Manchester Opera House has recently replaced its in-house followspots by purchasing two Robert Juliat Arthur LT 800W LED followspots from White Light in the UK.
Arthur LT is a long-throw version of the original Arthur followspot with a narrower beam (4°-10° zoom range) and an output that exceeds that of an HMI 2500W followspot.

It has an enhanced light quality with a CRI >94 and a sound level that is quieter than any of its discharge rivals, all of which helps to ensure Arthur LT is as suitable for theatres as for concerts or big arenas. The Arthur LT units replaced Manchester Opera House’s aging Cyrano followspots which had given a good 15 years of service at the busy venue.

White Light’s business development manager, Jonathan Haynes, first introduced Arthur LT to Stuart Graham, head of technical operations at the Ambassador’s Theatre Group, owners of Manchester Opera House, at PLASA Leeds last year.
Graham approved the purchase for Manchester, and the two followspots were delivered earlier this year.

The arrival of the Arthur LTs simultaneously marks a transition from traditional sources to LED as John Mace, Technical Manager at the Opera House explains: “As our Robert Juliat Cyrano followspots began to wear out, we wanted to replace them with something contemporary, with more modern technology that would last us for the next 15 years.

The Arthur LT LED followspot was the perfect fit for our venue, and the ideal substitute for the Cyrano lamps. It is packed full of features. The light is even and cool with no hot spots and we have used standard gels with no issues. Additionally, Arthur LT’s onboard system allows the LED source to connect to the lighting desk, which is a feature we are looking forward to putting to good use.”

The 110-year old, Grade II listed touring venue hosts a broad programme of plays, musicals, ballet and concerts and a special Christmas pantomime each year.

One of the largest theatres in Manchester with a 1930 seating capacity, MOH’s stage is 37 feet wide x 42 feet deep with an approximate 29m throw distance from the followspot box where the Arthur LTs are sited.
“The Arthur LTs look great on our stage, delivering an excellent equivalent output to the Cyranos,” reports Mace. “The operators report they are a delight to operate, being smooth and well balanced.

As regards to maintenance, the spots operate at a lower temperature, are extremely quiet and don’t have a cumbersome ballast to maintain. The LED is easy to replace and should last a lot longer than an HMI lamp.

“All the visiting companies have been impressed with them so far and with the light output they are able to deliver. We couldn’t be happier with our purchase.”

More information on Robert Juliat’s full range of lighting solutions on www.robertjuliat.com

The 65th Grammy Awards, which took place at the Crypto.com Center in downtown Los Angeles, was an even busier affair than in the past.

The 65th Grammy Awards audio team.

While it may not have had as many individual song performances as past Grammy Awards events, it more than made up for it with more complex productions, most notably the 35 rappers and four DJs who turned the stage into a 15-minute-long history of rap, including Missy Elliott, Big Boi, Run-D.M.C., Queen Latifah, Method Man, Public Enemy, Busta Rhymes, DJ Jazzy Jeff, and the Grandmasters Flash and Melle Mel, backed by a combination of tracks and the Roots playing live. Getting and keeping all of that audio together fell to a cohort of veteran mixers of the show and an all-star cast of DiGiCo mix consoles, provided through ATK Audiotek/Clair Global, the event’s sound-reinforcement vendor.

Two Quantum7 consoles were located at front of house, manned by Ron Reaves and Michael Parker, who alternated mixing live performances by the evening’s artists, including Harry Styles, Bonnie Raitt, Lizzo, and Adele, all of whom were also category winners that night. A Quantum338 desk also shared the FOH platform with them, through which production mixer Jeff Peterson combined the two alternating FOH feeds with production-audio elements such as introductions, announcements, and acceptance speeches from the podium.

The Jeff Peterson Quantum338 production console and behind it two Quantum7 FOH consoles.

Two more Quantum7 in monitor world, manned by Tom Pesa and Andres Arango, reflected a similar split of the bifurcated stage, on which one performance would take place while the next was setting up behind the “close-down” screens that kept the focus on the show. All the Quantum consoles were connected on an Optocore network loop, each with a complement of SD-Racks and SD-MiNi Racks. Everywhere you looked, everywhere you listened, you saw and heard DiGiCo Quantum.

“The Quantum7 is simply the best tool for that job,” says Ron Reaves, who was mixing his 20th Grammy Awards show. “It presents a very good, very powerful platform that lets you do anything you want and place anything you want anywhere on it,” he says. “My template is 168 open faders so I have to be ready for anything, and I am with that console, because it has the horsepower I need for that kind of wide-ranging array of performances.”

With over two dozen individual artists performing at the show, he spent time on every song during rehearsals and soundchecks consulting with their FOH mixers, and the Quantum’s SD-Range heritage greatly facilitated that. The hecticness of Grammy Awards rehearsal days they sprawl across the three days ahead of the Sunday evening event makes that familiarity critical.
“All the guest engineers know it and are familiar with it,” he says. “It gives us a common language, and that makes keeping a hugely complex production like the Grammy Awards moving and on schedule. The snapshot capability is exceptional.”

