Ephesus Experience Museum Brings History to Life with Panasonic DLP Projectors

123 Panasonic DLP laser projectors were chosen to transform visitors’ understanding of the ancient city of Ephesus through an immersive, multi-sensory experience at The Ephesus Experience Museum.

Creating a modern immersive experience museum for the 3m visitors a year visiting the archaeological site of the ancient city of Ephesus was a major challenge. The Republic of Türkiye Ministry of Culture and Tourism wanted to ensure that the building was sensitively constructed at the UNESCO site while bringing to life the thriving ancient trading centre, one of the most important in the Mediterranean region.

The museum required an experience to touch all the senses and powerful projection technology to create realistic 360-degree visuals, vivid enough to captivate and educate visitors about the historical significance of Ephesus.
“Panasonic projectors have been fundamental in achieving our vision of an immersive historical experience. Their reliability and quality have allowed us to bring the story of Ephesus to life in a way that captivates and educates our visitors.” Eda Bildiricioglu, CEO DEM Museums

Bringing the vision to life

The Ephesus Experience offers an in-depth exploration of the ancient city’s rich history, from its founding to its peak as a major urban centre. For approximately 20 minutes, a storyteller in 17 languages guides visitors through three rooms, with each utilising advanced AV technology to allow visitors to walk the streets of the ancient city, to see the splendour of its buildings, and interact with its citizens.

The Museum is already an award winner, taking the Best Museum category earlier this year in the US Mondo-Dr Awards to honour prestigious projects in the exhibition and hospitality sector worldwide. The Ephesus Experience Museum, developed and operated by DEM Museums under the Republic of Türkiye Ministry of Culture and Tourism, has quickly established a reputation worldwide.

This engaging visitor experience includes 360° projections, 3D soundscapes, and multi-sensory elements such as fog and scents, which together create an engaging, vivid and educational experience that transports audiences back thousands of years.

In the First Hall, all of the wall, floor and angled ceiling images were created using the “mapping” technique. It combines very large and high-resolution images from very short distances with more than 33 Panasonic projectors devices and special ultra short throw lenses. When it’s time to leave the First Hall, special curtains that keep the sound and effects enclosed in the room, are automatically opened and guests are directed to the main hall.

When visitors enter the Main Hall, they are surrounded by monolithic images on the floor and walls and accompanied by the smell of the city environment. They pass through the 8-metre image-reflected columns and are suddenly walking on the streets of the ancient city.

They briefly pass through the 7-meter-high building, the first example of its kind in the world and experience the feeling of being in and a part of the great city. The immersive experience is created by projecting onto the 750m2 perforated seamless screen that covers four walls and becomes one with the 550m2 floor.

In the Main Hall, the one-of-a-kind earthquake mapping application is created using special lenses on a total of 90 Panasonic DLP projectors of varying brightness and colour quality. The earthquake vibrations and sound effects come from the walls equipped with special speakers and sound systems of the L’Acoustics L-ISA system.

Visitors feel like they are wandering through a real street, in a real city, at the moment they experience the earthquake. In the Third Hall, visitors are left alone with a giant replica of Artemis, the goddess of nature. The combination of LED screens, effects coming from the 40-speaker sound system and a narrative that includes different light shows at every moment contributes towards the immersive experience.

Visual quality and reliability

In total, 123 Panasonic DLP laser projectors were chosen to bring the visuals to life. These projectors deliver exceptional colour and image quality with 4K resolution and high brightness, essential for the museum’s large-scale projections using video mapping.

The Panasonic DLP projectors are easy to set-up with simplified workflows designed to blend images using multiple projectors easily and seamlessly. Their robust design and failover technology also means minimal maintenance and ensures consistent performance.
A wide range of Panasonic lenses, including Ultra Short Throw, were used to adapt the projection to the layout of each room, ensuring intense realism without impacting the visitor experience with shadows.

An unparalleled experience

Up to 150 experts from around the world collaborated on the project, which was completed within just 26 months in August 2023. The collaboration between Panasonic Connect Europe and distributor and system integrator Astel Profesyonel Goruntu Sistemleri A.S. has resulted in a world-class museum experience with the support of content creation by Marshmallow Laser Feast and exhibition design by Atelier Brückner.
Panasonic’s projection technology has significantly enhanced the Ephesus Experience Museum, enabling it to provide an unparalleled historical and educational experience.

Museum representative Eda Bildiricioglu, CEO of DEM Museums, said: “Panasonic projectors have been fundamental in achieving our vision of an immersive historical experience. Their reliability and quality have allowed us to bring the story of Ephesus to life in a way that captivates and educates our visitors.”
Visitors are now able to witness the grandeur of ancient Ephesus through state-of-the-art visual storytelling, making history both accessible and engaging.


Keeping Astera In Sight

Adriano Candeloro is a founding director and technology guru at Sightline Productions – a busy and successful NSW-based AV and rental company specialising in delivering the very highest technical production values to a range of corporate and B2B clients across Australia, New Zealand and much further afield with a variety of international work.

Joe Murray is also a founding director, and they and the team are all big fans of Astera, having first started hearing about the brand a few years back when the neon lighting look was very popular in Australia.

The first Astera products to arrive at Sightline were AX1 PixelTubes that joined the inventory in 2019, a figure that’s now jumped to over 50 fixtures.
In addition to these, they also have AX2 LED battens, AX3 LiteDrops, AX5 TriplePARs, AX9 PowerPARs, as well as the 2 metre Hyperion Tubes and the half metre Helios Tubes, totalling over 200 Astera battery-powered LED products.

These have become invaluable for all types of event scenarios and the continuing commitment has recently seen 2 cases (16 total) of AX3 LightDrops added to stock joining 80 domes for the AX5s which can be used as set enhancements. They are now looking at Astera’s Fresnel series.

Sightline’s biggest project to date using Astera involved over 200 x AX1 tubes that lined an interactive entrance tunnel to an event for software and graphics brand Canva, at The Hordern Pavilion in Sydney, Technically Directed by Sightline’s Kim Louey-Gung.

AX1 tubes were also used for the Netflix season launch of the newest Stranger Things series where they – together with other Astera fixtures – help to create an actual “upside down world”. It’s almost become an in-joke at Sightline in terms of how often AX1s are used, as Astera products are perfect for so many applications and as ultimately useful creative tools, frequently requested on different jobs.

The Sightline team feels the tubes in particular are a brilliant ‘gap filler’ for streamed shows or presentations with cameras and is impressed with the selection of rigging and mounting accessories that come with an Astera package making the lights “super quick and convenient” to deploy pretty much anywhere.

Astera AX3

AX3s are super-handy and were recently used on a corporate event fitted to the top of a set piece due to their tiny size, and they are regularly dropped into stage as they are so easily concealed yet have great visual impact.

“Being able to use this many battery-powered fixtures on a show, event or stage set is amazing and so practical… allowing for quick and cable-free looks,” explained Joe. Mostly the Sightline crew will use the Astera App on an iPad for controlling the fixtures.

The quality of the light output from all the different Astera luminaires “is excellent” notes Adriano, especially the AX5s and AX9s which are frequently used for set and key lighting on stage and in studios. They appreciate the colours, especially the pastels and the warm whites and AX9s can produce an excellent stage wash.

