When Theatro Marrakech opened its doors in 2003, it was the very first nightclub in Morocco, and today, the 2,000-capacity venue still stages one of the most unique nightlife experiences in the world. Its consistent ranking as the best nightclub in Morocco, the best in Africa and one of the globe’s Top 50 has cemented the venue on the bucket list of travellers and artists alike.

Before becoming a nightlife hotspot, Theatro was Africa’s first music hall, inaugurated over 60 years ago, and from this past, the club has kept both its unique décor – a mix of dramatic theatrical and dynamic Moroccan themes – and an immoderate taste for show.

Upgrading to a professional sound system to defend world-ranking status

Defending a competitive and coveted spot on the world’s nightlife ranking means keeping up with the best technology and for that reason, Theatro Marrakech recently upgraded to a premium L-Acoustics K2 sound system to attract leading international artists who know and appreciate the brand.

The DJ Booth with the new L-Acoustics “Power Headphone” based on a pair of A15 Focus atop of a KS21. Per side. Groovy !

Inspired by a visit to Omnia Las Vegas and its L-Acoustics professional sound system, Theatro management worked with renowned Paris-based nightclub consultant Timothée Renard of the Fox Agency and L-Acoustics Certified Provider Integrator Potar Hurlant for the upgrade.
“Our main objective was to integrate a rider-ready sound system to attract internationally acclaimed artists and provide a unique experience for all of our clubbers, from the main floor to the intimate VIP areas,” commented Renard.

Timothée Renard and the POTAR team, with the support of L-Acoustics Application Engineer Pascal Charousset, created a unique sound design for each section of the space: the central dance floor, a mezzanine, an ultra-VIP lounge facing the dance floor, and a mini-VIP zone just behind the DJ booth.
The main dance floor and an upper balcony are covered by an L/R system of six K2 per side with four KS28 in cardioid configuration flown behind each hang, while three flown A15 Wide per side provide in-fill to the main dance floor while two A15 Focus per side are used for side-fill to a podium for performers and dancers.

Theatro Marrakech’s main dance floor and an upper balcony are covered by an L/R system of six K2 per side with four KS28 in cardioid configuration flown behind each hang while three L-Acoustics A15 Wide per side provide in-fill to the main dance floor.

The DJ booth is flanked with one KS21 per side, topped by two A15 Focus for monitoring. A tiered mini-VIP area behind the DJ booth has an LCR system of three A15 Wide for the upper tier while the lower tier is served by five X8 coaxials. A single KS28 and LR hangs of three A15 Wide cover the dance floor from this area. Fourteen LA12X and three LA4X amplified controllers drive the entire system over Milan-AVB networking.

Transforming a VIP Lounge

An ultra-VIP lounge below the balcony has a system of two hangs of one A15 Wide and one A15 Focus in front, with two additional hangs of one A15 Wide in the back corners and a ground-stacked KS28 topped by two KS21 subwoofers.

Three L-Acoustics A15 Wide per side provide in-fill to the main dance floor, and two A15 Focus per side are used for side-fill to a podium for performers and dancers

“We wanted to offer an unparalleled experience in the VIP area, creating a profound impact in the low frequency range. Our most esteemed guests deserve nothing less than to feel the music as much as they hear it,” comments Julien Antinoff, Communications Manager at Theatro Marrakech.

“The audio upgrade has received positive feedback from our patrons and artists. Experiencing the new L-Acoustics concert sound system is like stepping into a new dimension of clubbing. The VIP Area, specifically, is a testament to this transformative journey,” concludes Renard.

To get more about:

– Theatro Marrakech
– L-Acoustics
– “Screamin’ Pot” POTAR

Ambersphere Solutions Ltd, a leading provider of professional lighting solutions in the UK, has officially become a part of ACT Entertainment, one of North America’s leading supplier of entertainment technology.
This acquisition is a testament to the shared values and long-standing relationship between the two entities, especially in their distribution of MA Lighting and Ayrton products.

From left to right: Glyn O’Donoghue, Philip Norfolk, Lee House (Ambersphere) and Ben Saltzman d’ACT Entertainment.

ACT Entertainment, renowned for its comprehensive offering across professional lighting, audio, video, and more, serves a broad spectrum of the entertainment industry’s needs. This exciting development promises to leverage the strengths of both companies to deliver products, technical service, and support to entertainment professionals worldwide.

“We are excited to bring together ACT and Ambersphere and continue to build on our mission of providing technology for our customers to realize their creative vision,” says Ben Saltzman, CEO of ACT Entertainment. “Just like ACT, Ambersphere prides themselves on offering industry-leading products with an accomplished staff of experts in sales, service, support and training.
I have tremendous respect for Lee (House) and Philip (Norfolk) and am excited to work alongside them as a valuable partner to our customers, extending our reach and continuing the strong tradition of excellence Glyn (O’Donoghue) created at Ambersphere.”

The transition sees the departure of Glyn O’Donoghue and Ken Sewell, with Lee House stepping up as Managing Director, alongside Philip Norfolk, who continues in his role as Sales Director. The focus remains on preserving the company’s core values while leveraging ACT Entertainment’s resources and capabilities.

Lee House concludes, “It’s business as usual at Ambersphere. Our collaboration with ACT has always been strong, and this move is a natural progression of our ongoing relationship.” This sentiment echoes the closer ties and shared values of both companies, emphasizing continuity and the mutual goal of maintaining the highest standards of quality and service.

About ACT Entertainment

ACT Entertainment, headquartered in Jackson, Missouri, is one of the world’s largest manufacturers and distributors of industry leading brands of audio, video, and lighting products, services, and education. ACT Entertainment is the choice of industry professionals reaching across six distinct markets; Concert Touring and Live Experiences, Retail Music and e-Commerce, ProA/V – Installation – Broadcast, House of Worship, Film and Television, and Industrial Wire and OEM.