Similarly, the Quantum7’s innate power helped keep the workflow steady. For instance, Reaves notes that while front of house and monitors share the same preamps, the latter tends to drive them hotter. “My gain structure and way of working will put less pressure on the preamps, but if they start to almost clip upstairs, I’ve still got a ton of headroom on the same preamps,” he explains. “Between the power and the flexibility, it’s the only console we could do this on.”

Andres Arango et sa Quantum338

Reaves’ counterpart on the FOH platform, Michael Parker, agrees, calling the Quantum7 “the Rolls Royce of consoles.” During the Grammy Awards, he applied the Spice Rack’s Chilli 6 multiband compressor on many of the vocals he mixed, including during Stevie Wonder’s performance.
“It’s great for softening up the vocals in a certain range, between about 2k and 5k,” he explains. The Quantum7’s ultra-flexible worksurface was a boon during the show’s acclaimed 50th anniversary of hip-hop segment, when he and Reaves changed their workflow: instead of mixing performances on one side or the other of the split stage, Parker handled all of the vocals for the entire stage while Reaves mixed the music tracks, live band, and three DJs.
“On the network, we all had access to all of the inputs, and the Quantum7 lets us easily configure each console for each production,” says Parker, who was also recently using a Quantum338 on Fox’s The Masked Singer. “And the Stadius 32-bit mic pre’s were also great to have on that show. Everything just sounded so good.”

Over in monitor world, Pesa covered IEMs for stage right and Arango for stage left, and both on DiGiCo Quantum7 consoles, the third Grammy Awards show for the desks. Pesa, who was on his 23rd Grammy Awards turn, says the basic currency of monitors for the Grammy Awards is a foundation channel template built on the Quantum7’s worksurface. That then gets copied and customized for each artist, for quick recall as the show progresses. However, both mixers have to be alert for last-minute changes.

Pesa recalls on the 2014 edition of the show Paul McCartney’s performance was moved from one side of the stage to the other, 30 minutes before he soundchecked. “We had to quickly create a new template for that,” he says. “You want to have every parameter at your fingertips at all times because you never know when you’re going to have to make a quick adjustment. The biggest challenge is keeping as many options on the table as possible, even as you’re trying to pare each template down for each artist to keep it manageable. The Quantum7 is a big help for that.”

Andres Arango found the Quantum7’s flexibility to be a lifesaver on monitors for the 50th anniversary of hip-hop segment. “Tom and I were going to town on that, and I was amazed at how fast and accurately we were able to work on what was a pretty hectic production number,” he says. “Questlove was calling out each performer just before they came onstage and giving a quick countdown over his talkback mic. “Ice-T—one, two, three, four, go! Busta Rhymes—one, two, three, four, go!’ We were just racing. And the Quantum7 kept up. I don’t think there is another console that could have handled that fast-paced show as well as it did.”

More information on the Digico website

ArKaos, one of the leading real-time live visual technology innovator, launches its new, powerful and flexible VS4 media server at the Prolight+Sound expo in Frankfurt next week.
The impressive ‘industrial strength’ design and build of VS4, complete with custom rock-solid motherboard and a blisteringly fast graphics engine, offers 4 x 4K outputs (or 16 x HD) and runs on Windows 11.

Its sturdy, gnarly, no-nonsense appearance reflects its place in the ArKaos VS next-gen range of creative visual control products – which also includes the VS1 – of which it is the ‘big brother’. The aesthetics have been developed in keeping with the contemporary style of InMusic’s dynamic brand portfolio.
As you would expect from ArKaos, VS4 is a feature-packed, intuitive and fun to use visual tool as well as a cost-efficient 19-inch rack mounting solution for all scenarios requiring full control over a range of media inputs.

Running seamlessly with the latest ArKaos MediaMaster software, VS4 interfaces and works harmoniously with any lighting console, and is targeted at high end television studios, streaming facilities and broadcast scenarios.

With this exceptionally rugged engineering, it is also ideal for hardcore production, touring and rental markets.
Two interface screens enable monitoring, there is full USB connectivity on the front via two robust ports and a Neutrik PowerCON for power.

With up to 16 x HD screens running from one VS4, devices can also be networked together for controlling even more screens. The screens can be remotely locked thanks to EDID compatibility, while the front panel LEDs can be programmed to display different colours to indicate status or assist with fault finding.

The VS4 is constructed to make day-to-day or on-the-road maintenance easy. The backplate opens and the cables can be extended so if a connector needs to be swapped out, the process is straightforward and painless.

LED illumination on the rear allows technicians to see what’s happening in the dark – handy when working onstage, on a set or in any dark corner or recess!
Being a fully modular system, VS4 units can be built up as required by adding input cards. The basic version comes with power and output cards allowing users to tailor precisely to their needs and also utilise their budgets efficiently.

This is a natural progression for the current ArKaos product range following the popularity of VS1 and is a proactive response to market demands and the increase in 4K applications.
The integration of the MediaMaster software platform ensures the smooth, accurate and harmonious control of multiple video and LED pixel inputs from one reliable device.

