Ayrton Mistral S is perfect for Saturate Designs in Bangkok

Established in 2009, with offices in Bangkok and Sydney, Saturate Designs specialises in lighting design for the entertainment industry, providing bespoke solutions for festivals, live music, installation projects, films and theatre designs, from concept visualisation through to programming and operation.



(Blackbox lighting and Saturate Design teams (left to right) : Mr. Yothanan Khamsermson (Blackbox lighting), Mr. Peem Poolpol (Saturate Design), Mr. Jakkapan Hongtawee (Blackbox lighting)

Saturate Designs, Thailand recently invested in 16 Ayrton Mistral S fixtures which were supplied by Ayrton’s exclusive distributor for Thailand, Total Solution Marketing Thailand.

The team at Saturate Designs were extremely impressed and pleased to discover the compact, yet powerful Mistral S lights which produce an infinite palette of vivid pastels and saturated colours:
“We now own 16 Mistral S which we use across a variety of our own projects and designs,” states Mr Peem Poolpol, Lighting and Creative Designer at Saturate Designs.

“We had previously searched for a small ‘easy to carry’ fixture which could still maintain the high quality and strong light output that is so necessary for our designs. We then discovered Mistral S which is perfect for the kind of work that we do, and, additionally, as an excellent substitute for the riders of many international artists.


Ayrton Mistral S is perfect for Saturate Designs wide variety of shows.

“The Mistrals are currently on the fixture list for most of our shows, which can be anything from a small live house of 500 people up to a maximum of 12,000 people for arena shows. The Mistrals are great for most of the applications in each venue that we bring them into.
There are some shows where the stages are quite big and need a bit more power, but with the right placement, the Mistral’s 300W LED light source works well as it is pretty bright for its size. We are hoping to add more Mistrals in the near future and are also looking at bigger models from Ayrton.”



Service is always an important factor when purchasing new equipment and Saturate Designs was not disappointed with their experience with Total Solution Marketing. “We are delighted with our Mistral S fixtures, especially the good quality of the build and the ease of use with such a light weight product,” confirms Mr Poolpol. “We are very happy with the service we received from Total Solution and look forward to exploring a variety of fixtures from the other Ayrton series with them in the future.”


Tevin Heng, Executive Director of Total Solution Marketing commented: “We extend our heartfelt gratitude to Saturate Designs for their faith in choosing Ayrton Mistral. Saturate Designs is a team of young, exciting, and highly sought-after lighting designers who have captivated audiences in Thailand with their bold and innovative approach. We are glad the Mistral S performance has exceeded their expectations and is now a key member of their lighting inventory.”


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

 

Robe for Spectacular Belters Only Gig

A team from Dublin-based Spectrum Productions led by David Lawless and Jack Quirke supplied a large quantity of Robe moving lights rig for a boisterous, sold-out electro-extravaganza gig by popular Irish mixmasters, Belters Only, at Dublin’s 3Arena.


David and the team have been working with the artists for the last year and designed the floor lighting package for their 2023 festival appearances. Their brief for the 3Arena show was to make it BIG, bold, and breathtaking visually, helping pump the energy and excitement everywhere in the room from the stage to the back of the auditorium.

On the lighting plot were over 100 Robe moving lights – 52 x Robe Tetra2’s, 12 x TetraX’s and 32 x MegaPointes comprising most of the moving lights, joined by strobes, some other profile moving lights and 10 x 30-Watt lasers.

The lighting design was based on a 10-metre diameter circular truss centrepiece, inspired by the ‘circle of life’ in the musical duo’s logo, which was flown vertically and prominently in front of a large LED screen masked into a spherical shape. The DJ booth sat on a riser downstage of both these elements.


Robe TetraX

Four two-metre upright truss sections in front of the riser were rigged with the 12 x TetraXs, providing whizzy and crazy effects to fill the space where there was no screen and for dramatic back lighting for guest vocalists and dancers using the space in front to perform.

Twenty-eight Tetra2s were rigged around the perimeter of the large circle. More were on four floor-mounted vertical truss towers measuring 3 metres and 6 metres respectively and positioned left and right of the circle at different depths. The entire lighting design was carefully calculated to maximise the depth of the stage space.


Robe Tetra2

The balance of the Tetra2s was distributed between two horizontal 3-metre truss sections also downstage left and right, with two fixtures on the front rail and three on the back of each truss section. It was somewhat of a Tetra-fest!


Robe MegaPointe

A 6-metre truss circle flown directly above the DJ riser was rigged with 12 x MegaPointes, with another 6 of Robe’s omnipresent and popular original multi-purpose moving spot light on the two 6-metre vertical towers, three each on the 3 metre verticals, with another 3 each on the ground trusses … making up the 36.

As with the Tetras, these were positioned to achieve as many dynamic angles as possible. “We wanted the Tetra2s specifically to frame the large circle which was the epicentre of the action and the stage design,” explained David.
“The idea was to make this circle pop out into the audience in a series of completely unexpected ways!” … effects which were achieved to everyone’s delight!

David likes the crispness, tightness, and definition of the Tetra2 optics, and how the lightsource can become a dense wave of light blasting out into the audience if used in conjunction with properly managed haze. “Mastering the atmospherics is key to getting this style of lighting design looking properly amazing,” he noted.


He is also impressed with the Tetra2 colours, especially the greens and blues, and comments that they were “ideal” for colour matching with the video content appearing on the scene. On this occasion, they didn’t use the Flower Effect, but he says, “It’s great to know it’s there when needed.” The TetraXs created a kinetic space all of their own with features like the random strobe effect running, adding to the general visual craziness, with the rest of the rig kicking in with full impact on the drops.


