‘Sinus – Systems Integration Award’ puts the spotlight on AV media installation. Now, the sector’s companies and professionals are called on to enter their showcase projects for the competition. The awards will be presented during Prolight + Sound (31 March to 3 April 2020) at Frankfurt Fair and Exhibition Centre.
The Sinus is one of the most coveted awards in the field of audio-visual communication. It is given for successful business and entertainment concepts distinguished by the future-oriented use of fixed media technology ranging in, for example, conference centres, meeting rooms, television and radio studios, brand and experiential worlds and leisure attractions. The winning projects will be chosen by an expert jury comprising members of the associations, experts from the sector, representatives of the media and Messe Frankfurt.
The notional sponsors of this honorary awards are the German Media and Event Technology Association (VPLT), the European Association of Event Centres (EVVC) and Messe Frankfurt. The Sinus has been presented annually in different categories at Prolight + Sound since 2004. Last year, it was given for the Inspiration Wall at the Merck Innovation Centre in Darmstadt. Also chosen for an award was the new IP-based media technology in the GEO Mission Control Centre of EUMETSAT.
At Prolight-Sound.com, candidates have the opportunity to submit an outline of their projects with a brief description and images. The deadline for receipt of entries is 8 November 2019.
Blow of genius and sheer excess, here. Maestro Vittorio Storaro, soon octogenarian, still has not stored away his photocell of director of photography. Whoever trumped the Oscars of photography in the eighties, for Apocalypse Now, Reds and The Last Emperor alternates since between formal research on lighting and movie sets.
The “fratelli” of the Italian ‘Muses of Light’, a collection of LED projectors designed for movie sets, now coming out of the De Sisti manufacturing plant.
His reputation is famous, and comes from his Storaro filter range from the Rosco catalog, his books and conferences on painting and lighting and his collaboration with the great director Carlos Saura. He finds with Woody Allen this constant desire for evolution that never left him. Convinced belatedly by digital in 2016, the painter of the film has offered a unique signature at De Sisti developing with his daughter, architect light, an astonishing range of LED projectors for cinema.
The very first tests were undergone in presence of Maestro Vittorio Storaro.
The Muses of Light
On 4 July 4th, 2019, the prototypes of ‘The Muses of Light’ LED projectors were unveiled and used for the first time on the set of Woody Allen’s latest film, Rifkin’s Festival, shot in San Sebastian. Inspired to Vittorio Storaro by the nine muses, he added the goddess of cinema to the nine girls of Zeus. This range of projectors aims to provide virtually all types of lighting on a cinema shoot. All based on an assembly of white diodes with variable color temperature, they come in a wide range of shapes preceding their function.
Honor to the eldest with Calliope, epic poet, whose such-named projector takes place in a PC casing around a single 600-watt Led source.
5 muses with the tightest Spot beam are gathered in the left page of this still very confidential brochure…
With a variable color temperature between 2800K and 6600K, Calliope projects a 60° beam for powerful and well cut shadows, like a generic Goya would do. Made thinner for its official release, the Calliope has the settings of a PC and 4 barndoors.
Melpomene, as the majority of its sisters, is based on a specific geometric shape to address specific needs. Here, it is a triangle with a narrow 11° beam thanks to the layout of its LEDs. Used as an incident light source for dramatic purpose, Melpomene uses 640 Watts of white LEDs of variable color temperature between 2800K and 6600K to deliver more than 9,000 lux at 10 meters.
Designed as a square of LEDs, Tersicore needs 1,280 W of electricity to power up its 320 LEDs with variable white. The powerful flow of Tersicore remains uniform despite its tight angle of 17°, ideal bright light sent in the image field. Nearly 10,000 lux are measured to 10 meters with this Spotlight model.
Reduced version of the latter, the Clio is a rectangle half its size, where the technical specs are – logically – divided by two. With a power consumption of 640 W, its 160 variable white LEDs deliver 5,000 lux at 10 meters. It comprises the same impact and tight 17° beam as the Tersicore, to which it will be naturally associated.
