“Gdansk has always been blessed with a pioneering, independent way of thinking. Everything starts here – one might say – and innovative spaces like Gdansk Institute of Urban Culture with its L-ISA immersive experience help the community’s cultural vibrancy to flourish,” says Pawel Kuhn, Marketing Director at Audio Plus, which installed the new audio technology.
Pawel Kuhn, Directeur marketing de Audio Plus.
Housed in a converted water plant which even features a river running underneath so that visitors can traverse via glass floors, the space is fittingly called the Kunszt Wodny (Water Art) building. The Institute creates and hosts a vast range of projects designed to promote culture and nurture the city’s heritage.
The building features a 50 square-meter interactive model of Gdansk, a café, a bookstore, three workshop rooms, and an auditorium, which Audio Plus has equipped with a state-of-the-art L-Acoustics L-ISA immersive sound system.
The 250-capacity auditorium space is adaptable, hosting everything from cinema, concerts, and theatre productions to conferences and commercial hires. A multitude of objectives were considered when choosing an audio system.
World-class audio reproduction is the cornerstone, but optimal flexibility and versatility were equally important due to the fluid nature of the demands placed upon the space. The system needed to be compact and unobtrusive while packing a powerful punch. “The city of Gdansk required the space to be a special, one-of-a-kind venue that would offer a spectacular cultural experience,” explains Kuhn.
Audio Plus’ long-time contractor Sound Design & Stage Technology proposed an immersive audio technology design based on L-ISA technology for the space. The city of Gdansk was excited by the idea, and the proposal was accepted.
La configuration L-ISA comprend cinq points en accroche de deux A10i chacun, répartis sous le proscenium, accompagnés de deux subwoofers KS21i.
Audio Plus, L-Acoustics Certified Provider Distributor in Poland, was appointed General Contractor for the project to provide sound and stage technology for the entire venue, including the auditorium, overseeing a mix of several subcontractors, with lighting delivered by LTT, stage mechanics by BSC, cinema equipment via Awaco, and finishing touches, including the acoustic cladding, entrusted to ESM Systems.
The final configuration consisted of five hangs of two L-Acoustics A10i spread across the proscenium, with two flown hangs of two KS21i subwoofers. Seven 5XT placed along the stage lip provide spatial fill.
Le débouchage spatial avant s’effectue par sept 5XT placés sur le nez de scène.
Les contrôleurs LA2Xi et LA4X, on le devine tout en bas du rack, accompagnés par le processeur L-ISA II.
Twelve X8, each on the side and back walls, provide surround, while six further X8 mounted in the ceiling provide overhead.
The system is powered by five LA2Xi and one LA4X amplified controllers while an L-ISA Processor II manages object-based spatialisation.
A stage monitor system of four X12 and eight X8 is powered by two LA4X amplified controllers.
“To help bring this kind of innovative thinking and technology to the city is an achievement for Audio Plus, as well as an incredible honour,” smiles Kuhn.
“The L-ISA installation looks light and simple in the space but is unbelievably powerful at the same time. It’s everything we could have wanted.”
Robert Juliat presents its brand new LED module, Sully 4C RGBL. Very flexible, it brings color to the Sully range by revolutionizing the way of understanding the mixing of shades to obtain the color which best meets your needs.
The Sully 4C module is a young winner!
A bit of history
Robert Juliat begins a great story by giving his name, in 1919, to a company whose lights were entirely dedicated to cinema. He was already a visionary since in 1923 he developed the first PC (Plano Convex)which made it possible to highlight intermissions in cinemas, this fixture is still a reference.
It was in the sixties under the leadership of Jean-Charles Juliat that the shift to stage lighting began and the Robert Juliat company continued to grow under the direction of François Juliat by offering innovative products of very high quality.
Looking into the future
The 600 trio was used to test the Sully modules!
The Sully 4C range is a historical continuity of the French brand. Developed with the same intention as the monochrome range, it offers a Profile, a Fresnel, and a retrofit hatch, based on a 200W RGBL (Red, Green, Blue, and Lime) LED source. After the white version that appeared in 2020, Robert Juliat announced the color version in May 2022, and another year was needed for the R&D to get closer to perfection.
The advantage of the Sully 4C hatch is that it fits into your 600SX halogen Profile in place of the lamp following the same principle as the white module. However the increase in power to 200 W has slightly changed its dimensions. For optimal heat dissipation, a second fan has been added which raises the overall height of the color module.
It will therefore be necessary to remove the metal plate positioned above the halogen source and replace it with the one supplied with the Sully 4C kit. It is possible to keep the original optics of the source but, for better performance, it is advised to upgrade to the new version, which benefits from an anti-reflection treatment; the gain in brightness is approximately 10%. On the other hand, you will have to remember, if you return to the halogen version, to also return to its original lens because the treatment will not withstand the heat. The switch is very simple and quick.
How to install the Sully 4C module in a Robert Juliat halogen Profile :
One of the major challenges of this retrofit module was to adapt an RGBL matrix to optics designed several decades ago. Initially the R&D team went with a standard LED matrix but after several tests, however the result did not meet Rober Juliat’s quality requirements. There was a problem with the colors themselves but also with the homogeneity of the sources in the present and for the future.
All sources should produce the same colors when they leave the factory, but also after several years of use. We therefore had to start from scratch and develop a specific matrix. If we pay attention to the LEDs that light up, the Lime has been coupled with 2 Amber LEDs which are not mentioned. The other point that delayed the release of the Sully 4C source is the overlapping of 2 projects during the development of the module, the integration of color, and a long-term project on color management.
The SLU Innovation Award
The Sully 4C module brings two major (R)evolutions, each as important as the other. The first, on DMX control, which we will see a little later and the second on color management. The Juliat team’s feat was to completely dissociate the color rendering from the console used.
Indeed, each console has its own way of managing color parameters, and depending on the controller used, the hue, with equal values, is not identical. Likewise, there are variables, such as the temperature of the matrix, which modify the color mixing and which the console does not know.
3 Sully modules, a warm white, a color one, and a cold white.
This is why the R&D team created a color management engine in the fixture which is capable of managing all the data in real-time and offering a result as close as possible to the desired shade whatever the console. This is the main reason why I do not recommend, even if it is possible, the use of RAW mode, color by color, because, on the one hand, the brain is not capable of creating the combinations of all the tints and on the other hand, we completely miss out on the power of the LED engine.
I encourage you to favor RGB or Hue-Saturation modes for classic methods and especially the XY mode. The latter allows, if you use sources from another brand, to take XY colorimetric readings on a fixture and transfer them to the Sully 4C in order to obtain the same color. The result is truly astonishing! Of course, quality, spectrum extent and homogeneity are not possible without calibration of each source. A process was therefore created at the Robert Juliat factory with an integration sphere to measure and calibrate each module.
The menu screen is optional on the 115 W.
The 200W version has 2 fans!
Controlling
On the power side with the 4C module (or the white module) we have gained in simplicity with Neutrik powerCON TRUE1 In and Out connectors for power, depending on the power source, we can daisy-chain up to 10 Sully 4C on a 16 A line at 230V, 7 on a 15 A line at 110 V, 10 on a 20A line at 100 V.