More informations on the ACT entertainment website and the Ambersphere website

German light artist, Christopher Bauder, has chosen MDG ATMe haze generators and Me2 fog machines as the foundation of his latest installation, Vektor, a personal piece loosely based on his life experiences.

Vektor, Memories in Light & Sound, is Bauder’s third installation at Berlin’s Kraftwerk, an old power plant-turned-art gallery in Berlin that Bauder refers to as an ‘industrial cathedral’.
The abstract work is a personal ‘memory chest’ using small audio snippets of memories from Bauder’s childhood through to present day: the sound of the sea from his childhood living on an island in the North Sea, church bells on a Sunday, laughter of loved ones, as well as samples recorded from the Kraftwerk building itself.

The recordings can be precisely targeted throughout the building, transforming the building itself into a living, breathing work through sound and illumination. “The audience doesn’t need to understand the thoughts behind it, or be aware of the massive amount of technology behind it, but I hope they will catch glimpses of the references here and there,” says Bauder.

The new artwork consists of 50 lasers mounted on 10 evenly spaced, heavy-lift winches specifically developed by Kinetic Lights which synchronise movement of all the lasers. These enable Bauder to create a sculpture in mid air that fills the whole volume of the enormous exhibition space.

“It’s important for me to start from symmetry that allows me to break it later,” he explains. “By starting with a very symmetrical layout I am able to create completely random shapes and spacing in the second stage of the creative process. If your initial layout already creates a shape, then you are always bound to that shape and can never break away from it.

“I use the lasers to create three-dimensional shapes and textures that I hope will evoke a memory and an emotional response within the viewers. I like to play with these things, taking a step further to tell a story by very abstract means, and encourage the audience to create their own picture, rather than just showing shapes synchronised to music.

For example, in Vektor, I have an ‘under water’ scene where I play sounds of the ocean with birds flying over, and have created a surface with the lasers in blue with bobbing lights reminiscent of floating buoys. This combination immediately makes everyone think about the sea and an underwater scene, but it is just technology triggering their memory of it. It’s an emotional and poetic show.”
As with any light show, a basis of good haze is of paramount importance to reveal the work of the artist to its full extent, and Bauder states that he uses MDG hazer generators and fog machines whenever possible to create the ‘right’ atmosphere for his pieces.

“The visibility of the light is important as I use light in an architectural sense, like a material that I can shape and form in space into a tangible form that almost feels touchable. At the same time, of course, the light is intangible, not physical, so I need the haze as a basis to materialise the light in space.
“When looking for the perfect haze there are two aspects to take into consideration, translucence and visibility. If I have a lot of haze I have good visibility of the lasers in close proximity, but it obstructs the view of the lasers that are further away.

So the quantity of the haze is extremely important, but also the quality: the quality needs to be translucent enough to keep the whole piece visible across the full 100m distance. I still need to be able to see the back of the space, but at the same time give enough texture in the air to create the visibility of those lasers.

“It’s a really fine balance between the two, and MDG haze delivers that balance. The key factor is the fineness of the droplets in the air which defines the visibility throughout the space. It mainly just reacts to, and refracts, the light without obstructing visibility. That’s why I always try to use MDG haze generators as they provide both these aspects.”

Kraftwerk’s exhibition space is a massive 100m x 60m x 25m high, naturally dark, indoor space on two levels. “The volume is huge,” says Bauder, “but we have just 2 MDG ATMe hazer generators, and 2 Me2 fog machines running at intervals, to fill the whole space.”
The two ATMes are located at each end of the hall, and the two Me2 fog machines in opposite corners. “At the start of the day we run the Me2 fog machines for about 10-15 minutes to quickly fill the space and introduce enough texture.

Then we have the ATMes running on 100% for the rest of the day, with two of MDG theFAN™ to aid circulation, which keep the stability of the amount of haze for the rest of the day and maintain the visibility. Even running at 100% we only use about 20% of the fluid and gas compared to the systems we’ve used in the past.”

Each MDG ATMe, with theFAN™, is housed with gas and fluid in purpose-built MDG Vertical Flight Cases for convenience, storage and transportability. The supplier was cast C. Adolph & RST Distribution, MDG’s exclusive distributor for Germany. “Cast are super, we love them,” concludes Bauder. “They are always ready to demo products for us and quick to react when we need service or supplies. We have a great relationship with them.”

The Berlin art scene has a notably discerning audience but VEKTOR has received an overwhelming response. Four live shows are planned for 15 March and 5 April with music written by Bauder for the first time. “We didn’t know what to expect, but from the start it was crazy – 6500 people on the first weekend and 30,000 in the first four weeks!” says Bauder.

Vektor runs at Berlin’s Kraftwerk from 1 February – 7 April, with the first live show on 15 March 2024.

For more information on MDG haze, fog and low fog products, visit www.mdgfog.com

For more information on Christopher Bauder and Vektor visit the Vektor Art website

The Helsinki Music Center (Musiikkitalo Helsinki) in Finland has just invested in its first Robert Juliat followspots – 4 long-throw 800W LED Arthur LT – for its main concert hall. The followspots were sourced through Intersonic, Robert Juliat’s exclusive distributor for Finland.

Konserttisali_Arno_de_la_Chapelle-Courtesy-of-Helsinki-Music-Center

The team at Musiikkitalo had a specific list of criteria when looking for their new followspots. The fixtures needed to be very quiet, bright enough for serious television productions from distances over 30m, in both daylight- and tungsten colour temperatures; have a narrow zoom so no light would be lost by using an iris; be easy to operate, have good DMX control and, crucially, an LED light source. “Put simply, we wanted to have the best followspots available!” says the venue´s Head of Light, Valo Virtanen.