Polymnia is a pentagon projector with diffused light output. Its 280 W of variable LEDs generate an average 25° halo for fills or soft lights. With almost 4,000 lux at 5 meters, Polymnia is clearly a close field lighting tool.
… while the 5 ambiance lighting muses are on the right page.
Wider and more diffuse, Erato serves as a hexagonal complementary source with wide diffusion. Equipped with 360 W of LEDs, its angle of 38 ° provides a nice coverage for small distances. The 2,800 lux at 5 meters from the Erato reserve it for soft lighting.
Built on the same model, Euterpe takes place in a barely wider 8-sided support. This octagon of light is based on 700 W of LEDs, with very wide radiation. The light spreads gently over 60° of coverage, providing less than 1,500 lux at 5 meters, with very fine shadows.
True focus of light, Talia brings up 1,500 W of LEDs over a very wide area of 80°. Its twelve-sided 12-sided format provides illumination with practically no shadows, with a beautiful 3,000 lux at 5 meters.
Urania is molded in a semi-circular asymmetric support. With its reduced size, it is dedicated to the closest applications or specific lighting purposes, using a half-disc 180° projection for radial lighting.
Spot lights Aurea
Solar mammoth, Aurea, this new muse of the cinema world, is the most radical in the range indeed.
With a large disc of LEDs, 2,400 W of electrical power and a tight angle of 11°, the beam strike like a sun with more than 30,000 lux at 10 meters.
It crowns with royal panache this range of projectors so particular… and bright.
This range of fixtures imagined by Vittorio Storaro and designed by De Sisti is still in the development stage, certainly functional, but far from finalized. The projectors will see all their sizes reduced in the final versions, and will be coming with a range of accessories specific to the cinema, such as Chimera and others. In addition to the respect due to this great man of photography, we can only be in awe of his vision as an artist and his scientific rigor, intact for more than 50 years.
Here’s the very first teaser of this Storaro range by De Sisti
Sunshine, good music and dual stage, this event represents the Italian excellence in the contemporary music festivals scenario. dBTechnologies VIO L212 powered the 2019 edition of TOdays Festival held in Turin, Italy, on August 23-25. The international lineup included Johnny Marr, Spiritualized, Ride, Jarvis Cocker, Hozier and Cinematic Orchestra, among others.
The open air sPAZIO 211 stage.
The festival of the summer 2019 in Turin has filled the city once again, extended its charm throughout the country and gone beyond international borders, finally becoming popular and attractive also abroad, reasons that place it closer to the Olympus of the great European Festivals. A real flagship for Turin, which year after year confirms itself as one of the most important poles of attraction for music and events in Italy.
The PAs were designed by Microfase Music Service, professional reality with a solid experience with the VIO Series; the system configuration in use consisted of:
– sPAZIO 211 stage: 16 VIO L212 + 12 VIO S218 + 4 VIO L208 used as front fill – EX-FABBRICA INCET stage: 16 VIO L212 + 12 VIO S218
The open air sPAZIO 211 stage, with Hozier in full action. You can guess behind the advertising tulle the 8 L212 cabinets.
Dario Colombo, supervisor sound engineer for sPAZIO 211, a large stage located in the outdoor venue of the TOdays Festival, enthused about the performance of dbTechnologies’ line array system: “VIO L212 reacted splendidly! There were very few equalization interventions on the master output of the mixer and they were more about mixing needs rather than real corrections of the sound of the system. None of the eleven sound engineers at the front of house needed to correct the sound of the PA. We only got positive comments. We also have to consider that almost all of them came with the show prepared elsewhere and loaded by usb on the mixer-console, so in that case it is even easier to make comparisons”.
The EX-FABBRICA INCET stage. You can guess how the acoustics will react, just looking at the glazed frame supported by concrete beams…
Nicolò Amedeo, Supervising sound engineer of the venue, says: “TOdays Festival takes place in very suggestive venues, aiming to involve the audience. But when it comes to acoustics, a beautiful spot can be tricky.