Networking is already available for the 115W version, and networking is arriving for the 4C!
Data, for the moment, use 2 DMX-RDM XLR 5 In and Out connectors for the DMX-RDM protocols.
A small LED indicates the status of the protocol. On “Out”, if the LED is off, there is an error. On “In”, if the LED is red, there is no signal, green the DMX signal is detected, blue the DMX and RDM protocols are present: it is practical for checking at a glance the DMX status.
Another important point to note is that the Sully series is the only source containing an RDM node. It is therefore possible to configure all the fixtures connected to the DMX output. The LRRP protocol has also been implemented, it allows you to find the IP addresses of all fixtures via the RDM. All these developments are made in collaboration with City Theatrical which has developed functions not planned at the start of the DMXCat project. We can see that another location is present but blocked. The R&D team is working on adding ArtNet and sACN protocols and an RJ45 connector will be offered later. A Lumen Radio receiver option is also expected to arrive soon.
The standard display on the 4C version,
The menu is complete and well thought out. While on the white versions, the display and its 6 control buttons are optional, on the 200 W color model they are standard. You can control everything from the display to DMX, or RDM. You can of course take control of the fixture manually and manage all the features with modes 1, 2, and Stand Alone.
Each button has a function!
Regarding DMX control, we approach the first (R)evolution. With LED sources we almost always find ourselves with a very large amount of modes to satisfy all users. This often involves a complicated choice when patching and a lack of flexibility during use. Robert Juliat’s team decided to develop 4 DMX charts capable of responding to 99% of users and 2 for special cases where color is not managed.
The only difference between the 4 modes is the color management mode. As we saw previously, there are mainly 3 interesting modes, Full – HS, Full – RGB, and Full – XY. With any of these 3 modes, all operators can program a show while maintaining their programming method. You can work on a white base, add filters, and even create transitions between color presets. We can work with color mixing.
You can modify the source type and its behavior. The most important thing is that you can change everything at any time without having to change the control mode (except, of course, the color management mode) and therefore without modifying the console patch. I had thought about this problem by saying to myself that we could give each mode the maximum number of channels by placing the same functions at the same addresses and leaving channels unused, but this is much better since you can do everything in the same show without changing anything. Another feature that proves that the R&D team has gone in depth is the possibility of assigning a User ID number to each source.
Assigning an ID to each source.
The Sully 4C module offers many possibilities and it is important to read the manual to understand and make the best use of the range of possibilities available. The first thing to know is what type of source you want to work with. If you want to work in White, you go to channel 7, “Source type”, where you have the choice between, “calibrated white” which is the reproduction of a high-quality white source in 3000 K, 3200 K, or 6500 K, and the Generic CCT mode, if you want a white source with an adjustable color temperature (CCT) from 1700 to 10000 K. You can favor the output (CCT – High Brightness) or the quality of the light (CCT – High Quality).
If you want to create color, on the same DMX channel, you select the 3rd option, Color Mix, where you have the choice between brightness and quality. It is then essential, if you opt for this solution, to choose the type of color management, RAW, RGB, HS, or CIE XY. For RGB and Hue Saturation modes, there are 4 color types, ProPhoto, REC. 2020, SRGB-REC or Native, to test and choose according to your needs in channel 6, “Control Mode”. If you work in photo or video, this option is very interesting since it allows you to harmonize the color types of the light and the cameras. This range of options may seem tedious at first, but you get to grips with it very quickly and it allows you to obtain a very impressive range of whites and colors with perfect homogeneity on all Sully 4C sources and future sources from Juliat.
The whites and color.
Since we are in color, let us highlight the enormous work that has been carried out on the channels dedicated to Gels. There are no less than 6 DMX channels! We first choose the type, Numéric, Chroma, Cosmetic, Dalis, or Raw.
We can choose our colorimetric space/type!
We then select one of the references corresponding to the type. With these two parameters, we have more than 300 Gels. If you are in one of the Calibrated White or Generic CCT modes, two parameters allow you to adjust the Saturation and the Transmission of the hue.
The last two channels are dedicated to the transition between two colors with a duration between 0 and 25.5 seconds and one of 5 transition modes. The last color channels are the 16-bit CCT, a temperature corrector that allows you to go from 1700K to 10000K and the Delta UV for an addition of magenta or green.
The Saturation and Transmission parameters.
Different transitions between 2 color Presets!
3 types of Dimmer curves.
We obviously find the traditional parameter of any conventional fixture, the dimmer, but in 16 bits and with multiple options (such as adjusting the response time of the filament). We will be able to modify the curve between Linear, Square, and Tungsten, but also the response time, always with different curve options. We can even make a difference between a “bump” (dimmer variation less than 50%) and a flash (dimmer variation greater than 50%) where the time delay will then be 0 s.
How the DimShift option works.
The DimShift function varies the color temperature depending on the dimmer level, as on conventional sources fitted with gels. It is available for Tungsten and Generic CCT modes. Of course, it has no use in Daylight or Color modes. Another function, the strobe uses 2 channels and you can work on the speed and duration separately. I don’t know if I missed it or if it’s a point that will come up later, but I didn’t find an interesting random strobe to simulate a storm effect in a play and, possibly, some strobe with delay on up or down. Finally, we understand if we are in Color Mix mode and depending on the mode chosen, the XY, RGB, HS, or RGBL parameters.
Let’s turn it on!
It’s all well and good talking about the functions but I’m sure you want to know what happens when you turn on the Sully 4C! I plug in 3 Profiles, one with a cold white module, the second in warm white, and the last of course in color.
Even using a color the 200W module is standing proud.
We could clearly see that the three sources are homogeneous in white and color for the Sully 4C. We can also see that the output is there and that we have kept the quality of light that has made the French brand famous. Out of habit and also to see the behavior compared to other sources I have used in the past, I used RGB mode. The work done on the colors is truly exceptional. We have an incredible range.
A very small sample of the color palette.
The diffusion lens erases the multicolor effect of the 4C source.
Whether we are working on very saturated shades, pastels, or even a very light coloring of white, the colors are homogeneous and enter the beam very progressively. They are also bright and this is what makes them much superior to halogen sources which lose a lot of output with color gels. Since we’re talking about it, the range of gels offered is more than sufficient, and being able to work on the transition between two colors makes a real difference compared to a classic color wheel and makes it a color parameter in its own right.
The paperwork!
As it is important to confirm the correct impressions, and it is time to take measurements, we take out our Minolta light meter and thermocolorimeter.
Derating
The matrix was allowed to cool down in order to measure the derating. When switched on we note 2,893 lux and for our reference measurement, 60 seconds later we note 2,892 lux. We already have a nice surprise on the cooling management. 4 minutes later we measured 2,885 lux, then 10 minutes later 2,877 lux and we will have no further variation. The derating of 0.52% is excellent!
20° Beam size
In order to be on familiar ground and have a reference, we used a 614 Profile. We were able to have our reference aperture of 20°. In the center, we measure 2,892 lux. The total output is 5,300 lumens.
Smallest sharp-edged beam
If we tighten the beam completely to the smallest point, the brightness in the center is then 3,974 lux and the total flux is 4,760 lumens for an aperture of 16.8°.