Virtanen spent a long time comparing followspots and, as soon as he saw it, requested the brand new 800W LED Robert Juliat spot for testing from local distributor, Intersonic. “We made some serious tests together with sound engineers and camera teams; our second Head of Light, Tuukka Aimasmäki, made a DMX profile for our lighting console and took light quality measurements,” says Virtanen.
“We also knew Robert Juliat´s reputation as the most specified followspots in the world and have experienced of them from hiring them for previous shows. The tests went very well so we ordered spots. Intersonic has done very good job with testing and delivering, and with supporting us throughout.”

AUF-concert ©Tuukka Aimasmäki

Musiikkitalo’s audience is seated in-the-round so good 360° coverage is needed. The four Arthurs are therefore positioned evenly around the lighting gallery that surrounds hall high above audience. “We also bought tripods as a safety measure but installed the Arthurs on the gallery´s rail pipes with followspot rail mount adapters to get a bit better coverage in the tight locations,” says Virtanen. “The adapters are excellent and work perfectly.”

The throw distances vary from 20m-50m but with Arthur LT’s output of 2000 lux at a distance of 50m exceeding that of an HMI 2500W Aramis, and a zoom range of 4°-10°, the range was no problem.

Arthur’s sound level is much quieter than any of its discharge rivals, and offers a choice of ventilation modes. “We found the spots to be silent!” confirms Virtanen.
“We use them in Silent mode which reduces the brightness by about 20%, but they are still absolutely bright enough.”

The ergonomics of the new Arthur LTs proved very popular with Musiikkitalo’s followspot operators and technicians who had a wealth of feedback: “The controls are well thought out with the zoom/focus and dimmer handles, and iris, frost and CTO filter knobs well positioned and very easy to use from whatever position the operator favours. The DMX operation is very well considered with dimming and output levels controlled locally or direct from the console.

Telrad Reflex Sight Finders were also purchased for each Arthur LT: “This is an excellent operator aid and such a simple, cheap and perfect add-on.”

Scène principale du Centre musical d’Helsinki avec l’aimable autorisation de Musiikkitalo

“The Arthurs are excellent!” confirms Virtanen. “The operators love them and the TV teams like their quality of light (Arthur LT has a high CRI of >94), and brightness, and they are SO quiet. The build quality is strong and are so well made that – aside from cleaning the optics – we do not expect any need for service in the following years.”

The first production for the new Arthur LTs was the Aurora Orchestra’s opera The Rite of Spring lit by television lighting designer, David Bishop, and broadcast live using 18 television cameras. Classical television broadcasts with a variety of soloists from Helsinki Philharmonic Orchestra, Finnish Radio Symphony Orchestra, Helsinki Baroq Orchestra, followed along with pop concerts from artists like Pandora, Samuli Edelmann and Rajaton, and galas from the RSO Christmas special to many special themed concerts by Vantaa Pops.

Samuli Putro Musiikkitalo © Leif Vare

“Robert Juliat is the only manufacturer concentrated on making serious followspots for professional users,” concludes Virtanen. “Even before we bought the Arthurs, we knew what to expect. Robert Juliat followspots are specifically designed from the outset as followspots, not modified profile spots. The design team has listened to end-users and made tools for serious professionals. And that makes them the best tools for professionals.”

More information on the Robert Juliat Arthur LT and the full range of followspots and lighting fixtures can be found at www.robertjuliat.com

For more information on Musiikkitalo contact Musiikkitalo

Popular Slovenian vocal group, Perpetuum Jazzile, celebrated their 40th anniversary with a series of high-profile shows at Ljubljana’s Cankarjev Dom, the country’s biggest theatre venue, asking Crt Birsa from design studio Blackout to create lighting suitable for the occasion.

Lighting designer Crt Birsa from design studio Blackout.

With typical enthusiasm and imaginative zeal – plus the assistance of substantial quantities of Robe moving lights, Crt created an impressive visual showcase, working closely with Mark Pirc, brought in as video content creator and co-show director with Aljaz Bastic for these special performances.

Crt has lit the group several times over the last 10 years, and specifically more regularly in the last two after as Blackout has become their permanent lighting design provider. In fact, Crt’s first proper arena design was 10 years ago with Perpetuum Jazzile for their 30th anniversary.

For this show, the basic elements of his programming from the last two years were taken as the starting point. Initial ideas for the 40th included a stage at 45% to the audience with a shallow thrust protruding in an arrow shape, and above that they wanted a circular truss, which Crt morphed into a triangular shape that more harmoniously mimics the shape of the deck below.

He then filled the 8-metre equilateral triangular truss above the performance space with lights rigged on sub trusses, creating a slightly Floydesque ‘monumental chandelier’ effect that provided multiple layers of lighting that could be stripped right back or fattened out, depending on the vibe of the song.

The concept worked brilliantly and dovetailed beautifully with the other visual aspects including the angled stage and an upstage 16 x 6 metre LED screen. The lighting kit was mostly supplied by Ljubljana-based rental company, Intralite, with some pulled from the Cankerjev Dom’s house rig, which also features a lot of Robe fixtures.

The numbers added up to 8 x Robe BMFLs, 24 x LEDBeam 150s, 16 x FORTES, part of a recent investment by Intralite, 10 x MegaPointes, 34 x Spiiders and 20 x ParFect 150s.
These luminaires constituted the majority of the lighting rig, together with 32 x LED strobes, 12 more LED PARs plus six of the venue’s own genuine Svobodas which were rigged on the triangle and created an ambience of their own.

Robe FORTE

Twelve of the FORTES were used for the primary back lights in a line upstage. While they looked like they were on a single truss, they were flown on a combination of house LX bars which are arranged in rows left, centre and right of the stage.