In this case, for example, the inner courtyard of the EX-FABBRICA INCET has some issues, since it looks like a long corridor between two wings of the old factory, it is half-covered along the entire lengt, with large windows on the sides. The positioning of the PA allowed us to better control the frequencies and limit the phase problems.
A sneak peak to the components inside the L212, with two 12”, four 6,5” and two 3” drivers with 1,4” throat. Classic and efficient.
The PA management software Aurora Net, has been helpful, as it’s simple to set up and very complete, and gives you the possibility to intervene in a very precise way.
I’ve been working with Microfase Music Service for years and since they bought the new VIO I used it in many different situations with many different kind of audience and the feedback has always been really positive”.
French people refer to her as the Iron Lady, but with tenderness and pride. French leading production company Magnum chose 60 Elation Proteus Hybrids to give life to an extraordinary light-show with double helix design to celebrate the Eiffel Tower 130th Anniversary.
The Eiffel Tower celebrated its 130th Anniversary on May 15th and marked the occasion with a spectacular son et lumière atop the Iron Lady with 60 Elation Proteus Hybrid™ luminaires used in an extraordinary double helix design. The weatherproof Proteus moving heads played an integral part in the sound and light show.
These fixtures were supplied for the event by technical solutions provider Magnum, who has been involved in over 95% of Eiffel Tower events since 2004. Magnum’s role on the 130th Anniversary project was to interact between the artistic ideas of renowned set designer Bruno Seillier and the Eiffel Tower’s technical director. Designed by Bruno Seillier and programmed by Magnum’s Clément Lelevé, the custom light show portrayed a series of moments in history including Gustave Eiffel’s design and construction of the tower, special broadcasts France got to experience due to the tower’s height, the two World Wars, and other notable events in history including the recent fire at Notre-Dame Cathedral.
“For this great and historical event Bruno Seillier wanted to feature the tower as the ‘DNA of Paris’ so the 60 Proteus Hybrids were positioned accordingly on the top section of the tower,” stated Magnum head Jérôme Chupin. A double helix design of Proteus fixtures, mounted above the second platform, lent itself to a beautiful symmetry of design, sending powerful beams of light thousands of feet into the Parisian night sky and allowing for unprecedented visual effects. The Proteus fixtures worked with other beam effects (in domes) located at the platform positions.
Climbing technicians akin to mountaineers spent three nights on the Eiffel Tower installing the multi-functional IP65 arc-source lights, an experience other technicians around the world have become familiar with as the award-winning Proteus has been used on several high-profile light spectaculars including New Year’s Eve light shows on the Burj Khalifa in Dubai and the Space Needle in Seattle.
“To this day the Proteus Hybrid is the only fixture gathering exceptional lighting qualities with the possibility to execute them in all environments,” Jérôme said of the powerful hybrid moving head. “Elation’s previous experience at the Burj Khalifa tower in Dubai was instrumental in the decision to give the Eiffel Tower’s Technical Services Department peace of mind and give the okay to hang the Proteus Hybrid fixtures.”
The 12-minute Anniversary light show debuted on May 15th following a free concert by popular French singer Jeanne Added and played again the nights of May 16th and 17th, three times each night. The symbol of Paris and a world treasure, the Eiffel Tower is a rare attraction in its own right but is especially magnificent when dressed in a custom light show as Jérôme exclaims.
“The show’s impact was ‘extraordinaire’! For three days, three shows per day, it gathered a sea of people from Place de Trocadéro all the way to the Pont d’Iéna (famous bridge across the Seine river nearby, Ed.) and was simply amazing to see.”
Winning duet Electro-Voice and Dynacord deliver the audio backbone to historic brewery venue in a system design by Romanian partner HSA Audio. Electro-Voice EVA line-array loudspeakers form the main system, with EVID-S for background music and Dynacord L Series amplifiers for power and processing. Dynacord’s MARC software is used to configure the sound system.
The latest renovation at the historic Becker Brau – HB in Bucharest has seen the installation of a new audio system that exploits the synergies of Electro-Voice loudspeakers and Dynacord electronics. The venue is the site of the first German brewery in the city and is a popular location for a variety of events, from live music and theatrical shows to weddings and corporate events.