For more info about ArKaos, you can visit www.arkaos.com

Frankfurt am Main, April 2023: Prolight + Sound is further expanding its range of products and topics for the 2023 event. With the new Future Walk, the show (25 to 28 April 2023, Frankfurt) will offer an interactive area with an experiential character, which will present innovations around networked systems for event technology and broadcast applications.

The focus is on network-based processes that will permanently change the industry in the coming years: from remote production to device-independent workflows and on-demand infrastructures. In addition, the Kamera Hub will celebrate its premiere at Prolight + Sound. It is a central contact point for TV cameramen, presents innovations in moving image production in specialised exhibitions and invites visitors to talks and workshops.

To realise the new special areas, Prolight + Sound is cooperating intensively with partners from the industry. The Future Walk is being created under the professional direction of MakePro X, one of the leading suppliers of high-performance control consoles for media technology in the network age.
Other partners and exhibitors in the area include key players and specialised suppliers such as ARRI, Broadcast Partners, Nebucast, Netorium, On Hertz, Panasonic, Teltec, Troikatronix, Universe and Zoom. The German Association of Camera Operators (BVFK) is responsible for the Kamera Hub.

Future Walk: How innovative AV media technology will revolutionise the industry

On more than 250 square metres, the area in Hall 11.0 offers five different stations where visitors can experience the systems distributed in the network in action. In addition, crosssystem and cooperative networking will be demonstrated at all stations: The participating companies will make their components available directly via the network and provide indepth insights into the functions, workflows and advantages of their solutions.

The following stations are planned for the Future Walk

Kamera Hub: Product overview and expert knowledge for TV professionals

With the new Special Area in Hall 11.0, Prolight + Sound is giving moving-image production a home. The centrepiece of the area is the “Look of the Future” exhibition, where TV professionals can get an overview of new camera models for use in TV productions as well as innovative LED lighting solutions. Also part of the Kamera Hub is the “Speakers Area”. Here, expert talks on industry-relevant topics will be held daily.

The programme includes lectures on innovative technologies in the TV sector, the job profile of TV camera operators as well as occupational health and safety. There will also be workshops on make-up, camera and lighting for HD productions. Sustainable solutions in TV operations will also be highlighted. Also part of the programme is a workshop that demonstrates the interaction of make-up with camera and light. Here, visitors can also act as models themselves and receive a professional make-up from renowned artist Nicole Stoewesand.
Representatives of numerous industry-relevant associations and organisations will be taking part in the BVFK programme, including the German Make-up Artists Association (BVM), the Association of Independent Service Providers in the Event Industry (ISDV), the German Social Accident Insurance (DGUV) and the Rundfunk Pension Fund. The programme will take place in German language.

In the product exhibition, visitors will experience the latest products from renowned companies such as Canon, Dedo-WeigertFilm, ETC, Fiilex, Lightpower, Panasonic, ProLycht, Rosco, Sigma, Sony, Sumolight, Teltec and Video-Machinery.
In addition, the Kamera Hub is home to the exhibition stand of the BVFK and its members. The entire four-day programme of the area is available at www.prolight-soundprogramm.com.

Prolight + Sound: Leading European Trade Show for Entertainment Technology

For 28 years, Prolight + Sound has presented all the new trends and technologies for spectacular events and productions. Hundreds of companies from all parts of the world present their solutions from lighting and audio to studio and broadcast to AV media technology as well as event services from 25 to 28 April.

Especially in the field of theatre and stage technology, the event has developed into Europe’s biggest meeting place. In addition, there is an extensive programme of further training on several lecture stages. The focus is on new technologies and fields of application as well as cross-sectoral topics such as personnel development, sustainability and gender equality in the event and entertainment industry.

More information about Prolight + Sound can be found at www.prolight-sound.com

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

Links to websites

– facebook.com/prolightsoundfrankfurt
– twitter.com/pls_frankfurt
– instagram.com/pls_frankfurt
– youtube.com/plsfrankfurt
– prolight-sound.com/linkedin

Recently renovated, the new Eurosport France set said goodbye to conventional fixtures to make way for the latest generation of LED luminaires. The compact and versatile Lonestar from ETC was the automated fixture of choice for Eurosport’s technical team and the lighting company Ar’Krys.

The main filming location at Eurosport France is a physical set with a large 20-square-metre LED wall as a backdrop. Despite its 45 square metres of usable surface, it has everything you’d expect of a larger set, and can accommodate up to six presenters, columnists, and guests on the three benches and a standing position.

Overhead, a grid of wash lights enables different colour combinations. It is complemented by 20 Lonestar fixtures, intended primarily for lighting the talent and effectively rendering skin tones. The luminaires were carefully selected by Baptiste Arnaud-Benaïs and Georges Krystkowiak from Ar’Krys, who were commissioned by the Eurosport team to propose a new lighting system for the set.
They discovered Lonestar in the ETC showroom in Saint-Denis. “We attended a demo at ETC France and then arranged a loan on-site to try the fixture in real conditions,” says Arnaud-Benaïs. “It checked all the boxes: compact but powerful, versatile with great quality of light, and very well positioned in price.”