The other four FORTES were utilised for side keys. Their accurate shuttering allowed Crt to cut the beams in tight to the stage and the artists. He also used them to project gobos over the singers during the song “Mesto Sanj” (Dream City).

Crt has been using FORTES throughout the year for different projects and loves them for the brightness, multiple features and excellent quality of light.

The eight BMFLs were positioned upstage on the floor and were the only rear lights from this low-level position. They were also a highly effective counterbalance to the power of the FORTE beams coming in from above.
The 10 x MegaPointes were placed inside the triangle, arranged in four rows in a 4-3-2-1 pattern, and they were used as high impact blocky light sources to complement and contrast with the Svobodas, a technique that worked well and dramatically.

BMFL Spot

Robe MegaPointe

The LEDBeam 150s outlined the structure of the triangular truss, eight fixtures on each of the three structural truss pieces creating the shape. From these positions they could produce an all-enveloping stage wash as well as be utilised as a show and effects light.

Crt describes them as “exceptionally handy” little fixtures. The LEDBeam 150s were also used for audience lighting, a task they achieved efficiently and subtly without blinding people! An ongoing nuance of the venue to make this work is dealing with the high balconies, and the LEDBeam 150s assisted in finding an elegant solution.

The 18 x Spiiders formed the main stage wash looks, with six doubling up as the principal key lighting for the soloists and guest singers.

Robe Spiider

The six key lighting Spiiders were from the house rig and positioned on the lighting bridge together with all the house profiles. They allowed Crt to match the colour temperatures of the TV lighting as one of the shows was recorded for Slovenian national TV.

Six ParFect 150s toned the triangle with another four boosting the side lighting positions for the solo singers when standing on their downstage marks. Another ten augmented the audience lighting, so plenty of colour and energy could be added to the audience looks for the broadcast wide shots.

Overall challenges included Crt persuading everyone on the merits of going with a triangular shape (rather than a circle) above the stage and getting the whole rig together with the LED screens at the right trim heights, because theatres do not have unlimited clearance. And, as always, time on site was tight!

The get-in for the first show started at midnight … and Crt finished finessing the focusing of audience ParFect 150s one minute before doors.
The visually assertive style of the show was a big hit with everyone, and Crt even found himself during programming paring some lighting back to ensure the artists stayed central to the picture and being reinforced proportionately by lighting and video.

He enjoyed the collaborative process of working with Mark on the content, show directors Mark Pirc and Aljaz Bastic – Aljaz was also multi-cam director. Crt benefitted from receiving the video content before the show which gave him some valuable prep time to think about matching lighting looks, scenes, and texturing to what would be appearing onscreen, which enabled a more integrated and mood-aligned visual picture to evolve to frame the performance.

Crt and his team at Blackout regularly specify Robe fixtures for their projects. The brand has a very strong presence in the Slovenian market thanks to the proactivity of Ljubljana-based distributor, MK Light Sound.

For more info about robe lighting, you can visit www.robe.cz

From 19 to 22 March, the exhibition grounds in Frankfurt will be the meeting place for the global entertainment technology industry. Over 500 exhibitors and brands from 34 countries with an international share of over 50 per cent will present product innovations for impressive events and fascinating audience experiences at Prolight + Sound.

In cooperation with associations, companies and other partners, this year the trade fair is presenting new areas and networking events as well as an expanded, bilingual education programme dedicated to current industry topics. From technological innovations and recruiting opportunities to concepts for sustainable events, Prolight + Sound 2024 offers its visitors four days full of inspiration, innovation and entertainment.

Prolight + Sound 2023

Every year, the industry event brings together decision-makers, buyers, users and young professionals with key players and top brands from all areas of professional event technology. From lighting and lasers to AV media technology, sound reinforcement and studio, theatre and stage, Prolight + Sound offers a wide range of products and topics that reflect the creativity and innovative strength of the event technology industry.

With the comprehensively expanded ProAudio range, the trade fair will be focussing more strongly on this area at the upcoming show. In the new moving image area Image Creation Hub, a first-class workshop and lecture programme will meet product highlights from renowned brands.
The newly created LightLab offers expert knowledge on blue light hazards and limit values. On the Main Stage, renowned speakers will address a variety of topics that are currently moving the industry including success factors for events, innovative audio systems, modern visual designs and concepts for sustainable events.

“With its unique symbiosis of technology, education, networking and entertainment, Prolight + Sound is a decisive catalyst for technological innovations, progressive ideas and new collaborations in the global event technology sector.
Together with the industry, we are creating a wide-ranging platform with Prolight + Sound, where important impulses for the event business of tomorrow are set. We are looking forward to moments full of creativity and innovation, emotional reunions and to celebrating successful cooperation,” says Wolfgang Marzin, President & CEO, Messe Frankfurt.

Prolight + Sound 2023

New and expanded areas, attractions and educational programmes

The newly created Image Creation Hub in Hall 11 will be organised in cooperation with the BVFK (Federal Association of Television Cameramen). As a central contact point for cameramen and professionals from the moving image sector, it combines workshops, specialist lectures and talks in a unique special area. The programme is rounded off by an exciting exhibition where visitors can experience the latest products and technical innovations from renowned manufacturers, exchange ideas with experts and obtain information.

The ProAudio range will be expanded in a special way at the upcoming show

With the expansion to 3000 m², the Performance + Production Hub (Hall 11) will become the largest area for music production and DJing in Europe. Created in cooperation with the Sample Music Festival, the area brings together product presentations, workshops, showcases, live performances and information on developments in digital sound creation. The spectrum is complemented by forwardlooking topics such as controllerism, live remixing and looping as well as biohacking.

In the new Live Box, well-known artists will deliver rousing performances, while the Swing Flare Club invites music enthusiasts to jam with or without previous musical knowledge.