Widest sharp-edged beam
For the widest sharp-edged beam we noted 1,015 lux in the center and a total flow of 5,000 lumens for an aperture of 38°. For the 3 sizes, the intensity curve does not have any “incidents”.
Dimmer
The brightness readings with a linear dimmer curve demonstrate the perfect mastering of the management of LED sources by the Robert Juliat team. Whether from 0 to 10% or 0 to 100%, linearity is perfect. Another nice surprise is the color measurements. Apart from yellow which greatly outperforms the other shades, and blue which lags behind, the luminosity in red, green, cyan, and magenta is rather homogeneous.
We also did a series of measurements for all calibrated and variable whites, as well as color for the best brightness and quality.
What a pleasure
This test was a real pleasure on different levels. We had an excellent time with Ludwig Lepage who gave us a lot of precise technical information with clear and concise explanations. I also discovered a very good light source with multiple advantages. The Sully 4C module is a retrofit solution that provides a real plus. It is at least as powerful as the original source by adding a very wide range of homogeneous and luminous colors. As usual, Robert Juliat has made no compromise on quality. The best proof of the success of a fixture is its success and the factory is working at full capacity to honor the large amount of orders. If you have a pressing desire or simply appreciate beautiful lights, you should urgently request a demonstration from your nearest dealer!
Flair Event Services based in Dubai designs and delivers full technical production for a range of cool, spectacular, and extraordinary projects corporates, industrials, concerts, clubs, social events and more, throughout the UAE and across the Middle East region. Their designs are known for their style and innovation and Robe products are specified for around 85% of these.
The team, currently nearly 70 full-time, also engages in consultancy work and is headed by managing director Sameer “Sam” Rahman who has been in the industry since he was a teenager. He started working in a theatre in Dubai when at high school as well as DJ’ing and running his own lightshows, initially with 12 PAR cans and plenty of imagination!
Sam is now also an award-winning lighting designer who has worked worldwide on a diversity of shows. He is Flair’s head of lighting, and responsible for all investments, as well as MD of the company and is a big advocate for Robe. Flair has a large stock of Robe moving lights, and the venture has advanced rapidly since 2013 when he founded it, into a leading and award-winning enterprise. Sam own appreciation of Robe started when he first ‘met’ the brand working as a freelance LD, and again when he was still a teenager in the mid-noughties. He recalls the first major Robe installation in Dubai which was at Chi @ the Lodge (now closed), an enormous venue complete with 4 different clubs in one setting. The first season he worked there was 2007, after which he convinced management to dispense with several of the cheaper moving lights from other brands and upgrade with some Robe fixtures.
A bunch of Robe ColorSpot 575E ATs arrived and made a massive difference to the dynamics and drama of the club’s lighting. Sam recalls particularly liking the pink and white gobo. Flair has Robe MegaPointes, Spiider LED washbeams and LEDBeam 150s in its inventory plus access to large dry hire inventories of other Robe models which they are planning to replace with their own stock. In 2019, Sam designed a stunning show for Pakistani superstar RFAK (Rahat Fateh Ali Khan)’s world tour which included over 300 Robe fixtures – 48 x FORTES, 96 Spiiders, 76 MegaPointes and 96 x LEDBeam 150s plus four RoboSpots running BMFL FS luminaires.
This gave him “incredible scope” and he likes Robe for its “reliability, good engineering, and creative features. Generally, he thinks the products are extremely robust, noting, “Robe is an industry leading brand, so there are many reasons to use it!” As a designer, it’s important to be brand-neutral, but since the start of his professional career nearly 20 years ago, he thinks Robe consistently brought very relevant moving lights to the market, and that’s why he continues to use them. Service, backup and support are other big things when specifying or investing, and Sam describes the team at Robe’s Middle East subsidiary – also based in Dubai – as “phenomenal. Their diligence is second to none, and the pricing structure is very fair.”
Sam first encountered Robe’s LEDBeam 150s when designing lighting for a 6-month festival in Dubai. On the original spec there was initially another LED wash fixture, but when the dry hire company offered LEDBeam 150s, he assessed the fixture and went with LEDBeam 150s. “When I saw them in situ, the quality and optics of the lights absolutely blew me away, especially for such a small size!” he declared. “When utilising the right type of haze, this luminaire gives a proper solid beam even in a large arena space.”
Flair’s head of Technical Marno Snyman joined in 2022 and was delighted that they used so much Robe, having himself had many great experiences with the brand working with top companies like Sound Stylists and others in South Africa. “I absolutely love Robe” he enthused, “the colours are always excellent and well-matched between the different fixture ranges, and they think about other practicalities like making them light in weight.”
At Flair, Marno oversees all the technical elements and oversees 90% of the shows, and in SA he worked on large projects like the SAMAs (South African Music Awards) and TV productions like Strictly, all with plenty of Robe, and he echoes Sam’s comments on the reliability and effectiveness of working with a quality brand.
Robe Middle East’s Elie Battah on the left with Flair’s MD Sameer “Sam” Rahman.
Elie Battah, MD of Robe Middle East, commented, “It is always a pleasure for me to work with the Flair team, their show designs are constantly innovative and pushing the boundaries creatively and in terms of what is possible with the technology. They are highly professional and consistent, and can always rely on our full support.”
For more information abour Robe lighting, you can visit www.robe.cz
Truss Aluminium Factory, (TAF) based in the Czech Republic, is launching a new all-in-one, light-duty tower system for small roof systems, elevation of truss grids.
Transport, setup, and use are easy. Just roll out to your location, unfold the outriggers, and attach HT34 truss on top. With HT34’s quicklock connection system, buildup is extremely quick and easy.
Versatility is also ensured, with a welded sleeve block that allows for four-way connection of truss segments to suit a wide range of applications. Tower 05 features a maximum lifting height of 6.5 m (21.3 ft) and a maximum loading of 500 kg (1,100 lbs).
New and improved features:
– Steel, side-to-side rotating feet for improved leveling on a wide range of surfaces – Adjustable leg braces for increased stability – Modified sleeve block allows for smoother travel – Eight holes (two on each side of sleeve block) allow for convenient mounting of accessories – Chain hoist connection point on top section
Tower 05 comes with all components for immediate use:
– HT34 truss segments (also compatible with FT34 and TT34 truss series’) – Aluminum baseplate with outriggers – Sleeve block – Top section – Wheels for trouble-free transport and handling – Hand winch with steel rope – Connection kit for truss segments and sleeve block
About Truss Aluminium Factory : TAF is a global manufacturer of aluminium truss, support structures and rigging accessories, with offices in the Czech Republic and the United States. All TAF products are manufactured at its advanced production facilities in the Czech Republic, which feature a full staff of highly experienced welders and a robotic welding machine. A team of specialized engineering and design professionals provide custom and technically demanding solutions for a wide range of projects.
The photo of the Quasar Starway prototype, made of cast aluminum to avoid corrosion.
Starway launches Quasar, an effects fixture combining colors, blinder, pixels, and strobe, all with tilt-controlled and capable of operating outdoors. It is presented on video by Tristan Kislig (Starway sales manager) who also talks about the WET range released at the ISE 2024.