Florent Marquaire, technical project manager at Eurosport, was keen to replace the existing 300W tungsten Fresnel fixtures, but the replacements had to meet strict criteria. “Previously, we needed a large number of fixtures to cover all the positions,” Marquaire explains. “That’s why we wanted to switch to LED. However, we had to find a compact model that was also good quality – both in terms of durability and colour rendering – and with enough lumen output to limit the number of fixtures required.”

Ar’Krys proposed installing Lonestar around the entire periphery of the studio. Lonestar fixtures offer four-plane, full-curtain blades with 120° module rotation, making it possible to replace several static fixtures with a single automated one while adding the option of effects with rotating gobo and animation wheels.

Despite the low ceiling height of the studio, the Lonestar fixtures met the size and power requirements perfectly. In addition, positioning the luminaires horizontally provided even more space.

“Going for 20 Lonestar seemed a little disproportionate for a set of this size, but it’s actually in response to the power of the LED wall,” explains Arnaud-Benaïs, who is also responsible for the programming of the studio. “To avoid the moiré effect, we wanted to reduce the depth of field, open the diaphragm of the cameras, and maintain a significant luminous flux to work within the camera’s best performance range so we could play with ND filters or sensitivity settings (-3db -6db.)
At the same time, the fixtures had to illuminate the talent adequately without allowing the brightness of the LED screen to take over. Lonestar does this, while covering a relatively wide range. Additionally, the fixtures achieve this without operating at full capacity which minimises fan noise.”

In the final configuration set up by Ar’Krys, the fixtures are only used at between 30 per cent and 70 per cent of their power, depending on their positions.
To capture the result, no less than seven cameras are deployed. Six of them are robotic, one on a dolly, and the seventh is a shoulder camera.

“The set is versatile. Between each show, the visuals on the LED wall change, as well as the colour of the seats, according to each show’s concept,” explains Marquaire. “The desk in front of the benches is on jacks, so it can be easily moved from a sitting to a standing position. The fixtures also adapt to the show’s guidelines and the number of people on the set. That’s why we wanted a profile moving head to be able to define the positions well.”

Arnaud-Benaïs concludes, “What I find exceptional is the frost. There are two progressive ones with a great gradient no need to add gels like on other fixtures. And thanks to that, we have very well-defined positions, without it showing, because the transition between two Lonestar fixtures is just perfect!”

For more information about ETC, please visit the ETC Connect website

Excerpts from programs filmed on set and broadcast live on Eurosport 1:

Excerpt from a show on the Tour de France, with a yellow background
Excerpt from a show “Les Rois de la Pédale” with its red background
Excerpt from the show “Les Rois de la Pédale” with a blue background

Robert Juliat will exhibit at Prolight + Sound, Frankfurt (25-28 April 2023) on the stand of its exclusive distributor for Germany, Lightpower, in Hall 12.0, Stand C60, where it will be presenting a selection of its LED lighting fixtures.
First up is RJ’s award-winning Sully 4C, a range of colour LED profile and Fresnel spots.

Sully Profile (650SX 4C), which was granted the 2022 LDI Award for Best Debuting Product in the Lighting category, is a 4-colour (RGBLime), 200W LED profile with a choice of 3 variable zoom options. A wealth of features and control options deliver perfect whites and high quality saturated and pastel colours, all packaged within a housing of renowned RJ build-quality. The coloured-LED compartment – around which the Sully range is designed – also makes it a swift, practical and economic solution to convert RJ 600SX tungsten fixtures to LED.

Sully Fresnel (315LF 4C) complements its Profile sibling, presenting the same level of colour quality and control in a multi-faceted solution within a compact unit. Available with a choice of 200mm Fresnel or Pebble Convex lenses, Sully Fresnel delivers broad coverage with an even beam for smooth matches between fixtures and controlled blending of wash and soft beams.
The refined level of control for the Sully 4C range is made possible due to RJ Color, Robert Juliat’s innovative software platform which is integrated into the Sully 4C range as standard and offers advanced settings and control modes in an easy-to-understand package.

Visitors to the stand can discover and play with RJ Color and explore the Sully fixtures in detail to see just what these units are capable of: perfect whites, high quality saturated and pastel colours, low power consumption, silent operation and consistent colour rendition during dimming.

Next on the list is Arthur LT, an 800W LED 4° – 10° long-throw followspot, which is a variation of the original Arthur model, with a narrower beam and an output that exceeds an HMI 2500W Aramis – the renowned doyenne of larger theatres and opera houses.
With an enhanced light quality with a high CRI (>94), Arthur LT ensures invincible performances every time. Much quieter than any of its discharge rivals, Arthur can be operated as easily in opera houses, big arenas and on concerts.

For more information on Robert Juliat’s Sully 4C, Arthur LT and full range of lighting solutions, you can visit www.robertjuliat.com

The requirements for security at events are constantly increasing. Modern security concepts are therefore more important than ever in order to meet the current challenges with optimism. At the “International Event Safety & Security Conference” (I-ESC), renowned speakers will discuss issues relating to event safety and current topics in the event and live entertainment industry.
The I-ESC will take place on Wednesday, 26 April 2023 as part of Prolight + Sound in Frankfurt am Main and will offer participants numerous opportunities for discussion and networking.