Product innovations from top brands in segments such as digital audio workstations, samplers, sequencers, synthesisers, mixers, controllers, effects devices and mobile DJ equipment offer insights into new technological highlights in the field of professional audio equipment.

A highlight of the ProAudio area is the new Immersive Audio Dome in Hall 11. Realised in collaboration with Quickspace and United Brands, the impressive installation integrates an innovative system of Adamson loudspeakers, a Fletcher Machine multichannel audio rendering processor and creative visuals on full-screen projection walls.
Within the 100 m² igloo-shaped dome, an immersive all-round experience of sound, light and colour is created for up to 75 people. If you need a short break from the hustle and bustle of the trade fair, you can test high-quality headphones from well-known brands in a relaxed atmosphere in the new Audio Bar.

The audio programme will also be expanded on the outdoor area in front of Hall 11. Four outdoor stages await visitors there – a record in the history of Prolight + Sound. In addition to the already established Live Sound Arena, the manufacturers RCF, dBTechnologies and DAS Audio will each be presenting their high-quality products on their own demo stage. On the Silent Stage in Hall 11, the public can experience innovative sound technology solutions from InEar. Daily live performances will show how direct sound can be reduced on concert stages.

Prolight + Sound 2023

The new special area LightLab in Hall 12 offers expert knowledge, background information and demonstrations on the important topics of blue light hazards, risk groups and limit values.

The project of the Hamburg University of Applied Sciences (HAW) is supported by the brands Ayrton, Cameo, ClayPaky, Elation, ETC, GLP, JB-Lighting, Robe and Prolight + Sound. The presentations will focus on potential risks, the correct use of modern stage spotlights and the effect of optical radiation on the eye.

There is also an innovation in the seminar programme: The “Prolight + Sound College” combines three educational formats under one roof for the first time – the new Camera College (in cooperation with the BVFK), the ProAudio College (in cooperation with the VDT Association of German Sound Engineers) and the VPLT College.
From current audio trends and AI applications in film and TV to key topics in event technology and best practices, the platform provides concentrated expert knowledge in numerous lectures, workshops and talks. The presentations will be held partly in German and partly in English. Participants will receive a written confirmation.

The Guided Tours are professionally moderated and provide compact insights into new products, innovations and technologies in theatre technology. Participation in all lectures, workshops and product demos is free of charge for all holders of a valid ticket.

Together against the shortage of skilled labour

Topics such as recruiting and personnel development have gradually gained in importance in the event industry over the last few years. The career and training opportunities on offer at this year’s Prolight + Sound are therefore moving even further into the spotlight.

As a central point of contact for young industry newcomers and experienced professionals, the Future Hub combines a comprehensive range of information on training and further education opportunities with a presentation area for innovative startups and inviting networking options. With one of Europe’s largest job markets in the sector, the area also offers an ideal platform for professionals looking for a job.

In addition, Prolight + Sound invites pupils, students and trainees to the Future Talents Day on Friday, 22 March

The Future Talk on the Main Stage is primarily aimed at students, trainees, interns and pupils in years 10 to 13. Here, they can find out how future talents and professionals from the fields of technology, organisation, culture and congress look at their career ideas and expectations. The “Hands-on event technology” format is primarily aimed at pupils in years 7 to 13 as well as trainees, students and interns in the event industry.

In 30-minute short workshops, the young participants can try out the technical aspects of lighting, sound, video and rigging in small groups. The Future Talents Day is realised by the VPLT (Association for Media and Event Technology) in cooperation with the BDKV (Federal Association of the Concert and Event Industry) and EVVC (European Association of Event Centres).

For a greener future of the event industry

In view of rising energy prices and the desire for greater sustainability, the responsible use of natural resources is becoming increasingly relevant in the industry. Prolight + Sound is therefore providing impetus for a greener event industry with a series of programmes. For example, the Green Sessions are being organised in cooperation with the EVVC.

In presentations and panels on all four days of the trade fair, topics such as sustainability communication, resilience, social sustainability, sustainable large-scale events and organisational and technological steps towards climate-neutral events will be discussed and debated. Interested parties can find out about particularly resource-saving product innovations and technologies in the expertly moderated Green Tours. The topic will also be addressed as part of the keynote programme on the Main Stage in Hall 11.

Let’s get together: New Community Nights

In addition to product innovations, the promotion of young talent and training and further education, networking and a spirit of cooperation are essential pillars of Prolight + Sound.
To put the latter even more centre stage, the PLS Community Nights will take place for the first time this year in exclusive locations in the heart of Frankfurt city centre.

On three evenings, all trade fair participants are cordially invited to make new industry contacts, exchange ideas and celebrate together over music and drinks.

Participation in the PLS Community Nights is free of charge for visitors with a valid ticket. Admission wristbands are available at the info counter in Hall 12, West Foyer, Via Level (one wristband per person). These are always valid on the evening in question.

Further information can be found at pls.messefrankfurt.com/community-nights

All details about Prolight + Sound at www.prolight-sound.com

As an international trade fair brand, Prolight + Sound is present with events in Germany, China and Dubai. More about the global activities at www.prolight-sound.com/worldwide

ETC announces the release of Hog 4 version 4.0 software. Enhancements include significant improvements to color handling and Hog 4’s Color Picker, a new ‘Record Defaults’ function, and Fixture Builder upgrades.

Senior Product Manager Sarah Clausen commented, “Ultimately, the new color system relieves programmers and designers from the challenges in controlling rigs with multiple color engines. By providing multiple color input languages through the color pickers, virtual color functions and the gels library, and full ‘physical’ function controls linked to the virtual controls at all times, color control becomes seamless.”