Astera AX5

Astera AX9

“The batteries will last all day, so combined with the very organic look that blends in so well, the accessibility and incredible versatility of the luminaires, they are good for anywhere and everywhere,” says Adriano. When LDs, lighting directors, operators or clients know that a company has Astera onboard, “everyone takes you seriously, the name has proper kudos and industry standard status,” he enthused.

On average, Sightline will supply equipment to around 30 projects a month of different sizes, often including the lighting design, and Astera fixtures will invariably be somewhere on the event.

A vital element of investment in any kit is the service expected from the supplier, and Astera’s Australia and New Zealand distributor ULA Group is “second to none. For any busy rental / production company, knowing you have great service, support and backup when needed is all important,” Adriano concluded. They look forward to continuing their symbiotic relationship with Astera.

For more info about Astera LED, you can visit Astera-Led

ShowTech Productions Bahrain invests in Robe iFORTE

ShowTech Productions, based in Riffa, Bahrain, has recently added to its extensive Robe moving light stock with the purchase of 12 x iFortes LTX luminaires. Currently Robe’s most powerful hard-edged Led moving light, these were delivered by Robe Middle East in Dubai.

Robe Middle East’s general manager Elie Battah on the left with ShowTech Productions’ CEO Lawrence Rodricks.

The company is a leading event production and technical services provider working across multiple sectors including concert touring, live events, and corporates. They also have a base in Saudi Arabia, and work across the GCC region.

These join several hundred Robe products including Spiiders, MegaPointes and BMFLs already owned by ShowTech, following steady investments in recent years. “Robe products have consistently been on all the international riders we have seen in the last 10 years” commented owner and CEO Lawrence Rodricks, adding that this plus the brand’s reputation for quality and well-made products has driven the purchases. This was also the motivation for the first iFortes to join the inventory.

ShowTech Productions’ CEO Lawrence Rodricks.

ShowTech’s clients include the 10,000 capacity Dana Amphitheatre which is the main concert arena in Bahrain. Visited by numerous touring artists since its inauguration in 2018, it has helped put Bahrain on the international ME touring circuit.

“Typically, we will supply Robe moving lights for shows in this venue,” explained Lawrence, “The brand is very often on their specs already, and if it’s not, then lighting designers and directors are always happy to use Robe.”

The iForte LTXs utilise Robe’s newest Led innovations and the range is an obvious successor to the flagship BMFL series of the last decade which are still going strong! These iFortes are the first hard-edged Led luminaires for ShowTech.

With eight RoboSpot systems already part of the Robe inventory, this is another reason to have iForte LTX onboard as this fixture works perfectly as a remote-controlled follow spot as well as for general use, boosting the versatility of the purchase. ShowTech’s chief lighting engineer Rasha Mihalek is equally as enthused about the arrival of the iForte LTXs, as he was pushing for them as well.

Rasha will design the lighting set up once an artist rider has been received, based on the kit available, which then goes back to the production LD or operator for approval. If it’s a touring show, sometimes they will bring in elements of their own production, typically a floor package, but invariably ShowTech will supply full production, including audio and video, for all the Amphitheatre’s major shows, currently averaging two per month.

Lawrence is confident the iFortes are a “great investment and an amazing, super bright, excellent quality and popular product that ticked all our boxes and also has value as a cross-rental item.” The iForte LTX’s were delivered to ShowTech immediately after the recent SLS expo in KSA, and their first show will be the Scorpions (lighting designer Manfred Nikitser) whose rider contains 50 x iFortes, complete with additional fixtures from dry hire specialist Perfect Ovation.

(From left to right) Nuwan Patabandige: (technician, Robe Middle East), Patrick Haddad (technical manager, Robe Middle East), Elie Battah (general manager, Robe Middle East), Lawrence Rodricks (CEO Showtech Productions, Bahrain) and Tarek Abou Gosh, warehouse co-ordinator for Robe Middle East.

Lawrence and his team also underline the importance of and appreciate the excellent service and support available from Robe Middle East which is based in Dubai. Headed by general manager Elie Battah, the subsidiary provides next-level service to Robe customers and end-users across the Middle East and GCC.

ShowTech Productions was started in 2002 by Lawrence specifically to specialise in offering the very best show and event production values. Prior to that, Lawrence had cut his industry teeth at Maestro Music Equipment, an acclaimed music tech enterprise founded by his father Vincent in the 1980s.

Music has always been a big part of Lawrence’s life. Vincent was a drummer and DJ who then started renting out equipment, so Lawrence was born into the fabulous world of production technology and has inherited his father’s passion and zest for the industry, plus a commitment to ensuring audiences embracing all performance genres enjoy the thrill and excitement of the very best shows!

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


Teatro de la Zarzuela invests in Robert Juliat Dalis 860 Cyclorama

Home of Zarzuela, a form of Spanish traditional musical comedy, central Madrid’s Teatro de la Zarzuela was restored to its historic beauty in 1913 after a fire destroyed the original 1856 building.

Tribute Concert to Victoria de los Ángeles soprano, courtesy of the Teatro de la Zarzuela.

Now owned by the Ministry of Culture and a designated Asset of General Interest with Monument status since 1994, the Teatro is Spain’s first and only Spanish lyric theatre. The most famous Zarzuela performances have premiered here and the best works of its repertoire are still sung and heard here to this day to audiences in excess of 1200.

Theatre, television and event rental company, CityLight Iluminación, has supplied 32 Robert Juliat Dalis 860 Cyclorama lights to the opulent venue, procured from Robert Juliat’s exclusive distributor for Spain, EARPRO & EES.

Teatro de la Zarzuela’s technical team carried out some in depth research when choosing their latest cyclorama lighting, making extensive enquiries on their requirements within its own team of experts and with visiting lighting designers before making their choice.
“Our investments are always a collegiate decision based on the views of all they affect, and on our need to improve our equipment while providing each lighting designer with a wider range of resources,” says Antonio López, Technical Director at Teatro de la Zarzuela.

Dalis 860 answered all the team’s wishes: a 300W 1m long batten with 48 asymmetrical reflectors housing an array of 8 coloured LED emitters, including warm and cool white. The original and award-winning Dalis 860 is a well-engineered cyclorama light created to deliver powerful, smooth coverage and a huge variety of pastel and saturated colours.

Robert Juliat DALIS 860

Shortly after receiving their new Dalis fixtures, the team installed them in readiness for a series of concerts: “We rigged 9 Dalis 860s on a lighting bar set 1.8m behind the cyclorama cloth and another 9 units on the ground at the same distance,” says López.

“From here we projected onto a pearl grey PVC cyclorama, successfully covering the 12m wide x 8.5m high surface with ease and obtaining a beautifully smooth result with fabulous colours. We found every aspect of the Dalis to be both useful and outstanding!”

The Dalis 860 fixtures have since been put to good use on a number of productions including the Gal·La Placídia Opera, the Lied Recital, a Symphonic Concert of Spanish Music, and of course the tribute to the soprano, Victoria de los Ángeles, where the coverage and colour palettes, from saturated to subtle, have proved exceptional.

“The performance of the Dalis 860s has far exceeded the expectations of the lighting designers in charge of these productions,” says López. “They all report very good output and good colour quality, and are very impressed in how accurately the Dalis can be tuned to match LEE Filters or Rosco colours to a much higher standard compared to any other fixture on the market.