– What do event organisers need to consider when it comes to event safety?
– How can they ensure the safety of their employees?
– What are the new standards? And how can successful occupational health and safety play a role in addressing the current labour shortages?

Experts from associations, agencies, professional associations and companies will answer these and other questions during the International Event Safety & Security Conference at Prolight + Sound.
The programme is organised by The Association of Media and Event Technology (VPLT), and will be presented in German and English. Randell Greenlee, Head of Business and International Affairs at the VPLT, will open the event and lead through the day.
Participants are invited to join in the discussion and share their own practical experiences as well as discuss new approaches together.

The programme focuses, among other topics, on legal requirements for the conception and implementation of events as well as the latest normative guidelines for event safety in Germany. Fire protection and risk assessment to evaluate the safety situation are also a thematic focus.
In this context, conference participants will gain insight into how funds and resources can be used efficiently and in a targeted manner. In addition, the speakers will show new ways in which occupational safety can contribute to greater satisfaction among employees in the event industry.

A special highlight of the conference is the panel at the end of the lecture programme. The panel is intended to stimulate intensive discourse and facilitate exchange between conference visitors and relevant players in the industry.
Randell Greenlee (VPLT), Sven Hansen (bvvs), Bruno Marx (Eventknowhow) and Richard Nix (ANSI/ESWG) will discuss the major global industry issues and address concerns and challenges facing the live performance industry in the wake of the pandemic.

The lecture programme at the International Event Safety + Security Conference:

The programme takes place in Hall 11.0 in the “Korall” room.

Detailed information about the speakers and the content of the lectures can be found at www.prolight-sound-programme.com

More information about Prolight + Sound can be found at www.prolight-sound.com

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

Links to websites

– facebook.com/prolightsoundfrankfurt
– twitter.com/pls_frankfurt
– instagram.com/pls_frankfurt
– youtube.com/plsfrankfurt
– prolight-sound.com/linkedin

Astera Titan Tubes and PixelBricks are woven ingeniously into the elegant lighting design by Bruno Poet and Ricard White for Icelandic singer / songwriter and live performance trailblazer Björk, who is touring her “Cornucopia” theatrical show globally through 2023.

This is a fantastic example of using lighting inventively to enhance a much larger mixed-media ‘bigger picture’ that helps capture the many and varied expressions, emotions, moments and messages of Björk’s stunning work.

At the 2023 Perth International Arts Festival, where the Astera fixtures were supplied to Björk’s production by rental company Showscreens.

The show concept was initiated by the artist herself and developed with creative collaborators James Merry and Argentinian film director Lucrecia Martel. The eye-catching and cerebral video content was produced by Tobias Gremmler and the set is designed by Chiara Stevenson.

Richard explains how lighting was seminal to the quest to create a fully immersive audio, visual and musical experience based on the utopian themes of the album. With a host of strong visual identities from the stage design, the theatrical performance of the musicians and the incredible video content, he felt that lighting “needed to complement, embellish and tie-in with all these elements and become the link between the physical and digital worlds,” in the process making performers appear in that same physical space in front of everyone’s eyes.

The ‘utopian planet’ stage set features some spectacular main performance risers that appear like huge organic floating platforms, nicknamed ‘The Mushrooms’ by the crew.
They needed lighting in a very specific way to give the illusion of floating, and Richard and Bruno immediately thought of Titan Tubes.

The riser undersides are constructed from a set of flocked / latex fungal gills, and the 24 x Astera Titan Tubes are positioned around the base of these ‘gills’. When operated in ‘pixel’ mode, fluid waves of colour bring the stage to a stunning three-dimensional life! The stage / video design has three sets of automated tracked projection surfaces that interact with the risers to constantly shift and change the architecture of the space throughout the show.

Often, performers are positioned in between layers of projection fabric, so Richard and Bruno needed a small, punchy and flexible lighting fixture that could be used at ‘close quarters’ in places frequently inaccessible via a moving light overhead.

Astera PixelBrick

PixelBricks proved a great solution and “perfect for this task,” noted Richard. Their neat-and-discreet size and light weight was just the ticket, and together with the Titan Tubes being wireless generally assists with keeping the stage cleaner and being quicker to install.

Using the Astera products in this almost scenic context is popular right now not just for live shows, but also for TV and broadcast scenarios. Richard has been specifying and using Astera products in his work for several years, primarily for lighting decorative aspects and for being environmentally more sustainable.

However, with the introduction of the RGB, Mint + Amber engine initially for the Titan Tube, the excellent CRI and their already strong presence in the movie-making, TV and broadcast worlds, “all of the products have leapt forward,” he reckons.

Richard is now also happy to use Astera luminaires on events, and even for key lighting for a series of shows like this. “Having sets of small, reliable and camera-friendly fixtures to hand with the ability to quickly deploy is a game-changer,” he concludes.

Like many, Richard and Bruno appreciate the forethought of having kits of fixtures complete with a whole set of accessories that are ideal for those inevitable last-minute amendments and tweaks which are part of every show evolution process.