Architectural and acoustic challenge
It was this wide range of applications that provided the main challenge for HSA Audio, the Romanian Electro-Voice and Dynacord partner in charge of the system design.
“We were challenged by both the architecture and meeting the needs of multiple people, from the owners and interior designers to the orchestra and the event planner,” recalls Adrian Colita, General Manager at HSA Audio. “Our main architectural challenge was to choose an audio system that could seamlessly blend into the design of the location while also meeting the technical and acoustic requirements.”
To complement this, EVID-S series commercial sound loudspeakers were also installed, providing superior sound quality with controlled coverage for keeping background music focused and paging intelligible. Sixteen EVID-S8.2W loudspeakers form the venue’s background music system, while also serving as delays for the main system and providing a seamless, linear sound that matches the elegant design.
Achieving a perfect mix
To achieve the perfect mix between the design of the location and the technical and acoustic requirements, HSA Audio chose the Expandable Vertical Array (EVA) from Electro-Voice for fixed installations, which allows users to drive up to eight boxes (the equivalent of 16 line array elements) from a single amp channel.
The main hangs consist of three EVA-2082S 920 per side, with low-frequency extension via two EVA-2151D subwoofer elements each side, all sporting a white finish. Power and processing for the installed solution is via Dynacord L Series amplifiers with four L1300FD and a further pair of L3600FD units deployed. Dynacord’s Multi Amplifier Remote Control (MARC) software allows users to configure, operate and supervise up to eight amplifiers.
“The L Series amplifiers have helped us a lot on the processing side for both the main audio system and the background music, all the more so as we can easily set the delay groups”. A Dynacord CMS 1000-3 mixing console provides additional hands-on control.
“Our customer and their guests are very pleased with the audio quality and system performance, as well as the elegant design.” concludes Adrian Colita.
Coemar has undergone since some time now a radical change of its series of projector, a moult that begun in 2014 with the first LEDko profile luminaires.
Same format as the famous De Sisti Magis, the Mini ReLite module aims to renew traditional halogen 500 or 650 W bulbs with drastically reduced electrical consumption and heat.
This way, the development of standard tungsten bulb replacement solutions under the ReLite name has been successful. Now available in GX9.5, GY9.5, GY16 and G22 base formats, the new ReLite HD and Mini ReLite will replace halogen lamps in conventional 300, 500, 650, 1,000 or 2,000 Watts PCs and Fresnels luminaires.
A living example here with the installation of a ReLite module inside a Arri ST1. A large number of brands are compatible.
Available in color temperature of 3,200K or 5,600K, these modules can also be controlled by the old dimmers linearly from 30% to 100%. To fine tune the intensity adjustment and get DMX control, the ReLite Kit Led boxes will simply connect between the graduated lines of any conventional installation and the projectors equipped with ReLite solutions.
The new HD menu comes now quick touch buttons for tests ands settings.
Latest evolution of the LEDko Profile spots range, the Full Spectrum in 6 color model are now available in HD. The software change is comes with a new menu with a new LCD screen for these 210 W LED Profiles. The 6 color mixing system benefits from, as previously before, the same precision with a 20 bit control of the 6 complementary colors: red, green, blue, white, lime and amber. The color temperature control is between 2,700K and 6,500K.
The colors you can get thanks to the LEDko Full Spectrum are remarkably fine, as pictured here during last Prolight+Sound exhibition in Frankfurt.
The 16 bit intensity curves are available in number of 4, all flicker-free guaranteed, preserving an CRI greater than 90. Users should also appreciate color management in various modes and the multitude of available accessories, top hat and fixed optics from 5° to 90° or other studio accessories, compatible with those already available on the market.
Apart from the DMX chassis plugs, the Otello have a quite standard look, calibrated for Movie or TV sets and for theatres.
The Led Phantom Fresnel, unveiled 2018, Q4 in motorized zoom version, is now replaced by the Otello range, Fresnel sources directly derived from the LEDko models.