Teatro de la Zarzuela’s technicians are also very happy: “Despite Dalis being a recent purchase, the team considers them to be of a much more robust construction than other lights with a similar purpose,” reports López. “We are very happy with them and with the service we have received from CityLight which has been, as always, very professional and efficient.”

For more information on :

– CityLight Iluminación
Teatro de la Zarzuela

For more information on the Robert Juliat Dalis 860 and the full range in that family of fixtures, along with and Robert Juliat’s extensive range of followspots and lighting fixtures, you can visit www.robertjuliat.com

Bootshaus, the World’s #5 Night Club with L-Acoustics A Series

At Bootshaus, you’ll find flame throwers, fog machines and lasers. But don’t let the pyrotechnics fool you; here in the world’s number five-ranked club, it’s the sound that’s number one. “Upgrading to L-Acoustics helps us keep our coveted position as one of the best clubs in the world. Bootshaus has always been recognised for prizing sound over visuals. Sound is super important to us,” boasts Tom Thomas, Managing Director at Bootshaus.

Tom Thomas, Managing Director at Bootshaus.

For 20 years, Bootshaus has curated a mix of electro-house, dubstep, and drum’n’bass for clubgoers. One of the country’s first techno-culture hubs, Bootshaus built a reputation inside Germany, where it consistently ranks #1 in the nation. On the world stage, the club ranks #5, and its brand extends beyond club walls to curated festivals throughout Germany.

Within those 1,900-cap walls, which include three dance floors, each with its own DJ booth, and a large outdoor area overlooking the Rhine. clubgoers have danced to the likes of Skrillex, David Guetta, Diplo, and Avicii.

Getting sound to each of the dance floors has been difficult, and the previous system, installed over a decade ago, wasn’t reaching the full space. “Together with L-Acoustics, we are ushering in a new era at Bootshaus,” explains Thomas. “This new system promises to fill the Bootshaus with an unprecedented sound experience and offer our guests a completely new musical experience.”

Tobias Hemmersbach, Babbel & Haeger’s Application Delegate.

L-Acoustics Certified Provider Distributor Babbel & Haeger was tasked with specifying the perfect system for the venue in consultation with production company Laserframe, whose relationship with Bootshaus extends over almost two decades.
According to Babbel & Haeger’s Application Delegate Tobias Hemmersbach, L-Acoustics mapping software Soundvision was invaluable in helping the team arrive at the perfect solution.

“We only had 20-year-old, 2D files, but things have changed a lot there in that time,” he explains. “Because of all the different areas and heights of the venue, the dancefloor being the lowest point and the VIP decks being on the roof of the building, Soundvision was very crucial to simulating all the various heights of the different venue spaces and to achieving Bootshaus’ audio objectives for each one.”

Tobias and his team landed on a final design comprising left/right hangs of two A15 Focus over one A15 Wide on either side of the DJ booth for the main dance floor. Seven KS28 subwoofers embedded under the stage provide a low-end thump.

Two further hangs of one A15 Focus over one A15 Wide ensure the entire floor is filled with energy. Nine X12 coaxial enclosures are used throughout the remaining spaces to ensure even, dynamic coverage. For the upper VIP Deck, three X12 and two KS21 subwoofers cover the space. DJs are treated to monitoring via one A15 Wide and one KS21 per side.

DJs are excited to push the new concert sound system to its full potential, to the delight of the 1900 capacity Boothaus nightclub.

“Already, our audience recognises a major quality upgrade in the sound,” Thomas beams. “We’ve achieved everything we wanted – great quality audio throughout, and of course, the excellent low-end that clubgoers expect. We have a lot of very happy DJs now.”

Today, Thomas is thrilled not only with the new sound system at Bootshaus, but also with the opportunity to usher in a new era of audio innovation. “The investment underlines our commitment to exceeding guest expectations and to staying at the forefront of the club scene,” he says.

“We invite all music lovers to experience this exciting new era with us. Be ready to become part of a revolutionary sound journey in the boathouse. It will captivate you and never let go,” Thomas concludes.

More info on:

– L-Acoustics
– Babbel & Hager
– Bootshaus Cologne



An army of Kyalami integrated into the Ayrton Prolight+Sound show with an intense beam and strong contrast thanks to its laser source.

By combining cutting-edge technologies and innovative design, Ayrton fixtures are creative instruments born from a ceaseless quest for innovation and an overflowing passion for light. Their performance is exceptional, their versatility remarkable, and their aesthetic is both elegant and refined.

Prolight+Sound has once again revealed new flagships, the mini Kyalami with a laser source which won the SLU innovation award, the Nando 502 Wash, and in preview the Mamba, a powerful Beam with a 500 W laser source presented by Yvan Peard in the following video.

Yvan Peard

Yvan PEARD, a visionary designer and daring entrepreneur, is tirelessly committed to pushing the boundaries of imagination and innovation. He embodies a singular vision, harmoniously merging cutting-edge technology and boundless creativity. His unwavering commitment constantly pushes him to explore new horizons and challenge technological limits.

Kyalami: SLU’s innovation award

The Kyalami is a mini laser beam fixture of incredible power. heir to the MagicDot XT concept is the first luminaire in Ayrton’s Creative Solution series to use a through-phosphor laser source.

A  Laser source in the ball-like part of this mini fixture: is only 265 mm in diameter.

To remain ultra-compact and IP65, this jewel fits in only 265 mm with its 100 W laser module equipped with a heat pipe cooling system.
Its design allows a remarkably tight spacing of a few centimeters between the fixtures installed in a line.

The Kyalami offers exceptional performance, with an output of 400,000 lux at 10 meters. Its 126mm front lens, combined with a three-lens proprietary optical system, produces a sharp and intense 1° beam, with adjustable focus to accommodate different operating distances.

Its new-generation laser source guarantees impeccable color reproduction via the progressive CMY mixing system and a multi-position color wheel.
It also offers 29 static metal gobos, which can be combined with two rotating prisms to produce a multitude of spectacular volumetric effects.

Rated IP65, in an aluminum body, with infinite pan/tilt rotation, the Kyalami is a versatile Beam capable of working in all conditions even in a salty environment, and offering designers and architects a unique tool to create lighting experiences immersive in a wide range of creative projects.

Whether on television to produce a ceiling of beams or on the ground, in a cluster, it will find its place. In concerts, at festivals, it isn’t afraid of big stages. This beam fixture is proud to have its dedicated place as shown in this video of the Ayrton show, designed by Stéphane Migné for Prolight+Sound.

AYRTON – Prolight+Sound 2024 from Ayrton on Vimeo.

The Nando 502 Wash: quality, simplicity and versatility

The Nando 502 Wash, designed for versatile indoor and outdoor use (IP65), is a minimalist multi-source wash, compared to the Zonda. No independent control of its 12 x 40W LED sources but a choice of RGBLime chips which results in a full white placed on the black body with a color rendering index greater than 86 and an extended palette of pastel and saturated shades.

Nando 502 Wash, a compact IP65 fixture, is known for its light output quality.

Its proprietary optical system involves for each LED source a glass guide-lens ensuring a homogeneous mixture of colors at the output of its proprietary optical system, a cluster of 12 70 mm PMMA lenses. Additionally, a comprehensive library of pre-programmed colors allows you to quickly create a variety of contrasting lighting effects.