For more info, you can visit the Astera website

Ayrton Khamsin and Domino fixtures dominated the rig designed by Cory FitzGerald for Weekends with Adele, the first concert residency by the British singer at The Colosseum at Caesar’s Palace in Las Vegas. FitzGerald is a senior partner, lighting designer and creative producer at Silent House Studios, Burbank, a global award-winning design and production agency.
Weekends with Adele, a five-month series of Friday and Saturday night shows, commenced in November 2022 and ran through March 2023. The show received unanimous praise from critics for its ‘breathtaking’ staging and elegance and its remarkable ability to combine the spectacular and the intimate. A sold-out slate of dates attested to the show’s hit status.

© Stufish

FitzGerald previously worked with Adele when he served as the lighting designer for her appearance at British Summer Time in Hyde Park, London last July. Coming on board for her Las Vegas residency he knew “from the beginning that it would be a very theatrical show.
It would build quite a bit physically and in intensity starting with a small concept and growing to fill the stage with a full orchestral extravaganza with scenery, moving elements, and projections. The lighting needed to complement that and still give a theatrical feel and concert vibe.”

Ayrton Khamsin

FitzGerald mounted 192 Khamsin LED moving head profiles in three moving torms independent of the three moving projection layers on the show, as well as in three main overhead rows of truss for top and side lights and on two house truss positions.
“Khamsins were the workhorse for this show: They were the principal light used everywhere,” he says. “I had worked with them before and knew they were very bright and punchy, as well as offered a lot of options. I wanted uniformity in the rig, all the same lights in different locations for better, cleaner visuals but that meant the fixtures had to be versatile.”

He explains that he wanted “a lot of flexibility in the way we positioned the lights” as the show evolved and Adele decided where best to perform each song. “We were able to move and adapt to the changes thanks to uniformity in the rig.”

Khamsins were the perfect choice to provide consistency and versatility throughout the show. “Khamsins could do it all: really tight beam effects, wide animation washes, shuttering, gobo washes, strobing, colour bumps,” FitzGerald says.
“We even used them for key lighting because of their nice adjustable colour temperature. There’s a lot of dimming in the show as lights come on slowly to create the mood and feel of some intimate moments. Khamsins were also perfect for that kind of subtlety.”

On the other end of the spectrum, “the venue has a 120-foot-wide proscenium, and sometimes we had to shoot a light from one side to the other or illuminate props, and Khamsin did that really well, too,” he adds.

Ayrton Domino

FitzGerald also opted for 25 Domino LED moving head profiles, which were evenly distributed on the floor to create a horizon of light for the show. London-based Neg Earth Lights provided the rig.

“For some sections of the show it was only Adele and a piano – quiet, simple and beautifully intimate moments; and sometimes there were huge full stage band songs with complex flame and water effects.
The show would go from ballads to a rock concert, all while using projection and LED surfaces balanced between content and IMAG.
Managing our exposure and overall stage image for camera, iPhones and the human eye was a challenge that these fixtures worked perfectly for,” FitzGerald explains. “That demonstrated the versatility of the lights.”

For FitzGerald, lighting Weekends with Adele was about “giving Adele the moments she wanted for every song. The versatility of the rig made it feel like an intimate show at times or a very theatrical show at others. We made sure her audience of fans felt connected to every performance.”

© Stufish

More information on Ayrton Khamsin, Domino and the full portfolio of innovative LED and laser-sourced products can be found at www.ayrton.eu

ETC introduces Navis 100 Sidekick, a local LED driver compatible with ArcSystem Navis 100 luminaires. With this addition to the Navis line, specifiers now have even more installation options.

Debuted in 2020, Navis luminaires deliver pristine light and a modular design. The new Navis Sidekick attaches to Navis 100 fixed white or Fade to Warm luminaires, dimming via direct 100-277 AC power.

This small, local driver is ideal for areas where level setting and smooth in-and-out dimming are key, such as hallways, guest rooms, and more. Sidekick is also a perfect solution for retrofits to buildings already utilizing mains dimming systems.

For more information on Navis, visit the ETC website

From January 27 to 29 2023, the 110th Six Day 2023 took place at the Velodrom in Berlin. The cycling race, also known as the Six Day Race, is one of the absolute sporting highlights of the German capital, sending the professionals out on to an impressive 250-metre oval track.

This year, the lighting in the Velodrom was the responsibility of AVM Event Veranstaltungstechnik & Service GmbH, which already has years of experience with the SixDays offshoot in Bremen, north Germany.
With more than 300 Cameo spotlights used in Berlin, the full-service provider relied on an extremely impressive lighting setup.

As the cyclists do their laps at top speeds of up to 80 km/h, what is needed above all is an equally bright and homogeneous illumination of the race track.
AVM Event entrusted this task to a total of 116 Cameo ZENIT W600-D LED washlights, which, with their high-resolution dimming behaviour and barndoors, provided precise illumination limited exclusively to the race track.