Along the same line with other fixtures from the brand (Vega, Titan, Solar, etc.), Starway has set its sights on a name evoking the space theme for its latest product presented at Prolight+Sound 2024. In the process, it is creating a new, unique range for the French manufacturer, of controlled multifunction blinders/washes.
A macro view of the SMD RGB LEDs that generate the colors.
In reference to these ultra-luminous cosmic entities, the Quasar is a 1200W LED fixture motorized in 180° tilt, equipped with a rectangular LED panel incorporating two matrices of RGB sources, divided into 14 segments: 784 LEDs of 1 W at total for a flux of 15,100 lm. In its center are 392 1.6 W white LEDs separated into two bars for the strobe part, also controllable pixel by pixel (28 segments). They produce a flux of 64,850 lm.
Although the concept of this type of fixture is not new, Starway chose to develop this product with the aim of optimization and also compatibility with what the competition offers on the market. It is distinguished by an optimized version of its library, the colors and dimmers for example having a 16-bit channel for greater precision and fluidity.
The Quasar also has a static mode, because, despite its obvious aptitude for effects, it will also be tempting, given its flow, to use it as a proximity “wall washer” on an architectural application.
A rotation of the tilt and there is the rear of the beast, sleek but very robust.
The fixture is equipped with DMX/network connections for Art-Net (with RDM). On the power side, only one input is present, the maximum power consumption of the fixture is (as a reminder) 1200 W did not seem to justify the possibility of daisy-chaining. Wanting to emphasize reliability which was at the heart of the specifications during the development of the product, Starway announces a minimum availability of 10 years on spare parts (a 2-year product warranty). Finally, the crux of the matter, the retail price for the fixture is €1,990 excluding tax. It incorporates thermoformed foam which will be directly integrated into the flight case.
Further information is available at The Starway website
Make a product more affordable without sacrificing quality. This is the motto of the ETC ColorSource range which welcomes the “Junior” version of the ColorSource PAR as Jonathan Grimaux and Eric Leroy from ETC France explain to us in this video.
The compact version of the ColorSource PAR and its eight output collimators, the Junior has a more cubic design than its big brother. With its featherweight of 2.5 kg, it is ultra-handy and easy to install. Its casing houses 16 Luxeon LEDs distributed behind only four collimators. It offers a beam opening of 15.3°. This angle can be modified via several optional lenses which are inserted into the supports arranged around the optical output. The filters are varied (reducer, washer, linear, beam shaper, etc.) and can be combined.
The latest little addition to the ETC range, the ColorSource PAR Junior.
Like its “classic” ColorSource PAR ancestor, this little Junior is available in several versions, here there are two. The “basic” version is equipped with RGBL LEDs and will be more comfortable on pastels and “skin tone” (therefore higher CRI). The PAR Jr DB (for Deep Blue) uses a blue with a wavelength that leans towards Indigo and will favor the amplitude of the palette and saturated colors.
Like other ETC Led projectors, the PAR Jr benefits from the source management system (patented) which takes into account the temperature of the light source engine to better manage derating and the integrity of the color balance. This management also protects the sources on the power side. To guarantee an optimal lifespan (10-year manufacturer’s warranty on the LED cluster), they are powered reasonably and never at maximum capacity. We are told that the fixture could have been even brighter, even if with only four collimators it already delivers nearly 2,300 lumens. Another advantage of this intelligent management is cooling. The fixture, without fans, therefore uses a passive cooling system by natural convection, it is therefore completely silent.
The rear of the fixture : connectors and the menu screen.
On the management and control side, simplification is essential. Just a few 7-segment displays and three buttons do the trick to address the fixture and navigate within the menu to choose one of its four operating modes (between 1 and 6 channels).
The fixture can be controlled in classic DMX with RDM, we also note the presence of a PowerCON Input will allow up to 18 Junior units to be daisy-chained on the same power line. The last major argument is the price. The ColorSource PAR Jr is very affordable, which given the promises made on its technical sheet should hit the mark!
The DTS team challenged itself. Create the worthy successor to the Synergy 5 Spot, almost twice as powerful, just as well equipped, all with the same dimensions and without the needle of the scale going crazy. It is presented here by Jean-Marc Jolivet, Technical Sales Representative of ESL France.
Synergy 6 Profile
We might as well not prolong the suspense, it seems that the contract has been fulfilled! So let’s compare our new moving light droid with its big brother. Incidentally, the new Synergy has been given the name Profile, which suggests an ability to frame the beam, but we will return to that later.
First visual contact with the new Synergy 6 Profile.
We start with its power. The Synergy 5 used a 450 W white LED engine, here we go up to 570 W. The difference in electrical consumption is not a lot but the result is there. DTS claims the “6” reaches 25,100 lumens for 109,000 lux at 5 m. As a reminder, the Synergy 5 produced 16,500 lumens. For only 120 W more LEDs, the difference is obvious, hats off for that!
As mentioned above, the Synergy 6 enters the category of Profile moving heads which means the presence of a module of 4 framing shutters, independently movable through 60°, while the complete cassette rotates by a quarter of a turn (90°). The light beam meets on its way the only gobo wheel, obviously rotating and indexable.
The Synergy 6 is equipped, like its predecessor, with the “Dynamove FX engine”, an effects generator that uses the different functions of the fixture and combines them to offer a range of quickly accessible pre-programmed effects. These advanced macros even allow the “6” to do without an animation wheel.
To do this, the fixture has two rotating prisms, one circular with 24 facets, and the other linear with 6 positions. The optical system also accommodates a motorized frost filter, originally mounted in “light” attenuation. Two other frosts are available as options (“medium” and “heavy”). The zoom of the fixture reaches values comparable to a beam (4.6°). It can also open up to 43°.
The beast with its insides exposed, always interesting to be able to take a look inside.
Chromatically speaking, the Synergy 6 uses a CMY three-color process assisted by a progressive CTO (3000 to 7000 K) as well as a 6-position color wheel. As for the CRI, it can be selected as desired, favoring light output (CRI > 70) or colorimetric rendering (CRI > 90). Almost silent, Silent mode will limit annoying noise emissions to 38 small decibels. To manage all these functions, the fixture offers DMX/RDM control, ArtNet 4, sACN, and only two management modes: simple and effective. Finally, the last promise announced by DTS is the weight of the fixture. The Synergy 5 weighed 35 kg, here we display 34.5 kg. Contract fulfilled!
Alchemy Pro
L’Alchemy Pro, the power of the “5” with the size of the “3”.
Another new product from DTS, the Alchemy Pro joins the popular range of Fresnel lens washes. Here the specifications were simple and clear: to offer the power and functions of the Alchemy 5 in the housing of the Alchemy 3 and it is now done since the fixture will, within a few months, be available on the market, thus offering an additional technical solution combining power, functions and compactness to the DTS catalog.
Metal heads around the world are rejoicing as the legendary band, Metallica is on the road again amidst another record-setting tour. The heavy metal band is currently making history on its M72 World Tour, selling out stadiums and recently setting a new attendance record at SoFi Stadium. The tour boasts an impressive stage design, supported by ROE Visual technology.