The versatility of the Nando 502 Wash is demonstrated by its ability to instantly switch between beam or wash, with a zoom ratio of 15:1 and a range of 3.5° to 53°.

Compact (342 x 467 x 268 mm; 14.5 kg), powerful (10,000 lm), and elegant, Ayrton’s Nando 502 Wash is destined to become part of the arsenal of any lighting designer looking for a multi-source Wash producing a high-quality white and powerful colors.

A small, powerful wash with additive color synthesis, which benefits from a large zoom amplitude.

Whether in television to cover an audience, for close-up backgrounds, in a cluster, or as a foreground stylish “object”, it will quickly find its place. In concerts, at festivals, big stages won’t scare it. Both in small venues and for small projects, the Nando 502 Wash will have its place thanks to its small size. Finally, for theaters that dream of having a silent, all-purpose fixture, it will also do the work required for backlighting, or from the front.

The Mamba in preview

Ayrton also revealed the prototype of the Mamba, an impressively powerful beam equipped with a 500 W laser source. Its front lens was deliberately limited to 250 mm to keep dimensions and weight reasonable (42 kg).

The Mamba, whose official launch is scheduled for the second quarter of 2024.

With its 0.6°–15° zoom, the Mamba is synonymous with raw power and dazzling brightness (more than 2,700,000 lux at 10 m).
Just like the Cobra, it is designed to withstand the rigors of outdoor use, with an IP65 rating ensuring optimal performance even in the harshest conditions.

In terms of functionality, the Mamba offers the full set of Cobra features and new parameters, multiple cumulative prisms for new 3D effects: the fixture has 28 motors!
This robustness is combined with timeless elegance, making the Mamba not only a powerful beam but also a magnificent object on stage.

For further information on the Ayrton website


The Italian brand was able to arouse our curiosity during this PL+S 2024 with the creative Volero Cube with multiple facets: beam, wash, strobe, and pixels and the new proximity fixture for cycloramas Orkis CYC with an old school look which won an innovation award from SLU.

Video presentation by Dylan De Matteo, Sales Support Engineer for Claypaky

ADB Orkis CYC – Innovation award from SLU

SLU is committed to awarding an innovation award to products that present new functions or design details that are decisive during their operation, promoting R&D performance.

The new cyclorama fixture from the ADB Orkis CYC range has a design… which is unlike any other! For my part, I see a subtle mix of old car headlights, wedge-type speakers, and portholes… it sounds vintage. But beneath its retro appearance lies a major innovation by Claypaky.

The new cyclorama fixture series by ADB by Claypaky, l’Orkis CYC.

Let’s continue. The Orkis CYC is a single-source asymmetrical cyclorama-type fixture. Its rather cubic and compact body (29x27x23cm) has only one large lens from which the light emanates.

This round optic in which the structure of the beam resides is unique. When we get closer to it, we imagine through its shapes and lines the work necessary for its development.

Details of the single lens with a unique design.

Behind it hides a COB-type LED source from which six colors emanate, the traditional Red, Green, and Blue but also Cyan, Amber, and Lime.

This combination gives the fixture an extended color palette going hand in hand with a very high CRI (advertised as greater than 97!) which can be controlled as desired in HSV, RGB, CMY, and RAW.

The Orkis CYC user interface: touch screen and direct access potentiometers/knobs.

Management of the dimmer claimed to be “ultra-smooth”, is ensured via four curves depending on the user’s choice. Another nice point, the fixture which is compatible with DMX/RDM, Art-Net, and sACN can be used easily by everybody via a few buttons and potentiometers/knobs present on the Case to send light and color “on the run”.

The great innovation of the Orkis CYC lies in its cooling, designed to make the product as compact as possible but also to minimize possible ventilation noise. Called “Flow”, it is nothing more and nothing less than the first active water cooling system embedded in a show fixture, which, unlike heat pipes, uses an active fluid circuit coupled to a pump to force the cooling of the liquid. and thus increase the efficiency of heat exchange. A Bella Macchina that wins an SLU innovation award!

Claypaky Volero Cube

Created with the aim of modularity and versatility, the Volero Cube is a controlled moving head that can be classified in the category of effects washes. Its trendy robotic look is downright cute and the features it contains are just as cute!

With its square head and four large pixels, the Volero Cube does not go unnoticed!

First, the light source. The square head of the device houses four powerful 60 W RGBW LEDs, which can be controlled independently. These LEDs are focused by four large mobile collimators (each 80 x 80 mm) attached to the same unique zoom module to open and tighten the beam between 4 and 55°.

The space available between these lenses has been filled by four lines of white LEDs whose control can be divided into eight segments. Perfect for creating a second pixelated effect or bursts of strobe.

Concerning the movements, the pan of the Volero Cube has continuous rotation. We are also told that it can be deactivated via the fixtures menu… but why?
We arrive at the third chapter, namely modularity, another strong point of the fixture. Claypaky has integrated a quick junction system to combine several units together, thus creating a cluster or line of concurrent Volero Cubes, hence the usefulness of being able to deactivate the pan.

As an added tip, there are retractable spacer pins, ingeniously hidden in the handles of the base unit. So by using them, you obtain the minimum space necessary to place your fixtures, during a tight setup, without the risk of the slightest shock (or hitting each other) during their pan/tilt choreographies, it’s smart!

To finish this summary of the capabilities of the Volero Cube, the fixture integrates the “Shield Family”, translation: it is IP66! In terms of protocols, DMX/RDM, Art-Net, and sACN are there, and the network connectivity integrates RJ45 input and output.

ADB Orkis CYC and Claypaky Volero Cube were part of the Claypaky show at the Prolight+Sound 2024

For more information www.claypaky.it


Ayrton appoints Briony Berning as Design, Training and Business Development Engineer

Ayrton is delighted to announce the appointment of Briony Berning as its new Design, Training and Business Development Engineer as part of the continuing expansion of its international team. The appointment takes place with immediate effect.

Briony Berning joins Ayrton as Design, Training and Business Development Engineer.

Berning’s multi-faceted role will be to formalise Ayrton’s product training on fixtures, key technologies and developments to the markets and its global network of distributors. Alongside this she will develop the theatre markets on a global scale, paying close attention to the specific needs of these sectors and the relevance of Ayrton products within them. Finally, she will maintain a close relationship with her specialism, the theatre market, to keep abreast of developing trends and technologies and ensure Ayrton product development continues to answer these needs.

UK-born yet spending her formative years in France, Berning is fluent in French and has a spent her entire professional working life in the performance lighting sector, specifically theatre lighting. She returned to the UK to study at the University of Glasgow, becoming the first technical apprentice at the National Theatre of Scotland in 2009 before moving to Scottish Opera, and then to the National Theatre for nearly a decade.

“I am so excited to be joining the Ayrton team in this role,” says Berning, who previously held the position of Key Account Manager at Ambersphere Solutions, Ayrton’s exclusive UK distributor, for 4 years. “During my time at Ambersphere I felt myself becoming more and more curious about the technical details and creative ecosystem of product development. I discovered this aspect was now closest to my heart, which in turn determined my move to Ayrton. I feel this role is perfect for me and I can’t wait to get started.”