“The ZENIT W600-D made all the difference,” confirms Jens Wiegandt, owner of AVM Event. “The organiser spoke of the best performance ever! For us, the ZENIT W600-D is currently the best solution for sports and trade fair events on the market.” In addition, the LED washlights ensured a lower hanging load and enabled the team to also use the spotlights as blinders in the showlight design.

In addition to the ZENIT W-600-D, AVM used 70 Cameo OPUS H5 beam spot wash hybrid moving heads to project gobos on to the track and create effect beams throughout the hall.

The show lighting design was complemented by 24 OPUS S5 Spot-Moving-Heads, among other things, to stage artistic cyclists inside the hall.

For further tasks inside and outside the hall, including the illumination of the taxi and shuttle stops, ZENIT W600 LED washlights with RGBW were used.

In the VIP lounge of the Velodrom, the battery-operated B200 and B60 C LSD models provided flexible and discreet ambient lighting.

AVM had a special task in mind for the Cameo OTOS H5 Hybrid Moving Heads. Placed directly on the show stage, the IP65-capable hybrid moving heads did not just have to effectively stage the show acts; they also had to withstand the champagne showers of the awards ceremonies!
Thanks to their IP65 protection, however, the team was able to clean the OTOS H5 with a jet of water after each “shower” without any problems.

At AVM, the huge Cameo material pool is constantly in use – from trade fair events in the cities of Hanover and Bremen, to conferences, concerts, and festivals. For Jens Wiegandt, this is no reason to rest on his laurels: “You can never have enough ZENIT W600s! And, I’m curious to see what will happen with the OTOS Series in the future.”

Further information:

avm-event.de
sixday.com
cameolight.com

adamhall.com
blog.adamhall.com

‘The Snow Queen’ premiered at the Nokia Arena in Tampere, Finland, a unique ‘ice ballet’ extravaganza produced by the Tampere Hall & Kantelinen Company, which is as edgy as it is elegant and exciting!

The brainchild of Melissa A. Thompson who has worked as a creative lead for Cirque du Soleil, director / choreographer Reija Wäre, composer Tuomas Kantelinen, costume designer Erika Turunen and set, lighting and projection designer Mikki Kunttu, a talented creative team was involved in the delivery and imagineering of this epic production.

Prominent on Mikki’s lighting rig were 105 x Robe BMFL moving lights, a combination of BMFL Blades and Spots which he used for key lighting, specials and effects throughout this fast moving and highly visual show which finally premiered on 30th December 2022.

Postponed from the previous year due to last minute covid restrictions, the time arrived for ice fans to enjoy five breathtaking performances, with the New Year’s Eve show going out on live television via national broadcaster YLE’s Channel 1.

Mikki’s brief included creating stunning video projections onto the ice and scenic elements, which combined with the lighting to bring the frozen magic and breathtaking sub-zero beauty of Lapland right into Tampere Arena. This innovative reimagining of Hans Christian Andersen’s classic 1844 fairy-tale set in Lapland but seen from an outsider’s perspective, is a funny, heart-warming, and energising story underlining the importance of friendship.

It is aimed at captivating both new and existing audiences and is one of the most ambitious and largest productions staged in Finland to date, uniting many stars and different ice disciplines including ice hockey.

The task of visuals involved reinforcing the narrative, highlighting the various skating skills, and adding drama and depth to the bigger picture, along with perfect key lighting for TV, all of which needed a combination of Mikki’s experiences from multiple lighting genres.

The BMFLs were a core ingredient of Mikki’s lighting and were positioned on six trusses. Two were directly above the ice and the other four were in the ‘advanced’ position on each of the four sides of the auditorium, just off the ice and above the audience. This way they could be used over the entire performance area.

Mikki has used BMFLs on many projects, and for this one they were picked for their power – with a 20-metre plus thrown down to the ice – and versatility as they had to fulfil many functions throughout the 2-hour show. They were also picked for their camera-friendly functionality, with the live broadcast in mind. “The quality of the BMFL light output is still truly impressive and that’s why it’s become an industry standard,” Mikki noted.

His biggest challenge with lighting The Snow Queen was the one day of on-site rehearsal time! Yes, that is correct – one day! Knowing that on site tech and rehearsal time was extremely tight informed the design which was kept as straightforward as possible to be practical and achievable whilst also offering the vast dynamics needed to cover the essential visual elements.

Working with known fixtures like BMFLs was also a huge advantage for time saving and the lightning quick programming needed. This much complexity and detail would have been impossible to achieve if not for two three-week pre-vizzing periods.
One was in 2021 when the original show was planned, and a similar pre-viz time was scheduled for 2022, during which they also had to deal with a slightly changed kit list related to availability.

Also instrumental to making the most of that one long rehearsal day at the Nokia Arena were Mikki’s two programmers, Alex Hautamäki on lighting and Saku Väänänen who programmed the video, both described by him as “simply fantastic!” They all used the grandMA3 consoles provided, together with all the lighting kit by rental company, Akus Factory Oy.

Mikko Linnavuori created the video content. The design brilliantly evoked the rich, icy chilled atmospherics of Finnish and Lappish landscapes encapsulating the Snow Queen’s domain so realistically that you felt cold just looking at the ice stage! “This is something for which we Fins don’t need to do much research,” Mikki assured me!