These projectors are split into two source types, tunable white of 6 color system. – The first one is named Otello 6 HD Variwhite and comprises a 150 mm diameter lens and a 200 W LED power. It covers the full spectrum from de 2,700K to 6,500K with a maximum CRI exceeding 94.
– The second one is the Otello 8 HD FullSpectrum, using a red, green, blue, white, lime and amber LED source with an optimum CRI exceeding 95. Bigger size, it has a 200 mm lens and a 300 W LED source. It also comes with Green- Magenta adjustment.
As in the LEDko Profiles, the HD electronics, the DMX input and the LCD menu allow particularly fine adjustments in 16 and 20 bits, flicker-free guaranteed, with large control possibilities of hues and color temperature, inspired by the way TV sets and operas use this kind of fixtures.
Available in various sizes and powers, the Otello remains of modest appearance and weight.
Last but not least, a motorized DMX controlled zoom, allowing the Otello to vary its projection angle from 10° to 83° (14° to 81° for the Variwhite version) while keeping a standard ergonomics with its yoke and its barndoors.
Ten week Milan Latin Festival, quite a duration indeed, but nothing scary for Suono e Luci and their Coda Audio ViRAY system. The Milan Latin Festival is a 66 days celebration of the best Latin American artists on the planet. They converge on the external area of the Assago Forum in Milan from mid-June to mid-August, to deliver a rich and varied programme of concerts to enthusiastic crowds. High Profile and hugely influential artists such as the king of Reggaeton, Daddy Yankee and fellow Puerto Rican, Ozuna, lit up the stage for sold-out shows that featured all their million-selling international hits.
General front view of the Latin Festival stage, all equipped with Coda Audio.
At outdoor events such as this, where the hazards of dispersion are more pronounced, the true qualities of an audio system are laid bare and event technology provider Suono e Luci, chose Coda Audio to ensure that every artist performing during the two-month duration of the festival was heard loud and clear. Claudio Saoncella, Head of Audio at Suono e Luci, valued customers of Coda Audio’s Italian distributor Decima 1948, opted for a ViRAY solution configured in Bi-Amp. The system was installed into the Festival’s 1500sqm outdoor area, which contained seating for more than 6,500. Reliability and precision were key to the task, given the duration of the event and the huge variety of acts to be presented.
Daddy Yankee in full Latin action.
For the main PA Suono e Luci installed 15 x ViRAY (Bi-Amp) per side with 3 x ViRAY per side for delay. Frontfill was delivered by 4 x HOPS8 and sidefill by 6 x TiRAY, 2 x TiLOW and 2 x SCV-F subs. 8 x SCP-F subs arrayed across the front of the stage completed the set-up. The system was a great success, delivering all the necessary power and coverage with great definition and extremely low distortion, allowing audiences to fully experience the detail and depth of Latin American music.
William Geroli, the official Front of House Engineer for the festival seemed delighted with the system: “It has a very good response across all the frequencies and the Dual Diaphragm coaxial wave driver and coupler technology are great! They are extremely efficient and always guarantee great results with high output and increased power handling. The reliability, ultra low distortion, fast optimised transient response and coherent wave guide are great too.”
8 x SCP-F subs arrayed across the front of the stage;
The engineers for major stars Ozuna and Daddy Yankee used the system as it was, with only minor EQ tweaks to satisfy personal taste. Whilst many of the visiting engineers were unfamiliar with CODA Audio, all declared that they were totally satisfied with the system.
Maurizio Mura, General Manager of Suono e Luci – the first company in Italy to place its faith in CODA Audio – gave this ViRAY system enthusiastic appraisal: “I’ve always thought that the audio quality of CODA systems is huge. I’ve used it in various situations and contexts in the last three years – we provide light and audio to the biggest Italian musical productions – and the results are always incredible. The ViRAY is a compact system, very easy to handle – including the speed of rigging.
For the main PA Suono e Luci installed 15 x ViRAY (Bi-Amp) per side with 3 x ViRAY per side for delay.