The M72 World Tour kicked off on April 27, 2023, in Amsterdam and is currently scheduled to close on September 29, 2024, in Mexico City. The epic 46-show tour visits 22 cities internationally with just two shows per location. Each night comes with a new opening act and setlist, featuring the band’s latest record 72 Seasons. The ‘no repeat weekend’ mantra of the tour has kept concert-goers on their toes with new music and fresh musical guests.
Maximizing fan engagement, the stage design for M72 is in the round, including an “O” shaped stage with multiple elevation changes for the band. The “Snake Pit” was brought back in the M72 tour’s stage design, allowing roughly 1,000 Metallica fans to get up close and personal with the performers in the center of the stage. The Snake Pit has been a fan favorite feature of many Metallica tours dating back to the 1980-90s.
Eight ground-supported towers encircle the stage, soaring at 100 ft in the air and provide video, lighting, and audio. Each tower features three video walls, which form a curved, cylindrical design. In total, over 1,600 ROE Visual Carbon 5 MKII (CB5 MKII) panels were utilized to bring the stage design to realization. While the video panels used for the tour are owned by the band, 4Wall Entertainment was enlisted for all of the video.
Despite being highly engaging, the graphics displayed on the towers were purposely not overpowering, as to create a general aesthetic for the concert with gradual nods to music videos and band references without detracting from the performance. The Carbon panels performed brilliantly, with vibrant color representation and brightness. The video content was supported by 16 Brompton SX40 LED processors and 11 disguise GX2C media servers. To complement the graphics on the LED walls, over 650 lights were incorporated into the show—a specific need for the stage design being in the round.
“It was a unique opportunity to see multiple variations of the initial stage design, and to be a part of the team seeing it through, from the different phases of technical drawings, system design, all the way through to the tour hitting the road,” explains ROE Visual Technical Director, Mike Smith. “The combination of a brand new product and custom manufactured rigging hardware presented a great opportunity for the technical team at ROE to provide high-level support for a tour of this magnitude.”
The band continues to set records on the M72 tour, with fans showing up for the legacy group in droves. On August 25th, the band made history by filling up SoFi Stadium in Inglewood, CA with nearly 80,000 attendees, a first since the stadium’s opening in 2020. Creative Director & Production Designer, Dan Braun is responsible for supplying the fan-first feel to M72. His longstanding relationship with the band over the years has amounted to a dialed-in understanding of the creative needs each tour, with M72 as no exception.
“Working with Dan and his team on the design of M72 is a career high and a credit to ROE’s position in the live events space. Dan’s history with the band and overall dedication to perfection meant the Carbon panels were pushed to their peak performance capabilities” reflects Nick Jevons, VP of Business Development at ROE Visual. “This drive is palpable the moment fans walk into the tour venue and are immersed in the Metallica experience. Our team is thrilled to have contributed to what has become a sensational, history-making event.”
The last time the band released a new record was in 2016 with Hardwired…To Self-Destruct. Metallica’s latest album, 72 Seasons references the number of seasons an individual experiences in 18 years of life. This methodical detail, along with fresh setlists and musical guests, has translated into a theatrical feel, with many of the traditional touring components (visible cabling, flight cases, etc.) out of the audience’s sight. And because the stage is in the round, it was crucial for fans to feel a certain proximity to the stage and naturally, the band. An attention to detail that keeps their devoted metal heads coming back each tour.
In the summer of 2024, Italian music legends Francesco Renga and Filippo Neviani, known as Nek, embarked on an electrifying tour that celebrated the best of their extensive discographies. This highly anticipated tour, aptly named Renganek Live 2024, masterfully blended Renga’s soulful rock with Nek’s dynamic pop-rock, offering audiences a unique musical experience grounded in a shared rock matrix.
Designed with flexibility and sustainability in mind, the tour utilises a semi-production setup that integrates essential aspects of a full-scale production with a more efficient and simplified approach. This combination ensures smooth execution across numerous tour dates, while also providing the adaptability to address the unique challenges and opportunities of each venue.
At the heart of the tour’s lighting setup is a sophisticated control system managed by renowned lighting designer Pietro Bardelli. Bardelli has employed two Full Boar 4 consoles from ETC’s Hog 4 family, one primary and one backup, to ensure flexibility, speed, and reliability throughout the tour. This decision was driven by the need to adapt quickly to varying materials and conditions at each venue while maintaining high standards of visual consistency.
Bardelli, who has a long-standing reputation for excellence in live event production, explains, “This is a rock and roll tour, and with the semi-production setup, I encounter different fixtures at each stop. It was crucial to use a control setup that provides the flexibility, speed, and reliability required for this kind of tour. The ETC Full Boar 4 consoles, along with two DP8000 units for expanded DMX universes, offer significant advantages in terms of programming logic and console power.”
The lighting design for the Renganek Tour places a strong emphasis on clean and precise programming, particularly given the absence of an LED wall. The visuals rely heavily on the lighting design to create an impactful experience. Bardelli notes, “Practically at every date, I have to replace the fixtures while maintaining the same effects.
The palettes must be transported faithfully, and even with different lighting fixtures, the result closely matches my vision. Typically, within a couple of hours, I can set up new fixtures, adjust the patch, and recall palettes and colors efficiently.”
The tour’s concert experience is further enhanced by the integration of Time Code for most pieces, with Bardelli also retaining the flexibility to manually mix certain segments during performances.
The dynamic interplay between Renga and Nek, highlighted by a thrilling rock medley where Nek showcases his bass skills, adds to the tour’s excitement.
As the tour progresses, the synergy between Francesco Renga’s emotive rock style and Nek’s high energy performances remains a highlight. The lighting design, which shines without the aid of an Led wall, ensures that the visuals are as captivating and precise as the music itself.
Following the worldwide success of Rivale Profile which sold over 10,000 units in less than a year, Ayrton is proud to present its brand new Veloce Profile, the second ultra-equipped luminaire in its ‘Ultimate’ family, which has been specially designed for use in large spaces. Veloce Profile is a versatile, IP65 rated, luminaire capable of operating in all conditions, indoors and outdoors, including saline-heavy environments.
High Performance : Veloce Profile pushes back the limits of integration with a brand new sealed monoblock 850W high efficiency LED module, calibrated at 6500K, which offers a luminous flux of 43,000 lumens with optimum positioning on the black body to achieve perfect light neutrality. Its proprietary 13-lens optical system offers a zoom ratio of 13:1 and a zoom range from 4° to 52°, its 180 mm front lens capable of delivering an ultra-intensive 4° beam.
Audacious HD colour mixing : Veloce Profile, like all the luminaires in the ‘Ultimate’ range, adopts a revolutionary new CMY colour mixing system with ultra-fast high-definition discs. This single-layer system provides a clear improvement in colour intensity during reproduction. An ultra-fast, high-definition single-disc progressive CTO enables precise colour temperature adjustment from 2700 K to 6500 K. A 7-position colour wheel with special filters completes the palette of colour creation tools.
Refined and subtle : For specific applications requiring perfect colour reproduction, Veloce Profile offers a subtle adjustment of the colour rendering index from 70 to 86.