“We are excited to welcome Briony to this new role at Ayrton”, comments Michael Althaus, Global Sales Director at Ayrton. “Growth comes with many challenges and with Briony we found the perfect asset with a wealth of experience in theatre, training and engineering. So glad we can continue to strengthen our growing family with talent and passion.”

For information on Ayrton’s full range of LED and laser-sourced lighting fixtures, visit www.ayrton.eu


The Royal Opera of Versailles Invests in Robe

The Royal Opera of Versailles is part of the famous Palace of Versailles commissioned by King Louis XIV and has its own iconic place in French history. Inaugurated in 1770, it was designed by Ange-Jacques Gabriel and is also known as the Théâtre Gabriel. The interior decoration by Augustin Pajou is constructed almost entirely of wood for enviable acoustics and painted with a faux marble technique.

After years of neglect, the venue was transformed by two complete more recent restorations, the 1200-capacity main room was re-gilded in 1957 and the stage and machinery were revamped in 2009. Since then, it has been busy hosting an annual program of concerts of baroque music, operas, and ballets.

More recently, a major lighting upgrade comprising 40 x Robe T2 Profiles was delivered in two batches by Robe France, an initial purchase of 30, followed by another 10 x T2 Profiles, which they liked so much that they purchased 12 x TX1 PosiProfiles.

Hosting 30-40 shows a year, all with varying needs, Marc Blanc, technical director for Château de Versailles Spectacles, explained that the need for extra flexibility and moving lights had been steadily growing. Furthermore, they were being frequently requested by incoming productions, resulting in a substantial budget being spent on rentals. During Covid, Marc also had time to do some calculations and realised the time was right for a general lighting upgrade.

He and his colleagues including chief electrician Thierry Giraud, console operator Guillaume Astier, and some of their regular lighting freelancers put their heads together and identified their main criteria for moving lights. They came up with silence, optical quality, power, and availability and looked at what other contemporary opera houses were using and specifying.

Additionally, Royal Opera of Versailles’ regular technical supplier, AudioScène, with whom they have worked for several years, was consulted and asked for their advice and opinions as well as if they could assist with arranging demonstrations with different brands. The options were narrowed down to two brands, one of which was Robe, and from that, the T2 Profile was selected.

Robe Lighting France’s regional manager Franck Veber noted that the French office and the brand generally has been specified for several high profile opera houses, and for Versailles’ specific configuration, scenography and production schedule, he thought from the start that the T2 Profile would be a perfect fit.

Robe products have also been specified, installed and are proving very successful in a number of opera houses around the world, with references at the Paris Opera, the Vienna State Opera, the Hungarian State Opera and The Baltic Opera in Poland to name a few, and this was another advantage when it came to making a decision.

In terms of the colour rendering, they wanted to see on the sets, costumes and skin. the choice had to be a multispectral LED source, and Robe France’s Vincent Bouquet also answered all their technical questions in great detail which further impressed everyone.
They were further impressed with the manufacturer’s guarantee and the fact that Robe products are entirely made in Europe, not just to be patriotic but also for practicality, as well as the brand’s superlative reputation for manufacturing robust and reliable products.

Nicolas Winkel, AudioScène’s general manager, commented that the multispectral LED source combines red, green, blue, white and lime green diodes to create a bright, crisp white which is superior to using subtractive colour mixing methods which filter white light and reduce intensity.
Robe’s highly innovative patented technology in this field adds the colours and preserves the luminous flux, so when it comes to mixing a specific colour, the corresponding LEDs are illuminated without filters. “This methodology offers an increased precision ideal for the demanding requirements of theatre and opera, where quality of light is essential,” he observed.

T2 Profiles also have an excellent CRI colour rendering index which guarantees a richness and natural quality of light which “is exceptional” says Nicolas, highlighting that currently, Robe is the only manufacturer to offer this type of moving light.

“Choosing the T2 Profile made it possible to renew the stock of equipment needed for above stage coverage,” stated Marc, adding that they have the benefits of “great support” from Robe Lighting France.
The 12 x TX1 PosiProfiles were purchased for rigging in the upper side parts of the auditorium, with no flying or attachment points they are positioned in the architectural bull’s-eyes, which present challenging angles and no room for fixtures to do their calibration ‘dance’.
“The TX1 PosiProfile, is packed with remarkable ingenuity,” Marc declares referring to the fact it does not move during the calibration routine, making them ideal for this position.
Joining them shortly will be 10 x FORTE Fresnels for front and key lighting which will be delivered in the coming months.

Nicolas explained that the FORTE was picked for its power with fluxes of up to 50,000 lumens and with the idea of eventually replacing all the older HMI sources, because they are energy intensive. When offered FORTE Fresnels as an equivalent, LDs and lighting directors are usually very happy as the luminaires have a consistent white temperature of 6,700 K.

“FORTES are more powerful than the HMIs they are replacing, they are still just as quiet, and have a beautiful quality of light,” concluded Marc, delighted that the additional rental budget for moving lights has currently been dramatically reduced.

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


New TAF Wall Plate Console : Wall to Wall Support

The TAF Wall Plate Console is the ultimate solution for temporary or permanent mounting of TAF’s FT33 or FT34 truss between walls.

Designed with versatility and ease of use in mind, it features adjustable clamps (200 mm / 7.9 inches of travel) for convenient connection with truss segments and has a healthy 500 kg (1,102 lbs) loading capacity.

Span truss between your walls with full confidence and complete safety!

TAF is a global manufacturer of aluminium truss, support structures and rigging accessories. All products are manufactured at its advanced production facilities in the Czech Republic.
For more information about TAF, you can visit www.trussaluminium.com


Tim Goodacre Talks Astera

Tim Goodacre is a busy and in-demand freelance gaffer and lighting specialist based in Sydney and working all over Australia, primarily on TV dramas. He has invested steadily in Astera to help drive his business over the last two years, most recently purchasing one of the new LeoFresnel products from Astera’s Australian and New Zealand distributor ULA Group, which is added to his existing stock of AX3 Lightdrop and NYX Bulb kits and workhorse Astera Titan and Helios Tubes.

He immediately utilised the LeoFresnel on season 2 of the award-winning Netflix Heartbreak High reboot, specifically for a forest night scene shot on location with the Heartbreak High students camping out under the moonlight.

In a different scenario, a moving light might conventionally be used, however the practicalities of the location essentially demanded a wireless lighting solution! Tim rigged 16 x Titan Tubes on a ‘Moon Box’ with the LeoFresnel positioned in the centre, which was hoisted above the action pointing right down with the LeoFresnel acting as a spotlight.

Controlled through the Astera app, the need for a board operator or a complicated and cumbersome setup to run the moon-box was averted thanks to Tim’s foresight and inventive application of the kit. He created different cues and looks which provided excellent moonlight and a cost-effective way of lighting the scene with a clearly defined central lightsource surrounded by shimmering light from the softened tubes which combined brilliantly to produce the effect wanted by director Neil Sharma and DoP Campbell Brown.

For Tim, the biggest benefit of having all this Astera kit to hand is the speed and flexibility with which he can create a solution on set, on location, in the studio or anywhere.

“There is always a need for last minute lighting adjustments as a scene develops or to get light into quirky and challenging positions, and where running powered lights would be lengthy and difficult, so the Astera fixtures emit a great quality of light and are ultimately handy for exterior work!” he stated.