The coherent wave front is great and solves many problems in challenging settings. At the Milan Latin Festival we are once again obtaining outstanding results. The concerts by Daddy Yankee and Ozuna were incredible, with exceptional power and sound quality from what is considered to be Coda’s medium-sized line array range!”
The power and flexibility of Coda Audio systems was perfectly demonstrated by Suono e Luci at the Milan Latin Festival. ViRAY was used to great effect in conjunction with speakers from across the CODA range to provide the sonic backbone of this hugely popular event.
The Robert Juliat stand Robert Juliat at Prolight+Sound exhibition was a mix of smiles and technology.
As seen at PL+S 2019, the latest version of the SpotMe tracking system, allowing a manual follow-up from a followspot operator to manage other moving heads, uses the PosiStageNet protocol to send the X/Y/Z coordinates of any object or person somewhere in a 3D environnment.
SpotMe and Maestro
The SpotMe tracking system, designed to capture the manual operation of a followspot technician in order to “drive” other moving heads, uses the PosiStageNet protocol, which sends out the X/Y/Z data of any volume or physical person in pre-determined 3D space.
The Masters of followspot Tracking teamed up with ZacTrack to create a dedicated PSN server.
This protocol, at the moment is only included into the GrandMA2 lighting consoles. If the combination between SpotMe and GdMA2 allows you to make the most of the recognition and tracking management performance, in order to mix the commands from the console and the parameters recovered from the followspot, this is not the case at the moment with other light console manufacturers.
The idea of Robert Juliat is to secure the use of their SpotMe system with any control desk thanks to a dedicated server, the Maestro, developped in partnership with the specialists of Tracking and automatic followspot since ten years, ZacTrack. The latter have acquired enough experience to offer optical calibration sensor bases capable of controlling moving fixtures and recalculating all position presets in the blink of an eye.
The lighting console, even the simplest DMX model, keeps the Pan-Tilt control and gets in return additional DMX channels to modulate the tracking parameters managed by the Maestro server. It’s then possible to create movements offsets for the moving heads, to limit lighting zones inside the stage boundaries, or to associate zoom channel values depending on the distance between the “target” and the followspot.
A nice demo is always worth much more than complicated diagrams.
For the third-part users, in particular for theatres or operas, the Maestro is a lighter solution working in parallel on the data network of another console to ensure the real-time positioning of the moving projectors and the 3D tracking. The Maestro is a Hardware unit coming with an app for tablets, soon to be completed by an external screen for local set-up of parameters and a Web server to manage all possible options.
To go further into details, it will be necessary of course to patch the projectors in the Maestro as well, but their calibration in the 3D working space will be managed by the SpotMe system and its 4 reference points. In order to be used with existing lighting desks, the Maestro boards an integrated progressive merger of DMX values, much more precise than standard HTP or LTP merger as we know them.
The Maestro server is exclusively dedicated to only one SpotMe system, but not able to drive an unlimited number of moving heads. Still under development to propose the more reliable and simpler possible interface for users, the Maestro will be available officially during this autumn by Robert Juliat.
Dalis 864S Footlight
The Dalis 864S is the 50 cm LED batten declination of the famous asymmetrical footlight designed by Robert Juliat to illuminate an artist from the ground up, without shadows or chromatic distorsions. Always recognizable as a discreet fixture, its connectivity and its menu, to be still invisible to the public, it comprises as well its famous double row of 24 micro-asymmetrical lenses. The Dalis 684S is provided with 75 W of red, green, royal blue LEDs and white at 2200K.
Latest newbie in the Dalis range, the 864S Footlight is dedicated to theatres and various stages.
As for all Dalis, its cooling system with no fan generates no noise at all, it is also flicker-free and can be controlled in DMX, RDM, Art-Net and sACN.
The P2FU, here in demo, indicates the value of the dimmer controlled by this remote device.
The P2FU is a modular command platform for the Alice and Oz followspots, connected to them in USB. As indicated by its full name, the USB 2 functions module comprises 2 faders, parametrables at will. It comes with two switches and a multi-purpose and multi-information screen.