Precision and accuracy : A new, ultra-precise framing module makes it possible to isolate any object thanks to the surgical positioning of each shutter blade over 100% of the surface with +/- 90° rotation. A fast 15-blade iris diaphragm with an aperture range of 15-100% optimises the beam at tight angles. For greater freedom of movement and design flexibility, Veloce Profile comes as standard with infinite continuous rotation on both pan & tilt axes.
Inspiring and creative : Veloce Profile features two superimposed rotating gobo wheels, each equipped with 7 interchangeable high-definition glass gobos for creating spectacular effects. The effects section is equipped with a monochromatic animation wheel and two rotatable prisms that can be combined, including a circular 5-facet prism and a linear 4-facet prism for creating 3D effects. Two Frost filters, one with low diffusion that erases the contours of the beam without changing its angle, and one with high diffusion for wash applications, complete the image section.
Powerful yet light : Veloce Profile is the lightest luminaire in its category, weighing just 40.5 kg. The use of new, lighter aluminium parts has resulted in a significant reduction in weight, with the aim of achieving the best weight to power ratio on the market without the use of expensive or unstable special alloys.
The ‘Ultimate’ range has broken the codes with its avant-garde design. A family of perfectly homothetic luminaires that reinforces the sense of unity between the different models. Veloce Profile provides the ultimate sensations. An accomplished luminaire synonymous with high performance, unbridled creativity, refinement and power. A luminaire you won’t want to do without.
For more information on Ayrton and its full range of LED and laser sourced products, visit www.ayrton.eu
The 6K UNITED 2024 ‘You are Precious’ tour took place recently at some of Germany’s foremost arena venues, including the Munich Olympic Hall and the Hamburg Barclay Arena. This unique music project which has run for several years brought together the voices of six thousand children, who after months of independently rehearsing material specially created for them, came together as one to sing an entire concert repertoire for spellbound audiences.
Melodus co-Managing Director Oli Tschotow.
Accompanied by a sixteen-piece backing band, the huge choir delivered a wide range of musical styles prepared under the guidance of Professor Fabian Sennholz of Frankfurt University of Music. Audio technology is clearly an essential element of an undertaking of this size and scale, and this year saw new standards set by specialists Melodus GmbH, a company created in 2023 by the merger of expert practitioners Tschotow Audio and Tobias Berlet Sound-Stage-Instruments.
Headed by co-Managing Director Oli Tschotow, the Melodus team introduced CODA Audio’s immersive audio system SPACE HUB, deploying the unit to implement near-field sound. SPACE HUB is a 19”/3U state-of-the-art immersive processor which allows designers to create stunning audio experiences in three dimensions, incorporating up to 128 audio sources rendered into 128 outputs to create an evolving, immersive listening experience.
SPACE HUB’s deployment was a great success according to Tschotow: “With an immersive audio system, you simply have more ‘space’ in the mix than with a traditional stereo or mono near-field sound system. The audience hears the artists at the position they occupy in the stage, that’s what characterizes the immersive 3D listening experience.”
For the 6K United tour, the Bad Hersfeld-based team used CODA Audio SPACE HUB as an immersive processor with 24 sources for near-field sound. No additional equipment such as audio converters was required.
The SPACE HUB processor topped by its Control Software.
Oli Tschotow explaining that what might appear technically demanding was made quite straightforward: “The HUB created an acoustic front from 11 front-fill loudspeakers on which we could position the artists. It was the perfect ‘plug and play’ solution, a Dante interface with 128/128 channels made integration a piece of cake! The processor enables a truly impressive sound experience and makes our job easier. My expectations of SPACE HUB were far exceeded.”
Sebastian Bahr, Head of Marketing and Product Specialist Coda Audio.
Sebastian Baehr, of CODA Audio adds: “One of the important qualities of SPACE HUB is the variety and simplicity of its integration options. On this occasion artists on the stage were equipped with zactrack SMART nodes that had been assigned to their respective audio objects.
As a result, the localisation of sources on the front fills was absolutely precise and coherent with what happened on stage without the need for an operator working within the HUB’s control software. In this way it was virtually latency-free as no-one had to respond to movement on stage and move objects correspondingly. The integration of tracking systems via OSC interface is ultra-reliable and significantly reduces the burden on operators.”
Melodus GmbH is a relatively recent addition to the ever-growing family but Oli Tschotow is glad the company made the decision to embrace CODA Audio: “To begin with, we share a passion for great sound and it’s so easy to deal with like-minded easy-going professionals.
We love the loudspeakers because all CODA systems have the same phase response, and the wide range of available products means you can always find the optimal sound reinforcement for every application. Where SPACE HUB is concerned, it ‘speaks Dante’ and is superior to other processors because of its rich feature range.”
Two of the best-known brands in the global entertainment lighting technology industry have announced an exciting new partnership destined to change the landscape of the market in Australia & New Zealand. With effect from 1 September, Melbourne-based manufacturer LSC Control Systems will become the Australia & New Zealand distributor for UK-based lighting controls and visual systems manufacturer, Avolites.
Paul Wong with Avolites sales director, Ron Carrington.
Both companies are owned by Czech Republic-based moving light and LED manufacturer, Robe lighting s.r.o. This significant development will be mutually beneficial to both brands in Australia & New Zealand – and to the market as it signals a new period of opportunity for the region’s professional lighting industry. It also brings these two renowned brands full circle. Although in robust competition for more than 30 years, the two enjoyed a successful partnership back in the 1980s, when LSC provided certain products under OEM license to Avolites. Acquisition has changed the outlook once again.
As Robe businesses, both companies can now draw on each other’s strengths together with the resources and dynamics of the wider Robe group, to offer a new level of solutions and support to the thriving Australasian market. With LSC’s role as a provider of world-leading power and data distribution solutions, complemented by Avolites’ renowned visuals and lighting control products, the future is visibly bright.
Avolites’ Managing Director Paul Wong is thrilled by the development: “We’re all very happy to welcome LSC as our representative for Australia and New Zealand. Their years of industry experience and strong relationships will strengthen Avolites in the region. We all take great confidence from the natural alignment between the two brands!”
Gary Pritchard, LSC’s Founder & Managing Director.
Gary Pritchard, LSC’s Founder & Managing Director, agrees: “This is incredibly exciting news that allows us to provide a very attractive turnkey offering to the customers. Two manufacturers working together in their respective fields of expertise can only benefit the market.” He adds, “Just a few short years ago, we wouldn’t have imagined that an opportunity like this was possible. But now, I’m delighted to say that some big, bold moves in this incredible industry have made it a reality!”
This new reality continues the long and interwoven stories of both brands and presents an optimistic future. “Avolites’ latest range of lighting control consoles and media servers perfectly complements our product portfolio,” says LSC’s business development manager, Darren McLanders, “It’s a powerful synergy and we’re looking forward to passing it on to our customers here in Australia and New Zealand.”
Darren continues, “The Avolites team has done an amazing job over the years, establishing a real presence, particularly in the UK, supporting and training console users at festivals and shows. It’s a model we’ll follow here, with regular training and direct product support from industry professionals, giving users the confidence and support they need to grow an advanced range of products.”