For color handling, v4.0. represents a major overhaul of the color mixing system used in Hog 4 OS. Substantial changes have been made to the fixture library, color picker, gels, palettes, effects, plots, pixel mapping, and the playback of color. All color mixing systems including native HS, xyY, CMY, and all additive color engines are now fully integrated and supported by the color system.
Additionally, Hog 4 OS v4.0 features a new Color Picker window with a tabbed interface that features a wide variety of controls for quickly and seamlessly mixing color across all fixture types. A new “Color Mix” preview column has been added to the output window and editor windows, indicating the color being output by color mixing fixtures.

In addition to the color system rework, v4.0 includes a number of other improvements. Record Defaults provides operators with a quick and simple way to establish default function values for fixtures by using modified values in the programmer.
The Fixture builder has a few minor upgrades in v4.0, including additional basic mode templates for modeling additive color modeling fixtures, automatic application of virtual intensity to fixtures with color mixing systems, and the inclusion of more user editable fields such as mode and product.

Version 4.0 is compatible with all generations of Hog 4 hardware. This major release introduces significant improvements to the OS, resulting in a show file compatibility break. Users should update to v4.0 only when they are ready to start a fresh show file and become familiar with the new workflows. In a future release, the capability to export data from a v3.x show file and import it into a v4.x show file will be available.

Watch the Hog 4.0 OS introduction video below:

“Version 4.0 software is a major step forward for the Hog 4 OS, bringing best in class color controls to the platform and including optimizations that give us a solid base for our future development,” remarked Market Manager Tania Lesage.

Version 4.0 is a major release with a lot of changes to your workflow where color is concerned. Please update only when you have some time to become familiar with the new features. Also, v3.x show files and archives will not open directly into v4.0, there will be a pair of releases (v3.21/v4.1) that will add export/import capability to bring v3.x show files including fixture data into v4.1 and beyond.

For more information on Hog 4 and to download v4.0 software, visit the ETC Connect website

Building upon the success of the recently introduced PlutoFresnel, Astera today announces the launch of ProjectionLens that will add capabilities to its battery-powered, LED-based light, allowing to convert quickly into a powerful Profile Spotlight.

The lightweight, portable PlutoFresnel, which operates on a completely wireless basis with built-in battery pack, can be transformed in less than a minute simply by slipping on the ProjectionLens, which then allows the light to become a Profile Spotlight with a range of 16° to 36°. Projection zoom can be controlled manually by twisting the lens barrel or two Focus Wheels.

An E-size Gobo holder also enables custom logo projection. Built with the precision and durability that Astera applies across its entire range, the Profile Lens allows for close control of the light over any distance, with crystal clear optics and a four-leaf shutter design to facilitate trimming of the beam as needed.

Jesper Sørensen, Product Specialist at Astera, presents us how the new Astera ProjectionLens is quickly and efficiently installed by sliding it in and out of the luminaire.

This builds upon the already substantial applications of the PlutoFresnel itself, which harnesses the benefits of LED technology in order to deliver a lighting style that previously could only be achieved with cumbersome and expensive Tungstens.
Crucially, it achieves the very specific aesthetic of a Fresnel light with lower power draw, higher output strength, precise colour control, lightweight profile, wireless installation and full creative flexibility. In its Fresnel setup, it maintains a beam angle of 15° to 60°, with an equivalent output of 300W using only 80W.

With its LED core and concentric circle lens design, and weighing just 4.6 Kg, with in-built battery and a multitude of mounting setups, as a Frensel the Pluto focuses light output perfectly, producing a sharp yet soft beam that is perfect for a variety of applications across film, TV and events.
Then, a quick and simple lens transition facilitated by this new projection addition provides even more scope for the lighting base, providing a Profile Spotlight that gives definition and focus to any production.

Both lights and indeed the full Astera range, are founded upon the remarkable Titan LED engine, which powers the lights and ensures absolute colour fidelity and lighting consistency, across a 1,750 to 20,000 Kelvin range and with Full Spectrum RGB+Mint+Amber colour.

It allows for full coordination of lighting groups, with quick setup and versatile control options, including Wireless DMX, CRMX or BluetoothBridge connectivity to the intuitive Astera App, alongside the addition of new ‘WhiteRemote’ and ‘FXRemote.
This new ‘Fresnel to Profile’ technology furthers Astera’s commitment to creating lighting that is versatile and efficient in terms of workflow, energy draw and space/weight concerns.

Using Astera equipment, a lighting engineer can achieve far more creative potential in a significantly more efficient way, using a much more compact equipment setup, due to the act that the Astera lighting ecosystem as a whole is designed to increase the versatility of each core light, whilst at the same time reducing the need for auxiliary equipment and wiring.

Speaking of the new ProjectionLens, Sales and Marketing Director Sebastian Bückle said: “The new ProjectionLens combined with PlutoFresnel, provides gaffers and event technicians with a two-in-one solution in their kit bag: facilitating two different but highly specific lighting types at once; Fresnel and Projection. That would be remarkable enough in itself, but even as just single-function lights, Astera lights are more compact, lightweight, energy efficient and creatively flexible than just about anything else on the market”.

He continued: “The range of applications for the new PlutoFresnel hybrid lens is truly remarkable; be it key, fill or backlighting, interview setups, special effects, documentary filmmaking, location shots or any application that calls for the development of a particular and unique kind of mood and atmosphere. To be able to deliver such a versatile creative portfolio in such a compact and efficient system makes us very proud”.

More information about Astera and its products is available at astera-led.com

Hosted for the first time by David Tennant, the 2024 EE BAFTA Film Awards took place on Sunday 18 February at London’s Royal Festival Hall, and was broadcast internationally on BBC One, iPlayer and BritBox International. With cinema enjoying a strong post-pandemic resurgence, partly thanks to the Barbie/Oppenheimer effect, the BAFTA Film Awards has lost none of its prestige.
Attended by the President of BAFTA, HRH the Prince of Wales, and a glamorous audience of glitterati, 25 Awards were presented, voted for by over 7,500 BAFTA creatives and film industry practitioners, for categories that included Best Director, Cinematography, Documentary and Film Not in the English Language.