The projections were delivered using the Arena’s in-house system of six Digital Projection Titan Laser 37 000 WUXGA machines, and apart from the arctic landscapes, projections also set the scene for some of the warmer acts like the rose garden.
Sometimes the visual work was defined solely by lighting with a break in the projections and other times the two media were seamlessly integrated as the story unfolded.

Mikki really enjoyed the teamwork involved in delivering this world class show with such a compressed production schedule, co-ordinated slickly on site by production manager Vesa Sytelä, as well as being part of a unique idea that united all these skating worlds with harmony, contemporary style, and huge entertainment value.
In a similar vein, he combined lighting and visual treatments from theatre, television and large arena show experiences in the quest to enthral the audiences who packed in to see these five initial performances.

“Each part of the development process gave more than expected and it was a rewarding collective achievement that was great fun to make,” he concluded.
Whilst working for Cirque du Soleil in Canada, Mikki first began swapping ideas with the producer about this then-theoretical production around 4 years ago, so it was a very special moment to see it come to fruition.

The Snow Queen capped off an incredibly busy and successful year for Mikki who celebrated his 50th birthday with a ‘retrospective’ live event, “A Night of Light”, in October at the nearby Tampere Hall. Many artists from his diverse career, covering ballet, opera, pop, rock, jazz, contemporary dance and many more areas of entertainment, united for a special gala evening performance attended by production and entertainment industry professionals, VIPs, and influencers from around the world.

For more information, you can visit the Robe Lighting website

ETC has sold millions of Source Four incandescent fixtures over the past 30 years. In many cases, these fixtures are still running strong and revered as the workhorses of their school auditoriums, houses of worship, and theaters.
When it comes to upgrading from incandescent to LED, throwing out fixtures that are still in good working condition can, understandably, be a difficult decision. Source 4WRD Color II makes this decision easy.

Upcycle any existing ETC incandescent Source Four fixture to a RGBA LED fixture in minutes and use only a quarter of the power.
This non-destructive retrofit maintains the majority of the Source Four incandescent fixture and reduces overall waste.
Bring the flexibility of additive color mixing, saturated washes, and quick color changes to any venue with upgraded technology while staying within budget.

Compared to the previous generation of Source 4WRD Color, the addition of the new snap in reflector and the significantly brighter red emitter provide a notable intensity increase of 36% in warm whites and dramatically improves color rendering performance.
Rich, saturated colors, pastel hues, and cool toning blues loved by theatre designers worldwide also see remarkable improvements.

This second generation of Source 4WRD Color is not only an incredible retrofit, but also can be a full spot profile, a full PAR, or full PARNel fixture. With 12 built-in color presets and 5 built-in sequences, stand-alone operation is intuitive.
Maintain the most-loved features of Source Four including crisp shutter cuts, beautiful pattern projection, field peak-to-flat adjustment, and a full library of Source Four lens tubes.

Source 4WRD Color II includes ETC’s industry leading 5-year fixture, 10-year array warranty.
For more information on S4WRD Color II, visit our website at etcconnect.com

The Little Prince by Antoine de Saint-Exupéry, directed by Stefano Genovese, made its debut appearance 80 years after its publication in a magnificent theatrical production that toured Italy from Rome to Milan in February, and will land in France and the rest of Europe next Autumn.

The production tackles some ‘grown-up’ themes, such as love, friendship, the meaning of life, and death, but does so in a simple language suitable for all ages. The story that tells us that adults never think about the really important things, i.e. those we are taught as children and forget once we grow up.

Lighting designer, Giovanni Pinna, chose eighteen Ayrton Diablo fixtures for the theatrical staging, a choice dictated by the need for a lightweight motorised profile of small dimensions and high-performance.

As with other profile luminaires in the same Ayrton product line, the framing section allows for accurate positioning of its four shutter blades across a 100 per cent surface in all positions, so the user can frame any object regardless of the position of the fixture – an invaluable feature for this production.

“The Diablos, rigged at different depths across the stage, were used for all selective and shaping work, sculpting the stage with light, as well as for effects (gobos-prisms) and for different situations using frost and wide zoom,” says Pinna.

“As far as the concept of the project was concerned, we moved from very static and typically theatrical moments, to very dynamic and musical ones where effects and movement became the protagonists. Throughout the show, the Diablos were always ‘on stage’.

“The Diablo is certainly a very good product, probably the best in its range in terms of lighting performance and functionality, and has contributed substantially to the success of the project. It has excellent reliability and has given us no problems whatsoever. We are very likely to use it in a similar context in future.”

The Little Prince played in Rome at the Sistina Theatre from 3-12 February, in Bologna at the Celebrazioni Theatre from 16-19 February, in Turin’s Colosseo Theatre from 23-26 February, Florence’s Tuscany Hall from 2-5 March and will play in Milan’s Repower Theatre from 23 March – 2 April.

The Ayrton Diablo fixtures were supplied by technical production and rental company BOTW of Rome.

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

Ayrton is distributed exclusively in Italy by Molpass. For information on Molpass visit www.molpass.it