performance
opens with the hero Wild Zebra in a dark prison; what follows are scenes
allowing plenty of opportunity for imaginative character dances - celebratory,
romantic, heroic and war-like. The action is framed by attractive sets
suggesting jungles and plains, and dramatised by great ramparts for the
hunting scene.
Lighting designer
Sha Xiaolan has a very limited English vocabulary and it was up to lighting
operator Jason Fripp to bring his visualisations to life.
"There
is a translator and that's worked out really well," said Jason. "It's
actually made the tour quite enjoyable - a language barrier makes it more
of a challenge and very interesting!"
The lighting
of the show relies mainly on floods of colour with lots of par cans and
scrollers as well as profiles for front light. A total of 16 Clay Paky
Stagescans are used to highlight dance features and occasionally project
patterns. The Stagescans are rigged in two straight lines of eight - one
downstage and one midstage.
"It's very
straightforward," said Jason. "The Stagescans are still going
well even thought they're getting quite old."
Chameleon Touring
Systems supplied the lighting.
www.chameleon-touring.com.au
Massive
Attack
Lighting designer Vince Foster was here last year with the Kylie Fever
tour, a tour which won a Live Award for lighting and was heralded as one
of the best productions of the year. With Massive Attack he delivered
an inventive and modern light show which used a Saco LED screen as the
main light source. Unusual light sources included warm and cold Sodium
fixtures, 16 Pixel Line 1022 LED batons, Arcline, and dimmable warm and
cold fluorescents. Coemar Supercycs were also used for blasts of backlight.
click on an image to enlarge
Equipment supplied by Bytecraft Entertainment:
24 x Black Par 64
15 x Par 38 uplighters
5 x Desisti 5kW 12" Fresnels
4 x Desisti HMI 4 kW Fresnels
4 x Strand Coda 1
2 x F100 Smoke Machine
2 x DF 50 Diffusion Fogger
24 x Atomic 3000 DMX Strobe
10 x Arcline Jetstrobe
7 x Colourset 4 light scroller
28 x Wybron PAR 64 Scrollers
5 x Studio Due CityColour
55 x High End Studio Beam PC
12 x High End X-spot
2 x Whole Hog II
3 x 48 Way Touring Dimmer & Distro Racks
Bytecraft crew: Rowan Harrison (Crew Chief), Michael Webber, Fergal O'Sullivan,
Andy Mitchinson.
www.bytecraftentertainment.com
For a full lighting report of the Australian Massive Attack tour
read the April edition of PLSN Magazine
Port Fairy, a coastal village on the Southern Ocean south west of Melbourne, held it's annual Port Fairy Folk Festival, over the March Victorian Labour Day holiday weekend, and this year the event was attended by over 15,000 people whom were entertained by more than 130 acts including 20 international acts.
Performers coming from as far as Ireland, Scotland and America to join such well known local performers such as Jenny Morris, Joe Cameleri, the Waifs and David Bridie for the four day festival.
Powa Audio were contracted to provide sound and lights for four of the seven stages, with Phaseshift Productions supplying the lighting.
Well known lighting industry figure Dave Jackson was engaged to design and operate Stage 2 for the festival. And drawing on the experience of previous years of the festival and acts requirements, Dave built a design based around subtle projections and soft moods. X.Spots were selected as the key intelligent light fixture to provide a wide range of different looks, while ensuring that the parameters for each act were fulfilled.
In what was a major outing and real test, the festival used Flying Pig Systems WholeHog3 for control. According to WholeHog distributors ULA, running the last software the WholeHog3 performed seamlessly, Dave commenting how on the easy and flexibility of live editing and updates in particular.
Equipment Used for Stage 2 Included:
8 x Xspot HO
1 x Wholehog 3 console
1 x Wholehog Mini Playback wing
Lighting Design – Dave Jackson
Front if House – Geoff Philips
Audio Supplier – Powa Audio
Lighting Supplier – Phaseshift Productions
www.ula.com.au
Sydney
Gay + Lesbian Mardi Gras Party
The Sydney Gay + Lesbian
Mardi Gras Party was held at the Hordern Pavilion with Bytecraft supplying
the equipment. Lighting Design was by Brad Wright + Alan Parkinson (Site
Lighting Director). Lighting + Laser Programming and Operation was by
Brad Wright. Motor Controller: Marty from Bytecraft was the Motor Controller
whilst DB was the senior tech/rigger.
Equipment included:
6 x 34ft J Trusses
18 x Motors for above - 3 per truss
1 x Skjonberg Motor Control
24 x Martin MAC500
24 x Martin MAC600
2 x Martin MAC2000 wash
12 x Dataflash
12 x Single 64's with scollers - truss toners
2 x Bars of 64's - stage
4 x Bars of 64's - walkways
4 x Single 64's - DJ lights
4 x DF50
4 x F100
1 x Oracle 10w Argon Laser
10 x Mirrored Cylinders
2 x Mirrored Stars
Mirror Efx from
Peter Sykes - Psyklonic Visual Effects
Cable Truss
+ Trusses for Walkway lighting
1 x Whole Hog
II + Wing
1 x Scroller Controller
1 x Oracle Laser Controller
www.bytecraftentertainment.com
Renowned for
the machinations of its fast-paced plot and its scintillating language,
Sydney Theatre Company's glittering production of The Way of the World
features a stunning fairground design by Mark Thompson and lavish costumes
by Julie Lynch. Trudy Dalgleish has designed complimentary lighting consisting
of:33 - Selecon 1.2k profiles medium
46 - Selecon 1.2k profiles wide
58 - Strand prelude 16/30 profiles
40 - Strand prelude 28/40 profiles
40 - Strand patt 743
10 - Strand Harmony PC
8 - Strand coda 500
10 - Varilite 5Bs
12 - Strand Mizar fresnels
16 - Colourset scrollers
Kiss
Symphony
This was still a classic Kiss show: band members flew in all directions
on harnesses, there were floating drum risers and flying foxes, Gene Simmons
dribbled fake blood, plus there was a wealth of pyrotechnics and oversized
confetti. But added to that was the sixty-piece Melbourne Symphony Orchestra
all in Kiss make-up and when the Melbourne Children's Choir came out for
a song, they too were in Kiss make-up.
The show was
divided into three parts: it started simply enough with the four members
banging out Kiss classics. An acoustic set followed with ten orchestra
members helping to breathe life into 20-year-old favourites. But it was
the final part that everyone was waiting for: Kiss with the MSO.
Lighting designer
Bryan Hartley built upon his design for the last Kiss tour mainly due
to the fact that the stage could not be set up until two days before the
concert due to a scheduled soccer match in the venue! Added to that was
the necessity to program new songs as well as having to light the orchestra
and audience.
Bytecraft Entertainment
supplied the equipment and crew: Nikitas
Koumos (Crew Chief), Dion Weeks, Sean "Motley" Hackett, Matt
Watson, Liz Beedle, Matt Saward, Andy Cohan, Matt Burden.
400 x Chrome
Par 64
11 x SLD 8 way Par 36 8 lighters
19 x Atomic 3000 DMX Strobe
63 x High End Studio Color "S"
42 x VL5
20 x Icon 600W HTI
1 x Icon Console
2 x DF 50 Diffusion
Fogger
540 Channels
of Bytecraft Dimmers
www.bytecraftentertainment.com
For a full lighting
report of the Kiss Symphony show can be read in a future edition of Lighting
Dimensions magazine.
Production
News until 04-03-03
Production News until 21-11-02