TV, broadcast and event lighting specialists, Version 2, traditionally known for its involvement in television lighting was, for the first time, the official lighting supplier for the EE BAFTA Film Awards. Version 2 supplied lighting and manpower for the live Awards ceremony, artists performances and the traditional obituary tribute, as well as the audience lighting and the live event broadcast.

Also involved in designing for the Awards for the first time were veteran Lighting Director, Tim Routledge, of Tim Routledge Lighting Design and Set Designer, Julio Himede from Yellow Studio New York, in a partnership first formed for the Eurovision Song Contest in 2023. “It’s a tricky show as you are only in the venue for a short time with a very short load in and load out,” explains Routledge. “The live show starts at 6pm and is broadcast as live on television around 8pm, so there is a super-quick turnaround to get it out that night with editing happening on the fly.”

Under those circumstances, with such a high-prestige, high-profile event, Routledge called on trusted suppliers to work with him. “I brought Version 2 on board because I use them a lot for my television design work. We have a great relationship and they always look after us very well.” Version 2 chose seasoned gaffer, Sam Healey, who has a track record working on the BAFTAs and with Routledge, to keep everything on track.

The centrepiece of Himede’s set design was a series of outlines of the BAFTA Award mask, arranged in a circular fashion and backed by a large, semi-circular gauze around the back of the stage. The show was lit using a mix of the Royal Festival Hall’s house rig and lighting from Version 2.

Martin VDO Sceptron

“We use 310 x 1m long Martin VDO Sceptron 10s rigged vertically behind the sculptural set piece, back-lighting the semi-circular gauze to add a load of sparkle and give the appearance of a giant zoetrope,” says Routledge.

“This involved a lot of work in the framework and the rigging of all those Sceptrons overnight! We were able to collect the truss for the Sceptron in advance and spent a good couple of days pre-rigging them onto the framework, labelling and patching them so we were able to install it all within the short timeframe,” explains Healey.

With the central set piece predominantly washed in reds, blues and golds, the Sceptrons provided a twinkly backdrop behind the presenters. This changed to more vibrant, dynamic effects and content for Sophie Ellis-Bextor’s performance of Murder on the Dancefloor which has been enjoying a revival since its notorious inclusion in Emerald Fennell’s film Saltburn, with more sparkles added for comedian Nick Mohammed’s appearance.

The mood was later transformed to a serene, ethereal monochrome with beautiful shaping of the stage and set during Hannah Waddingham’s moving rendition of Time After Time as BAFTA paid tribute to artists who had passed away this year.

Robe FORTE

Version 2 supplied Robe Forte fixtures for Routledge’s key lighting on the performers and presenters, with more Robe Forte units, in conjunction with a Robe Robospot system, as follow spots, all of which proved perfect tools for broadcast.

Martin Mac Aura XBs were rigged on the front truss and bridges, and more Mac Auras on the floor upstage by the drape.

Mac Aura XB

A half circle of Robe Megapointes were rigged around the curved onstage truss completed the onstage lighting inventory, while Astera Pixelbricks were rigged on stage facing outwards to light the star-studded audience.

Robe MegaPointe

Version 2 drafted in freelancers Tom Young as operator for the moving lights and Seb Williams for the key lights. “The Royal Festival Hall is a tricky place to light because, not being a particularly modern venue, there’s not many rigging positions,’ explains Routledge.

“It’s a modern-looking show however so, for the first time this year, we added in more lighting features around the room, on the balcony fronts and down the walls to make it pop more on camera than in the past.”

To add definition and interest to the room Routledge mounted 2m Astera Hyperion tubes horizontally on the front of the auditorium boxes which fitting neatly into the straight lines of the modernist architecture.

Astera Hyperion

He also added Robe LED Beam 150 fixtures to the back wall of the stalls and dress circle for eye candy effects during the walk downs.

Robe LED Beam 150

“It is a pleasure to work with Tim as he does great plans and his paperwork and designs are fantastic,” says Healey. “This makes life a lot easier, especially under such time contraints.
Line producer Sophie Huda assembled some of the very best in our industry to cover all aspects and disciplines for this year’s show. It’s been an honour to be a part of this fantastic team.”

“Version 2 has been great as usual,” concludes Routledge. “Sam really looked after me and the V2 team are always on it. I can rely on them to pay excellent attention to detail. There’s no drama there!”

The full report which is available at V2 Lights

Show designer and director Martin Hruska wanted to create an ambitious, breathtakingly visual and memorable performance space for Slovak rap group Kontrafakt to deliver their highly anticipated “New Era” concerts at Prague’s O2 Arena in the Czech capital, a challenge achieved with the assistance of nearly 200 Robe moving lights and a spectacular automated stage set.

The Robe fixtures, a mix of 51 x FORTES, 24 x MegaPointes, 57 x Pointes, 44 x Tetra2 LED moving battens and 10 x Tetra1s and three BMFL FollowSpots were all supplied by leading Slovakian company Ministry Rental. Lighting was programmed and run for the show by lighting designer Lukáš Patzenhauer, who joined a highly talented team of creatives led by Martin.

Kontrafakt was celebrating two decades at the forefront of rap, so Martin took what was both the artist’s and event producers Mafia Records’ goals to heart in the quest to “produce the biggest show possible” in the venue.
One of the best-known designers in the Czech Republic, Martin had a blank and proposed a multi layered stage set with a ground-based section that was shaped like Kontrafakt’s interesting and asymmetric signature symbol with two crosses. This went right out into the audience so he could get close to his fans.