He has also used them for night scenes along roads, in the bush and other ‘run-and-gun’ situations without needing a generator, PD, cables and extensive prep time. He recalls a night beach scene on another project, always a galvanising place in to find lighting positions for soft sources, which in this case were needed to back-light three people.
Here his water resistant LeoFresnel was rigged on a stand with an 8×4 bounce reflector attached that facilitated the creation of a beautiful and ideally matched soft source in exactly the right place.

He’s also used the LeoFresnel on comedy drama Ladies in Black shot in Adelaide, so it’s been an extremely good investment so far. He was itching to get his hands on a LeoFresnel as soon as it was launched last year, and the team at ULA Group then leant him a demo fixture so he could properly evaluate it on set with excellent results, after which he went ahead and made the purchase.

He appreciates features like the long battery run time and the relative light weight of the fixture compared to other battery powered products. He also comments on the good quality of light from Astera products generally as well as the excellent engineering and robust build of the fixtures. “You can see that real-world usage has been thought about in the fixture design,” he confirmed.

Tim will often use his AX3 LightDrops for quick deployment and architectural requirements, together with AX5s and AX9 LED PARs for general purpose lighting of buildings, sets and structures.




Astera NYX

The NYX Bulbs are great for a myriad of set practical applications. Also, for cityscape effects like bokeh dots and twinkling lights in the background, run in festoon style in the distance with authentic and random looking ‘living, breathing’ colours and looks dialled in … just like a real city!

Tim first encountered Astera around 4 years ago initially via seeing other gaffers and lighting professionals using the lights and hearing them talking up the brand. Through these recommendations he started trying the products and was so impressed that he soon moved to using Astera as his preferred tube LED source.

For more information about Astera Lighting, you can visit astera-led.com


Fredrik Stormby goes large with Ayrton fixtures at Eurovision Song Contest 2024

The Eurovision Song Contest’s official slogan #UnitedByMusic is applicable not only to the artists and audiences. To stage a live broadcast of this magnitude – reputedly the largest live broadcast in the world – takes huge teamwork and cooperation over a long period of time, even before the artists appear on stage.

Stormby used Ayrton Rivale Profile, Kyalami and Huracán Wash to stunning effect on numbers like this, the winning entry from Switzerland, Nemo – The Code.

Behind the scenes is no exception and under the experienced hand of veteran Eurovision technical show director, Ola Melzig, the production designer, Florian Wieder, and lighting and screen content designer Fredrik Stormby of Green Wall Designs, worked closely with associate lighting designers Mike Smith and Michael Straun to ensure the 68th Eurovision Song Contest 2024 in the Malmö Arena was the most impressive to date.

“As this was the 3rd time Sweden had hosted the Eurovision Song Contest in ten years, we set ourselves the challenge of doing something new and brave that would respectfully challenge the traditional Eurovision concept a little, and introduce a more large-scale concert tour feel to the familiar ‘studio show’ concept,” explains Stormby.

Taking inspiration from Swedish music, songwriting and local architecture, and a tricky request from the producers to put the audience in shot for every performance, the duo developed a stage without any traditional scenic elements or shapes, based on in-the-round layout and using light and video to shape the stage. Overhead a highly dynamic rig on almost 200 automation hoists carried over 200 tons of equipment.

“Most of the lighting design was to work with strong lines of fixtures – not many types – but densely used to give very strong expressions,” explains Stormby. “We could then use many combinations of these individually strong lines of lights and the many automated rig positions to create a very interesting palette.”

Spain entry.

Key to Stormby’s exclusively LED and laser-based design were 384 new Ayrton Rivale Profiles and 146 newly-released Kyalami fixtures, along with 32 Huracán Wash, supplied by Creative Technology Group.

Ayrton Rivale

“I like to approach my television designs using dedicated keylight fixtures that have a certain quality of light to function well as key lights,” says Stormby. “I also like a single type of workhorse fixture throughout the rig that I can use for beam effects, mid-air effects, and to frame in on props or dancers, but can also support the key lighting to fill in as back or side lights. And that became the job of Rivale.”

Twenty automated ‘pods’ each carrying Rivale Profiles in a 3×3 configuration formed the main feature of the lighting design and allowed for a near-infinite number of aesthetic and practical positions. More Rivale Profiles were rigged in the audience trusses, above the stage and around the bleachers.

“I was looking for a workhorse LED fixture with shutters and good colours that was affordable in large numbers. I also wanted good light quality, a narrow zoom, gobos, shaper blades and all the traditional stuff,” says Stormby. “We also needed to be careful of weight as there was so much hanging above the stage.
I saw Rivale in Paris when it had just come out of development. It checked all those boxes and came in a compact, light-weight package which was perfect for what we wanted to achieve with this moving lighting rig.”

Huracan Wash

Thirty-two Huracán Washes were rigged on front of house and audience trusses: “I wanted a wash instrument with shutters that I could use for audience lighting but be able to shutter off the bleacher sections to avoid spill. I thought the Huracán Wash was a good pick because I had this idea that I might use soft gobos – which I didn’t in the end – but it was one of the features that attracted me. It turned out a nice big powerful, traditional wash light with some extra features which was exactly what I was looking for.”

Looking for a fixture to outline the stage design in all dimensions, Stormby chose Ayrton’s newly-released laser-sourced Kyalami. These he mounted on Wahlberg lifts around the stage edges where they could be raised and lowered to define the shape of the stage as required. More Kyalami were rigged in a long vertical line in each of the two 18m high towers that flanked the main video screen.

Cyprus shines under the twenty pods lined with wash Ayrton Huracan in 3×3 matrix.

Yet more were rigged in “the biggest truss in the world!” – a 32m long truss using 62 universes alone which hung in front of the main video screen, completing a ‘football goal’ effect with the side towers.

Ayrton Kyalami

“The Kyalami on the truss and the towers could form a box of light for framing the back screen. We could also lower the massive truss right down to stage level so the Kyalami could act as a floor package or raise it really high to open out into very wide effects, and so many different ways in between,” says Stormby.

“Kyalami was nearing the end of its development when I was shown it, but we could see it was a compact unit with a good strong beam which we made good use of punching through all that video! I really liked the speed of Kyalami’s optical effects. That is what that fixture is about: it’s small and quick, and the prism and frost can be brought in and out really quickly – you can create a lot of different effects with that.”

The result was a design with enough flexibility to create unique looks for the each of the 37 participating countries’ very diverse performances, with less than a minute turnaround time between each song.

Kyalami can create a very define “box of light” with their laser source as seen during the Lithuania entry.

“It was great fun working with this rig because we could position it in so many different places that, as well as giving us all manner of side light, backlight and low lights, we could really play with the lighting and directions of lighting as well. The openness of the 360° stage allowed us to invite the audience into the shots in a very natural way as part of the background. This is when we had to rely on the skills of our programmers!

If we were shooting from one side of the stage, for example, we had to clean out all of the lights hitting the bleachers on the other side to make it look good. So we really produced the show shot by shot to achieve the big clean cool rock concert looks, yet were able to instantly cut to the hosts and back into Eurovision mode again. Eurovision is a cross over between television, theatre and show lighting and I think we succeeded in making the performances look like a big arena show.

Croatia entry.