It can adapt depending on daylight or for night conditions, it can assign different functions, with low and high thresholds, and can interact on the intensity, fade times and other future features. To fit a number of users, several profiles are available, with user profile creation at any time. The screen displays permanently the dimmer value and type of control, be it local, DMX or remote.
As we all know, Dubai is an essential place for our industry. Looking to establish a new AV distribution company, and apply their collective knowledge of the local market requirement to a well-known audio brand, Anil Kumar and his team at Dubai-based AVenger Electronics approached RCF.
Anil Kumar and Joseph Ninel Rebero from AVenger Electronics.
“Since RCF had the entire range of professional audio products in its portfolio, catering for the installation, touring, MI and Evacuation segments, we considered them as our preferred choice for servicing the markets in the UAE and Oman,” stated AVenger sales manager, Joseph Ninel Rebero. “This would range from small portable PA to large stadium installations.”
The company had also done its homework and recognised RCF’s existing high brand value in the region. “We knew it was well established in both the touring and MI market.”
Anil Kumar and Joseph Ninel Rebero from AVenger Electronics, with Luca Ombrati from RCF.
As brand manager, and with extensive knowledge of RCF (through his time with previous distributors) Mr. Rebero will lead a team that will be focused on brand promotion throughout the UAE and Oman. “Our mission will be to focus more on the integration market to bring RCF up to the next level in this segment,” he says, forecasting that initial impact is likely to be created through the Live & Pro Series as well as the new business music solution products, due for release imminently.
AVenger Electronics have also set a vigorous marketing campaign, favouring roadshows and seminars over trade shows in the Middle East. “In this way we can give more interaction and product awareness with industry professionals.” They will also exploit opportunities via direct marketing, social media, newsletters and displays through dealer networks, as well as onsite demos, training and consultant visits.
Added Luca Ombrati, RCF Sales Manager Europe & Middle East, “Having known Joseph Ninel Rebero for some time, when he informed me about the new company he was about to co-found with other experienced people in the industry—people who already had deep knowledge of RCF, its products and philosophy—their appointment was a no brainer.
“AVenger Electronics’ decision to keep RCF as the unique and exclusive audio brand in its portfolio, in view of its very broad product offering, further confirmed our impression that they were best suited to our needs.” More information on RCF numerous ranges of products and AVenger Electronics.
For new ballet work The Comedy of Error(z) at Basel Opera House staged by director/choreographer Richard Wherlock, asked acclaimed lighting designer Yaron Abulafi used 40 Astera AX1s and 24 AX3s in a very creative set-up – no error made indeed!
It’s all about lighting lines and dots, here. Internationally acclaimed lighting designer Yaron Abulafia was asked by renowned director and choreographer Richard Wherlock to light his much hailed new ballet work, The Comedy of Error(z), staged at Basel Opera House (Theater Basel) in Switzerland … which explores the themes of confusion and misunderstanding directly connected to the realities of digital lives … that are also present in Shakespearean comedy. The story also contrasted and contextualised the lives of rich and poor in countries that are financially stronger or weaker, throwing out some complex and intense messages for debate and expressing ironies of geo-fiscal imbalance via the captivating mediums of movement, music and light.
First time with Astera for Yaron Abulafia
The Astera AX1 PixelTube.
Yaron had the venue’s house lighting rig at his disposal which included 40 x Astera AX1 Pixel Tubes. Known for his work in theatre, dance and experimental performance, it was the first time Yaron had encountered Astera as a brand. Ahead of the production, he started researching the available kit and thinking about how to incorporate the AX1s into his design, which led to him also specify 24 x Astera AX3 ‘Lightdrops’ which were purchased by the Opera House specifically for The Comedy of Error(z). Yaron immediately liked the versatility of the fixtures and the fact they could be run completely wirelessly and fully reliably – via battery power and radio DMX control.
The Astera AX3 LightDrop.