The Avolites brand will be officially relaunched to the Australia & New Zealand market during the 2024 Entech roadshow events, set to visit Sydney, Melbourne, Adelaide, Brisbane and Perth during October.
RCF, currently celebrating 75 years of authentic performance sound, is pleased to announce the appointment of Jim Reed to the newly created position Manager of Installed Sound and System Designs.
The announcement was made by Tarik Solangi, Vice President, RCF USA, Inc., and reflects the company’s ongoing future-focused business plan for long-term growth and expansion.
In his new position, Jim Reed will be spearheading business development in the permanent integration market sector, including working with integrators on system design, and serving as liaison between RCF’s U.S. operation and the headquarters in Italy, reinforcing the ongoing development of market-driven products for the system integration market sector.
Tarik Solangi
“Our growth is driven by cutting-edge products and a team of professionals who deeply understand the markets and customers we serve,” stated Tarik Solangi. “With his vast experience and deep expertise in the industry, along with his passion for sound system design, Jim is an ideal fit for this new role. We are confident that he will contribute to our ongoing growth and help us deliver exceptional service to our customers while providing insights to our parent company in Italy as they develop products that align with market demands.”
From the start of his time with RCF in sales and products support, Reed drew upon his rich history in the audio industry working as an A1 audio technician, FOH engineer, and installation project manager for several A/V companies to quickly establish himself as the lead product specialist for the U.S.
With a primary focus on the installation and larger production company markets, he developed a range of training and instructional materials for RCF, including videos and in-person training seminars, covering topics from basic audio theory to comprehensive system design. His expertise extends to on-site product demonstrations and sales training seminars for some of the largest A/V retailers in the U.S.
Recognizing the company’s growing needs in the installation market, Reed took the initiative to create the first Installation Department for RCF-USA. Leveraging his hands-on knowledge and extensive field experience both on and off the stage, he has built a trusted reputation within the industry as he worked to continually expand RCF’s relationships with major integration and consultant firms.
Over several years with RCF, Jim has had the privilege of designing and managing over 1,500 sound systems for a diverse range of applications, from community theaters to Broadway productions, chapels to cathedrals, and community sporting facilities to professional stadiums and arenas. Notably, he played a leading role in completing an audio system upgrade at the Indianapolis Motor Speedway, a project that now provides audio reinforcement for up to half a million attendees on a single day during the Indy 500, one of the largest sporting events in the world.
Commenting on his new position, Jim Reed stated, “Being a part of the growth and success of the RCF family is something I’m incredibly proud of. Every day, I’m excited to work and learn alongside colleagues and friend that are some of the most knowledgeable industry leaders.”
Icon of the Seas, Royal Caribbean International’s new game-changing ship, is setting new jaw-dropping standards and records in the world of vacations. Built at the Meyer Turku shipyard in Turku, Finland, Icon features more than 40 different entertainment, leisure, and retail spaces, including three primary entertainment venues.
The Royal Theater presents full-scale productions, including the first rendition of The Wizard of Oz at sea; Absolute Zero is a premium ice-skating arena; and the AquaTheater brings adrenaline and thrills centre stage with aqua shows put on by the first cast of aerialists, high divers, robots, synchronized swimmers and more.
Two of Icon’s main entertainment venues, Royal Theater and Absolute Zero, have Robe moving lights at the heart of their installed lighting rigs, while approximately 250 other Robe and Anolis LED fixtures are being used throughout the ship in 10 separate areas. The various Robe fixtures include iForte, Forte FS and iForte FS, Esprite, Painte, Tetra2, and iSpiider moving lights, plus multiple RoboSpot remote follow spot systems throughout the different venues. The entertainment lighting for Icon’s many different areas was specified by Christopher Vlassopulos who oversees all entertainment technology across Royal Caribbean’s ships, working closely with UK-based lighting consultant and maritime specialist Ben Couling from Tristwell Designs and Nick Mugnani from Skylight Services, together with integrators and installers Control AV based in Finland and also operating in Miami.
Royal Caribbean is committed to delivering the highest standard of entertainment and understands the role and importance of good production values and quality equipment. The project was coordinated by Robe’s global maritime manager, Tony Perez, working closely with the vacation brand, Tristwell, Skylight, and Control AV in both Finland and Miami. The kit was delivered to Finland via Robe’s Finnish distributor, Lighthouse Entertainment, which played a key role in providing the best support to all involved!
Royal Theater
Seating more than 1,200 guests, the proscenium arch theater venue spans decks 4 and 5 at the forward end of Icon, and it currently stages two productions, The Wizard of Oz and SHOWBAND! Live.Music.Now. The music is played live by a 16-piece orchestra, split into two groups and positioned on both sides of the stage. Twenty-four Esprite PCs and 28 x Esprite Profiles were chosen as key fixtures, most flown in the overhead rig, with some deployed along the high sides of the stage.
Two Forte FS FollowSpots with motion cameras are running on two RoboSpot controllers positioned on the lighting bridges, with the Forte FS luminaires on the most downstage catwalk. There are also 32 x Paintes in the space, chosen for their small size and powerful output positioned front of house! The perfect match of colors between all these Robe LED lights was a big bonus for production lighting designers Rui Rita and Matt Taylor who shaped the looks, drama, and narrative of this colorful and lively show, and even with many other fixtures involved, the Robe elements stand out from the rest and are at the heart of the storytelling.
Music Hall
Music Hall is a 2-story bar, night club and lounge that features a lineup of excellent tribute bands covering numerous genres from jazz to rock! Twenty-four TetraX units are used as one of the main effects due to their continuous pan rotation, stunning flower effects, and powerful output! Four LEDBeam 150s in the same venue are strategically positioned to hit the mirror ball!
Absolute Zero
Absolute Zero is an ice arena located at the aft end of deck 5 and is the largest at sea. It’s the first to feature an oval shape that provides excellent sightlines wherever guests are seated. Absolute Zero has four Forte FS FollowSpots running in pairs on two RoboSpot systems, which are each positioned at 90 degrees to one another around the rink, used for specials and highlighting soloists as they whizz around.
Royal Promenade
The Royal Promenade is the heart of Icon and a connector between the Royal Theater and Absolute Zero at opposite ends of deck 5. It has over 15 restaurants, bars, and lounges, including many flavours, atmospheres and favorite brands for numerous tastes. Nine white Esprites and two RoboSpot systems with four white Motion cameras are rigged on both sides, port and starboard. The RoboSpot system was chosen for its unique flexibility with the BaseStations concealed in a remote room off site from the main Royal Promenade neighbourhood!
The Esprites are used to pick up various entertainment functions staged around the Royal Promenade’s variety of spaces and were chosen due to their intensity and multipurpose features. Several sets of Anolis Ambiane AP RGBW fixtures complete with 67-degree lenses are installed in The Attic, Schooner Bar, and Point & Feather. The Ambiane AP was picked for its 90+ CRI to accentuate the architectural design. When dynamic colors are needed, the Ambiane AP bursts into vibrance with its unique patented RGBW color mixing system!