Above this, was a 14 metre long by 10-metre-wide flown catwalk that could fly in and out at strategic points in the show. The creative journey started about a year ahead of the gigs, and as the scenic elements evolved, Martin started thinking about lighting fixtures and what he wanted to achieve imaginatively in terms of effects for different sections of the show.
He also considered how lights needed to be rigged in relation to the envisioned set piece movements, and with all these aspects in mind, he drew up the initial technical drawings including a lighting plot.

Once the outline design and its visual requirements were established, Kontrafakt’s production manager Cyril Hořánek became involved. He looked at the design, the logistics, the budgeting, the whole picture and started sourcing the various supply companies needed to realise the project.
Ministry Rental was confirmed as the lighting, audio, and LED screen supplier early on, and both Martin and Lukas were therefore very happy to work with their Robe moving lights. Ministry has one of the largest rental inventories of Robe in central Europe.

“I am a big fan of Robe,” stated Martin, “As a Czech, obviously, I am proud to see the company being so innovative and becoming established as a leading global brand with a great reputation and an amazing selection of products.”
The Robe fixtures were all chosen for their “power, flexibility and appropriateness to the show and the dramaturgy,” noted Martin, who was joined on the project by design assistant, Michal Szozda.

Robe FORTE

Thirty-six of the FORTES were rigged on a grid of nine upstage-downstage orientated trusses flown above the main stage, all moving in and out on the same Kinesys automation system that was controlling the flown runway system. Different parts of this were lowered and raised to allow artist access and scenic movement at strategic moments in the show. For Martin, the choice of FORTES was “natural” as he thinks Robe’s current most powerful moving light is “a great and super-bright multifunctional light” and therefore perfect for this show.

The other FORTES were positioned six on a front truss in the ‘advanced’ position, with four more each on the left and right side trusses. All these FORTES were in prime positions to catch all the on-runway action as Kontrafakt and special guests including rock guitarist Tereza Rays energetically bounded up and down utilizing the space to get into close proximity to the audience which delighted everyone in the room!

A MegaPointe was rigged on each of the 9 ‘grid’ trusses in the same position as the two most downstage rows of FORTES, and this was to produce a fan of narrow, piercing light rays coming from the very top of the 23-metre lighting trim. This looked elegant and dramatic for the key moments in which it was used.

Robe MegaPointe

MegaPointes were also dotted around on the stage deck, the thrust, and the flown catwalk to provide a high-impact field of beam effects emanating from around the environment, significantly enhancing the feeling of space and dimension.

Additional MegaPointes on the static side trusses blasted in as a horizontal grid of beams to cut into and contrast the geometry of those shooting down from above. Robe Pointes were interspersed between all these positions on a downstage truss together with blinders, and on the side trusses augmenting the beam-work of the MegaPointes, generally assisting in expanding the feeling of depth and ramping up the energy in the room.

The flying catwalk was outlined with a combination of Robe’s Tetra2 and Tetra1 moving LED battens which are a personal favourite of Martin’s. In this case, they were practical luminaires for these positions and had the desired optical impact, programmed to deliver a series of extra-terrestrial style effects, especially during song number 32 “Zlatokopky” when the runway was lowered from the roof for the first time.

Martin appreciates the zoom on the Tetras, and the lensing system which enabled an array of cool and funky looks, like sheets of moving light, all amping the exhilaration as the catwalk descended. He also notes how well “all of these Robe fixtures from the Tetras to the FORTES” work well and harmoniously together, commenting on aspects like colour mixing.

Robe Tetra2

When adding the final details to the lighting rig, Martin included 3 x BMFL FollowSpots on the front truss (flanked either side by the six FORTES also on this truss position) for quality and uniform front spotting everywhere around the performance space.
These were running on a 3-way RoboSpot system with the three BaseStations located backstage. “Good key lighting was absolutely essential to make this show work, and using BMFLs and the RoboSpot system made this work brilliantly,” declared Martin.

The two-hour shows were a massive success with the artist, his fans and in terms of producing a truly world class show and high value entertainment. They were the result of a lot of hard work and complex planning from a diverse team of talented people. Both concerts had sold out immediately when announced the previous year, so the pressure was on for everyone involved to imagine something very special.

In addition to the moving runway, the nine trusses and two lighting pods (upstage left and right) rigged with 144 PAR 64s; a 14 x 10 metre cross set piece loaded with lights any pyro also used as an artist transportation and entrance / exit platform; plus the upstage LED screen … were all rigged on 48 axes of Kinesys motors / automation. Martin carefully choreographed multiple set moves into the show.

The automation operator was Kosma Szostak, owner of Showstak from Poland which supplied all these related elements of the show technology, and other companies contributing to the event included T-Servis, Black Stages, Flash Barandow, CS live and Alunad stages. As show designer, Martin also commissioned the video content that was delivered by Jan Turek of Signal Generator.
He concludes, “The collaboration with the artists, their team and all the suppliers was excellent. The artists were very involved in the preparations, and everyone worked smoothly and seamlessly together as a team.

With such a demanding one-off production, glitches will arise on the set, and you can always recognize a professional crew by how quickly problems are solved. These Kontrafakt concerts worked 100%, and we owe that to the dedication and attention to detail of Cyril Hořánek, Ministry’s CEO Rudo Tuček and all the others involved including Mafia Records, who were instrumental in creating the project. As always, with every ambitious production, the challenge is learning and taking away experiences that will contribute to the next project being even better!”

Rudo Tuček, commented, “The next level design required several custom elements to make it properly 3D in appearance that Ministry supplied to this technically complex and unique project. The spectacular set and substantial LED elements certainly delivered a show that thrilled and amazed everyone and we were very proud to be a key supplier and an integral part of it!”

For more info about Robe lighting, you can visit www.robe.cz