“I was really happy with the overall outcome. It was 10 weeks of bonkers production but I’m proud of the result and we certainly ticked all the boxes in ‘respectfully challenging the concept.’ I like the fact that Rivale and Kyalami especially are such small fixtures but we can still pull off a show of this scale with them. That’s quite cool.”

#UnitedByMusic goes beyond the artists and creatives, and it took great collaborative teamwork between suppliers and distributors to bring this huge amount of equipment together for Eurovision 2024, led by Eurovision’s official lighting supplier, Creative Technology, and Ayrton.

Creative Technology Group made a substantial investment in 276 Rivale Profiles and worked closely with VIGSØ Denmark to sub-hire the remainder of the huge inventory of Ayrton fixtures. The fixture selection process was supported by TopStage of Sweden who worked closely with the lighting designers to introduce, demonstrate and facilitate their choice of the new Ayrton fixtures.

Estonia gives its all in an unstructured design that stands out for its inclusive geometry.

Emil Højmark, CT Group’s Head of Lighting for Sweden comments: “We’d been looking into investing in Rivale long before Eurovision came along, but Eurovision sealed the deal! Eurovision has always pushed the technology and Ayrton, which has had a long involvement with Eurovision, has always pushed the envelope in product development.

“We had over 384 Rivale Profiles on site and very few issues – it’s proved a really stable platform. The Huracan Washes were similarly reliable and one of the few fixtures we had no problems with at all. Eurovision is a high tempo project with unique challenges, and having direct access to the Ayrton tech team on site made such a difference. They are so passionate and dedicated delivering outstanding communication and support.”

Ayrton joined forces with VIGSØ to ensure everything was delivered and prepped in under 48 hours. “It was very impressive,” concludes Højmark. “VIGSØ did what I’ve never seen before from a distributor to pull this together. All departments worked really well together. It was hard work but good fun and all done in good Eurovision spirits.”

Slovenia entry.

“The collaboration with Creative Technology was great, and it was exciting to be involved in the decision-making process from the start,” says Linnea Ljungmark of TopStage, Ayrton’s exclusive distributor for Sweden. “When Fredrik came to me early in the process to discuss lights for Eurovision, it was clear to me that he was looking for a very unique look – not a specific brand – with what the fixtures could achieve. Ayrton was able to provide this and it’s been really great to follow him through the process from initial idea to final design.”

Kenneth Jakobsen, Head of Sales at VIGSØ Sales, Ayrton’s exclusive distributor for Denmark, says, “VIGSØ was very happy to work with CT on this mammoth production. Everyone involved put in a huge team effort under challenging circumstances to collectively deliver the entire, massive project on time.”

“I think CT carried out an excellent delivery,” says Stormby. “With a rig designed like this with everything in straight lines, it really comes down to the finish of the build to make it look good and they really pulled that off. I’m really happy with CT and I’m really happy with the support from Ayrton.”

“It took an amazing collaborative effort to gather so many products in one place and make sure all was running smoothly and on time,” says Michael Althaus, Ayrton’s Global Sales Director. “Special thanks to Emil Højmark who coordinated the operation, to CT for its huge investment in Ayrton, and to Kenneth Jakobsen, Christian Vigsø and Linnea Ljungmark and their teams for all their hard work. It couldn’t have been done without them all, and thank you especially to Fredrik and the team for making everything look stunning!”

Eurovision Song Contest 2025 Final and semi-finals took place in Malmö Arena, Sweden in front of the massive arena audience and 160million+ television viewers across the three live performances. “They were, as Eva Beckman, Director of Program SVT says, “three magical shows, bursting with creativity, temperament, humour and professionalism. And a more beautiful TV-production I have never seen. I didn’t even dare blink my eyes of fear in missing a single detail.”

Senior Technical Director: Ola Melzig
Production Designer: Florian Wieder
Lighting & Screen Content Designer: Fredrik Stormby
Associate Lighting Designers: Mike Smith and Michael Straun
Assistant Lighting Designer (Viewing Room): Louisa Smurthwaite
Followspot Caller: Per Hörding
Lighting Directors & Lead Programmers: Ishai Mika & Dom Adams
Lighting Programmers: Leo Stenbeck, Linus Pansell, Isak Gabre
Lighting Supplier: Creative Technology

More details on Ayrton Rivale Profile, Kyalami and Huracán Wash, and the full range of Ayrton LED and laser-sourced lighting fixtures can be found at www.ayrton.eu


Robe is Key to Eurovision 2024

The 2024 Eurovision Song Contest (ESC) was staged in Malmo Arena, Sweden, and was memorable for many elements including a superlative technical presentation which took the show production aspect of one of the largest and most-watched live music broadcasts in the world to new levels of excellence.
Under the show technical direction of Ola Melzig, a team of highly talented creatives, programmers, engineers, network architects and technicians collaborated to stage the first ever in-the-round ESC, breaking technical barriers and records!

Lighting designer Fredrik Stormby of Stockholm-based creative studio Greenwall Design and his team took care of all things lighting as well as co-ordinating the screens content, working in close conjunction with production designer Florian Wieder, and included on the lighting plot were 52 x Robe Fortes, 57 x T1 Profiles and 14 x T2 Profiles.


Robe T1 Profile

Robe T2 Profile

These Robe moving lights were used to cover all the stage and Green Room key lighting requirements. Rigged on multiple roof and side trusses flown above and around both these major areas, all lighting equipment was supplied by Creative Technology Sweden together with the video and audio equipment packages.

The show also featured an extensive automation system that helped boost the dynamics of three vibrant live broadcasts – the two semi-finals and the grand finale – encompassing a total of 37 entries. These specific Robe fixtures were chosen for their excellent CRI, intensity, and overall quality of light.

The Fortes were fitted with the HCF (High Colour Fidelity) Transferable Engine module from Robe’s TE series of ground-breaking self-referencing, data-capturing LED light engines that are all designed, developed, and manufactured at the Robe factory in the Czech Republic.

The 1,000W White 6.000K HCF LED engine offers 35,000 lumens and an exceptionally high inherent CRI of 96, making these luminaires perfect for this scenario. The T1 and T2 both have CRIs of 95 and are already well established in broadcast and theatre worlds for optimising skin tones and colours. As well as being utilised for general key lighting, several Fortes were configured to run part of an extensive remote follow spotting system, so they could be called up and activated as needed.

“As with any broadcast show, key lighting is one of the fundamentals, so we were extremely pleased that Fredrik was happy to work with these Robe fixtures,” commented Emil Hojmark, CT’s head of lighting for North Europe, who co-ordinated the lighting production. He added that they received “great support from Robe’s technical team” throughout the event period.
The load in at Malmo Arena – which also staged ESC in 2013 – started on April 3rd and was preceded by four days’ prep at CT’s warehouse in Malmo, used as a production hub for all the equipment procurement and provisioning.

Fredrik’s programming team included lead programmer for effects lighting Ishai Mika, lead programmer for key lighting Dom Adams, plus Isak Gabre, Linus Pansell and Leo Stenbeck. The assistant lighting designer was Louisa Smurthwaite (who was follow spot caller for the 2023 event in the UK) and the two associate LDs were Mike Smith and Michael Straun who worked in day and night shifts during the five-week rehearsal and development period.