Additionally, the way-cool Astera magnetic undersides meant they could be simply and easily clamped directly to a huge metal cage, forming part of an industrial looking scenic piece that was incorporated into designer Bruce French’s set. This structure also served some of the other productions that were playing concurrently in rep at the Opera through the same period. The magnetic fixing enabled these “Comedy of Error(z)” specials to be quickly and easily deployed in the available pre-show tech period each day the performance was running.
Creatively, Yaron identified two distinctive contrasting scenes where the mood and ambience could be set utilising the lights as metaphors to reinforce the narrative, using the Astera tubes as the key light in two scenes with which to characterize the location.
Adding depth and distance with tubes’ intensities
The first depicted the menacing world of a refugee detention centre, where the AX1 tubes replicated dingy, flickering fluorescents and amplified the stark nature of the environment, where different colour temperature whites interplayed to raise the threat factor. By varying the intensities of the tubes, Yaron could add depth and distance to the scene, enlarging the stage space with the optical illusion of some lighting being further away and in the distance.
Later in the show, the same tubes were used in bright red to highlight the underground world giving rise to scenes of brothels, prostitution and enforced slavery … a nasty place in which some of the refugees find themselves having to fight to survive. The intoxicating full reds achievable with the tubes – thanks to Astera’s seamless light engine and smooth colour mixing – was perfect as a mood setting for these jarring moments.
Thirty-two AX1s were installed – magnetically – around the inside of the cages, which enabled Yaron to get them into some interesting positions that would simply not have been possible utilising conventional rigging methods. The 24 little AX3s were also run completely wirelessly, fixed to the upper stairs of the set, next to a wall / fence encircling the performance space, washing directly downwards creating vertical lines around the back wall of the stage. “They enhanced the shape and architecture of the space really well” explained Yaron, who was again suitably impressed with the rich colours.
AX3 bringing golden glow to the set metalwork
He used the lighting generally to emphasise fences, cages and barriers in the poor world – cold, eerie, fragmented and unpleasantly restricting. In the rich world, the AX3s brought a golden glow to the set metalwork which exuded an impression of being strong, structural, controlling and selectively liberating.
“Lighting the set in such a specific and flexible way was paramount to the whole production as we needed to create so many different scenes and locations” stated Yaron Abulafia, and the essence was to create illusions and trigger images so the audience could switch places and perspectives in their own heads … rather than looking at a series of literal set elements.
“The Astera’s proved to be stable, powerful and very bright – I didn’t run them at anything like full capacity” he reveals, adding that he will be using them in future designs. The Comedy of Error(z) was a demanding work to light in general. The tempo was fast-paced, relentless and very lively, so Yaron engaged in rigorous prep work to ensure that his lighting treatments would flow and work smoothly once on site. The AX1s and AX3s were programmed into the house EOS lighting console with all the other lights utilised, resulting in over 200 cues for the 90-minute performance, many of them slow, fluid and ever-changing … supporting the idea of constant movement and subtle but profound ambience transitions.
“It was extremely creatively and technically challenging, but we all achieved our goals in terms of creating an expressive work for audiences to enjoy and interpret” says Yaron, and the critics also loved the work as much as the public! Yaron worked with a talented team including set designer Bruce French, costume designer Catherine Brickhill, dramaturg Gregor Acuna-Pohl, and composers Antony Genn and Martin Slattery who produced the powerful, pulsating music score that underlined the piece. The Basel Symphony Orchestra plays with the composers, under the musical direction of Maestro Thomas Herzog.
Basel Opera House technical director Joachim Scholz and lighting director Roland Edrich and Guido Hoelzer were also a great source of “technical support and inspiration” and they were the people who had great confidence in purchasing the new AX3s. Yaron’s relationship with light as a powerful tool and a dramatic mechanism is imaginative, theoretical and practical.
“It can help us see what we already know and constitutes a beautiful manipulation of the spectator, a lens through which to look at the performance. It recomposes the visual perception of reality and affects how we prioritize our attention. A true ‘eye opener’… Light can convince us to perceive and think in a certain way. Therefore, light is an argument – it is rhetoric!”, concludes Yaron Abulafi.