AquaTheater
AquaTheater hosts a high energy water-based extravaganza including 17m- and 10m-high diving platforms, synchronized swimming, robotic arms, and fountain shows. The two dive towers are lit with 12 white iSpiiders rigged underneath the towers and on the inner sides of the stage in between them to great effect.
Up lighting the towers are 12 x white Anolis Calumma L MC fixtures picked for their durability and quality of light. Six white iFortes, two RoboSpots and four IP65 motion cameras are in action for the high diving, slacklining, fountain shows and various other deck-defying entertainment in the AquaTheater.
The flexibility of the RoboSpots paired with the IP65 iForte units make the perfect match and a great long-term investment! The RoboSpot systems were specified because they can control up to 12 Robe moving lights per BaseStation, ideal for full coverage of the high diving in conjunction with the 40,000 Lumen iForte units!
Thrill Island and Chill Island
Throughout Icon’s Thrill Island and Chill Island where guests can choose between four pools, nine whirlpools, six record-breaking water slides, and the FlowRider surf simulator among other experiences are over 60 Anolis Calumma M MC RGBW fixtures, mainly used as accent lights for the structures and water features. The Calummas were supplied with Robe’s special Harsh Environment coating to withstand the salt, humidity, sea spray and UV conditions!
Tony enjoyed collaborating with Royal Caribbean’s creative team immensely. “Icon of the Seas was a once-in-a-lifetime endeavor, and the involvement of Robe and Anolis on this iconic vacation speaks volumes about the reputation of both brands,” stated Tony.
“Inventive lighting solutions including Robe’s Transferable Engine (TE) technology, the remote RoboSpot systems and fully weatherized IP65 rated products all made this job easier, and close communication with the factory in the Czech Republic ensured the delivery of top-notch lighting products for the entertainment industry.
“This achievement was a massive team effort from Robe’s side, with key contributors like Lorienn Cochenour, Peter Moore, the late Craig Burross, Tony Morin and Tal Janowitz from Robe North America, and international sales director, Ingo Dombrowski” he concluded.
There’s a whole stadium around every halftime show. ETC makes the systems and products that let stadiums look great hosting the Super Bowl and every other gameday. So of course Gopher Stage Lighting worked with the electrical contractor to select and install an ETC system to handle lighting controls for Allegiant Stadium in Las Vegas, home to the Las Vegas Raiders and host of Super Bowl LVIII. « “ETC is a great company for this kind of thing because they provide everything we need to make this stadium function,” says Josh Wood, Senior Project Manager at Gopher Stage Lighting and the person who oversaw every inch of the installation.
“They have everything from a centralized control system to individual button stations, relay panels to reverse-phase dimmers, touchscreens to lighting control consoles – everything we need for the stadium from one place.” Plus, ETC integrates nicely with every other system necessary to operate a modern stadium. “It’s easy to set up and keep moving forward.” »
Paradigm is the architectural control for the stadium, controlling back of house as well as general lighting for the stadium. But this is Vegas, which means the stadium is full of special VIP suites and clubs that demand special impact. Paradigm also shines there, allowing the lighting for these spaces to be run separately and dynamically.
“We have Paradigm processors and individualized power control in the clubs. They can act as islands unto themselves, individually running the clubs and bars behind the suites, doing 0-10 V loads, as well as reverse-phase dimming for LED tape and other LED sources,” says Wood. “You’re able to get clubs up and running without having to have the whole stadium system up and running.”
And because it’s Vegas, when Wood says clubs, he means plural. There are multiple clubs throughout the stadium, including the Wynn Field Club across the north end zone of the stadium that brings the nightlife experience to game day. “The lion’s share of that system is a large moving light package being controlled by ETC’s Eos entertainment system—but it’s still integrated into the stadium Paradigm controls,” explains Wood.
That’s not the only space where moving lights and color-changing fixtures are prominent. With the advent of color-changing LED fixtures powerful enough to light a field, stadium lights are part of the show now too. An ETC Gio console controls stadium lights and automated fixtures to entertain the crowd with color chases and flashy effects from moving automated fixtures throughout the game.
“LED stadium lights are a game changer,” says Wood. “They can blink, flash and chase. I can run color-chases around the stadium or paint the field with color. You saw that during the National Anthem at the Super Bowl. They were also using the color changes as well as the sports lights during the halftime show.”
The color changing lights are used throughout the season. Dawn Horstmann, a Field Service Engineer for ETC and Lighting Director for the Raiders, uses the entertainment capabilities of the Gio console integrated with the Paradigm system to dazzle the stadium throughout a game. “When the Raiderettes cheerleaders go onto the field and perform, we have moving lights focused on the end zones, and then the sports lights twinkle, and moving lights bounce around in all directions,” says Horstmann. Because the NFL has strict rules banning entertainment light from the field for the game broadcast, Dawn leans on powerful Eos tools to make sure that all this sparkle never spills over onto the field during broadcast.
“For touchdowns, I have ballyhoos that run around the stadium on all the seating, but you’ll never see it on camera,” explains Horstmann. “One of the cool things about Eos is that I can make an absolute effect where I have different focus points in all four corners and I can actually run my moving lights all the way around the stadium and never worry about it hitting the field.”
The console isn’t the only control triggering special lighting effects either
The video team can synchronize lighting effects with video simply by generating SMPTE timecode. In similar stadiums with an ETC backbone, “a touchdown video can drive the stadium lights by sending a trigger to Paradigm and on to ETC’s Mosaic system,” says Wood. “This is a big thing that every stadium wants to do now: have video triggering lighting. Once we integrated video into lighting in one of the stadiums we work with, every stadium had it added within the next year or two. We put it in the U.S. Bank Stadium in Minnesota as well as Geodis Park in Nashville for the Nashville Soccer Club. It’s a really great feature that they like a lot. It allows them to trigger effects without having a dedicated lighting operator for game days.”
ETC’s Mosaic Show Controllers deliver lighting looks and color-changing capabilities for a variety of pixel-based lighting attractions around the stadium, including the Coke activation on the upper concourse and the color changing fixtures around the Al Davis Memorial Torch. “It’s an important feature to the building because they light it before every game and it stays on through the end of every game. They even lit it for the Super Bowl,” explains Wood.
Wood and Gopher Stage Lighting were proud of Allegiant’s Super Bowl moment, especially after all the care and attention they put into the installation. During construction of the stadium, Gopher Stage Lighting, based in Minnesota, even leased an apartment in Las Vegas to make sure their people could be onsite at a moment’s notice. “Gopher works extra hard to be an amazing partner to stadiums and contractors, starting with how we even do our submittal paperwork all the way through working with the contractor to make sure they understand what wire needs to be pulled where and what needs to happen in what order,” says Wood.
Although only one team can win the Super Bowl, ETC is a winner in multiple stadiums and arenas, including U.S. Bank Stadium, Target Field, Xcel Energy Center, Target Center, and Allianz Field in Minnesota, Geodis Park in Nashville, SoFi stadium in Los Angeles (host of the 2022 Super Bowl), Sun Trust Park and Mercedes-Benz stadium in Atlanta, and many more. ETC handles building and entertainment lighting for the biggest stadiums and biggest games all over the country and all year round – not just at halftime.
For more information about ETC, please visit etcconnect.com
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