Eurovision 2024 was won by Switzerland’s Nemo with their song “The Code”, closely beating Croatia’s Baby Lasagne with “Rim Tim Tagi Dim”, with Ukraine’s Alonya Alonya & Jerry Heil in third place with “Theresa & Maria”.
The 68th Eurovision Song Contest was organised by the European Broadcasting Union (EBU) and host broadcaster Sveriges Television (SVT) and was presented in Sweden for the seventh time.

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


ETC Announces Important Software Releases for Hog 4 OS

ETC announces two software releases for the Hog 4 console’s operating system. Hog 4 OS v3.21 and v4.1 are the bridging releases with export/import features to get old show files into Hog desks running v4.x software.

Senior Product Manager Sarah Clausen commented, “We recognize the value of our users’ hard work overtime and the cost of having to recreate shows to move forward with Hog into the future. These two releases create the bridge needed to bring older show data into the v4 world and beyond.”
Hog OS v3.21 is required for users that wish to import / export existing show files. Show files can now be exported to an XML format which allows for easier transitions between software versions where show file compatibility may be limited. Section 4.12 of the Hog OS v3.21 help manual offers details on how to use the Show Import/Export feature.

Additional features in v3.21 include cloning per type palette rules for fixtures when change type is used and a dedicated timecode frame rate option for lists. Additional details are available in the release notes and help manual.
Hog OS v4.1. facilitates importation from exported v3.21 data into v4.x OS. Please note that some show cleanup will likely be needed, especially in situations where colors are stored in a non-native color system for a fixture. Section 4.12 of the Hog OS v4.1help manual also has the most up to date details on how to use the Show Import/Export feature.

Additionally, in v4.1, the SPD view of the physical tab in the Colour Picker Window has been simplified by removing the selected emitter info section and Locked Physical Function tray area, and a new “optimize palettes” button has been added to the show manager window.
Pressing this button starts a background task that scans all the palettes in the show for repeated per fixture values and rolls them up to per type rules when possible. This is intended to improve performance in editors and playback and improve palette editing overall.

For more information, you can visit www.etcconnect.com/Products/Live-Events/Hog-4


Andrea Bocelli Takes Two DiGiCo Quantum852 On Tour

Most artists of significant stature will name their tours, perhaps inspirationally, perhaps whimsically. Andrea Bocelli, the 11-time Grammy Award-nominated singer whose oeuvre comfortably straddles classic opera, romantic pop, and Latino genres, needed only a couple of letters and numbers to moniker his most recent sojourn:
AB30 his initials and the number of years he’s recorded and traveled the world touring. And even that abbreviated signature is simply shorthand for millions of fans who just say “Andrea!”

On the current tour, which crossed North America in February and April, including Atlanta, Pittsburgh, Toronto, Montreal, and Detroit, with a brief stop in Brazil in May before heading to Europe from July through November, will ultimately return to the US in December. Throughout, Bocelli has been accompanied by 60-plus-piece orchestras, often some of the flagships of their respective regions, such as the Toronto Symphony Orchestra and the Indiana Symphony Orchestra, all conducted by Maestro Steven Mercurio.

Equally impressive are the two new DiGiCo Quantum852 mixing consoles traveling with the tour, which also includes a full band and 60-voice choir. The two consoles, representing the latest iteration of DiGiCo’s acclaimed Quantum series, were supplied to Andrea Bocelli’s audio team as part of a complete production package by OSA International, Inc.

“Upon seeing the Quantum852 we knew it was the best choice for both the artist and OSA. Nothing else touches it and we’re proud to have some of the first in the US,” says OSA Executive VP Carmen Educate. “Adding the Quantum852 desks to our locations in Las Vegas, Nashville, and Chicago is a ‘win’ for our clients and these world-class desks perfectly complement the top-tier equipment and services that we proudly offer.”

For the AB30 tour, both desks are used for front-of-house mixing

One for mixing the orchestra which ran to 68 musicians for the São Paolo dates in May helmed by Stefano Serpagli, and the other for the overall mix, managed by Davide Lombardi. He takes Serpagli’s mix and blends it with the band used for the more pop and Latin numbers choir, some occasional playback tracks from Pro Tools, and ultimately Bocelli’s magnificent vocals. In addition to all of that, the two consoles also provide all of the onstage monitoring required.

“I come from a pop background, but I’ve also done some classical music before, and I love it,” says Stefano Serpagli, who has previously mixed live sound for Natalie Imbruglia and Dido. “The complexity with orchestras is that there’s a large number of live mics and musicians, and it’s all about the subtleties and finding the right balance.

Stefano Serpagli, en charge du premix des orchestres symphoniques.

There are also differences between orchestras: you can go from the London Philharmonic, obviously so well drilled, and then we have a young and enthusiastic orchestra like São Paulo’s. The difference can be huge from what you get out right out of the box.

And even a great orchestra will just give you a good starting point; the challenge is the difference in environments we encounter. Bocelli is an arena- and stadium-sized artist, and so you’re dealing with the subtleties and the complexities of mixing an orchestra in environments like these.”

Serpagli says the Quantum852 has taken what had already been his choice for mixing orchestras to the next level. “I’ve been a DiGiCo user since the D5 and then into the SD-Range, and I love how it has progressed with regards to onboard dynamics and then came the Quantums,” he says. “We’ve used the Quantum338 and the Quantum7, which was previously my favorite work surface with its central bank of faders easily at hand.

But the Quantum852 is its own category! It has a huge, intuitive surface that is absolutely incredible to work on. There are no compromises on this console. I can have whatever I want and as much of it as I want. And although I was already impressed with the clarity of the Quantum7’s screens, the Quantum852 makes visibility and control even better.”

He’s also a huge fan of the Quantum processing. “I use the Chilli 6 [six-band, dynamic multiband compressor] across each section of the orchestra to help me smooth it out,” he says. “For instance, the younger orchestras may have more attack, dynamically speaking, and it lets me deliver a smoother result for Davide to mix in with the other vocals and the rest of the show.”

Davide Lombardi, superviseur audio, sound designer et ingé de mixage pour cette tournée de Bocelli.

Davide Lombardi has worked with Bocelli since 2009 and has the role of audio supervisor, as well as sound designer and co-FOH engineer for this tour. He has also enjoyed employing the progressively more powerful Quantum processing during his time with Bocelli. “The Quantum852 is a natural progression to the future, with bigger screens and extra power,” he says.

“That really helps because we also do stage monitoring from out front, and the availability of the Spice Rack and Nodal Processing offer us excellent tools for that. We can have as many as we need, and we can automate them, so we can cover both monitors and front of house at the same time. There is not a large amount of monitoring onstage, but what there is needs to be very precise, and Quantum852 makes it very easy for us to be able to do different cues for different sets.”

Lombardi is managing 158 channels of audio for each show, including the mix sent over from Serpagli’s Quantum852 console and Bocelli’s vocals from the Schoeps Mk21 microphone capsule on his DPA headset, which passes through the 32-bit Stadius mic preamps on the DiGiCo SD-Rack onstage. “The Quantum852 lets me lay out the console exactly the way I need to manage the show,” he says. “That’s something else that DiGiCo has gotten right—every new console model is more ergonomic than the one before. I can only imagine what they’ll think of next.”

More information on Andrea Bocelli’s upcoming tour itinerary at www.andreabocelli.com

OSA International can be found online at www.osacorp.com

Everything about the Quantum852 with digico.biz/consoles/quantum852