David appreciates the brightness of MegaPointes, which are still one of Robe’s most popular and most frequently spec’d fixtures for numerous electronic events. He says that being able to go from the tight pencil shaft to the “high volume” fat beam is “super-handy”.
He also thinks the colour mixing is good and notes that Tetras and MegaPointes make a great combination for full on dance music environments.

“Our goal was to produce a properly immersive show and lots of mayhem for Belters Only, and these fixtures were great for this,” he stated. He thinks Robe’s reliability is a great asset generally, and essential for a large one-off show like this with a big design to implement in a tight timeframe with no room for errors!

The get-in was 6 a.m. for 6 p.m. doors, and the lighting installation was masterfully coordinated on-site by chief lighting tech, Emmet O’Donnell and the Spectrum team.
An Avolites Arena was used for lighting control, which David commented was an “excellent choice” as this show involved a high degree of busking and improvisational operation together with some timecoded moments.


Spectrum also supplied the LED screens and a d&b sound system, together with a substantial amount of pyro, SFX – flames and CO2 jets – as well as the aforementioned lasers, while Shane Fogarty and the gang from Emerald Isle Rigging worked tirelessly to get everything in the air in time. Spectrum Productions is a rental, show and production specialist passionate about the industry, based in Dublin and working all over Ireland and Europe.

For more info about Robe lighting, you can visit the Robe website

 

LD Joshua Schultz goes full Ayrton for The Turnpike Troubadours

Country-bluegrass band The Turnpike Troubadours are continuing their hit US “A Cat in the Rain Tour” with Ayrton Zonda 9 FX and Zonda 3 FX LED moving head washes, Bora LED beams and washes, and Khamsin LED profiles dominating the rig. ACT Entertainment is the exclusive distributor of Ayrton lighting in North America.


Joshua Schultz chooses Ayrton Zonda 9 FX, Zonda 3 FX, Bora and Khamsin to light The Turnpike Troubadours US Tour.

The tour, which kicked off last summer, follows the August release of the band’s album of the same name. It wraps at the iconic Billy Bob’s in Fort Worth, Texas just before New Year’s Eve.
Nashville-based independent lighting designer and programmer Joshua Schultz has been working with The Turnpike Troubadours for the last two years. In designing the tour he wanted to “keep the focus on the band and not go over the top with a gigantic rig. We have to be able to scale to the size of the venue, which ranges from 5,000-seat theatres to 14,000-seat arenas.”


Schultz also wanted “an entire rig of Ayrton fixtures,” a goal he achieved with the exception of strobes. “I was introduced to Ayrton fixtures when I worked with Morpheus and used them on a lot of tours when the company was primarily making effects lighting. Now they have broadened their range of fixtures, and I really enjoy their products. I was able to get everything I needed from SES for awesome, one-stop-shop convenience.”

The production marks the first time that Schultz is using these particular Ayrton fixtures. The stage is designed with an upstage straight truss; a split upstage number two truss for band backlight; six fingers angled at 40º in a V-shape; a split downstage for front light, audience light and effects; four upstage truss carts; and floor lights on the deck.


Zonda9 FX

“The Zondas are key to what I wanted to do, the look I was going for,” he explains. “I was curious about their output and intriguing LiquidEffect™, and when I saw the lights I was sold on them. I haven’t seen an LED fixture with that much output before, and I like how tight the beam can get.”

Schultz selected 24 Zonda 9 FX for the rig. Four are mounted on the upstage number two truss for band backlight; eight are downstage and act as washes; eight more are in the fingers; and four are in the drape truss.

Recently, he added 24 Zonda 3 FX to the tour. “I wanted a baby version of the Zonda 9s, and they’ve gone beyond my expectations with their zoom and punch. I wasn’t sure how they would stack up with everything else, but they are punchy little guys, I love them!” Four of the Zonda 3s are mounted on 10-foot sticks on GT truss; the rest are positioned across each of the trusses.

“I become more of a fan of the Zondas the more I use them,” Schultz says. “I discover how I can build more and more looks with their colours and intensity. “It’s also nice to have an all-Ayrton rig so I know everything will be uniform; it’s a massive value having all the fixtures within the Ayrton family.”


He cites “Diamonds & Gasoline” as one song which especially showcases the Ayrton fixtures. “It’s a very intimate song with the lead singer and steel player. The rig turns red, and we paint the entire arena with all the fixtures and use a gobo to play off the crowd with a mirror ball look.”

In addition to the Zondas, Schultz chose 21 Bora fixtures “as the main punch light, it’s a wash but also a great effects fixture.” Four are mounted upstage to light the band’s album logo backdrop, 13 are on the mid-rig fingers to cover the stage and four are downstage for crowd effects and key light. “I was told the Boras would complement the Khamsins well, and that’s very true,” he reports.

Schultz has 28 Khamsins to assure him of the punch he needs in any size venue. They are mounted on the V-shaped fingers where they deliver his “go-to scenic looks with gobos and paint the stage, drapes and band.”


“ACT has definitely been supportive whenever I need them,” he notes, and he gives SES kudos for bolstering its inventory with a wide range of Ayrton products. “This tour was my opportunity to go full-Ayrton, and I’ve been very pleased with the results.”

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

Robe Helps De Tocht Production Look Icy Cool

De Tocht is an exciting new ice-based musical production staged in the purpose-built 1475-capacity Friso Theater in Leeuwarden, the Netherlands.
Directed by Eddy Habbema and choreographed by Marc Forno, the production design was created by Luc Peumans, artistic director of Painting with Light (PWL), whose brief encompassed lighting, video and scenography, an ambitious collage of visual disciplines to capture all the skating action presented in “spectacular” style.

Luc utilized over 200 Robe moving lights for the show including 120 x Esprites, 83 x LEDBeam 350s, 16 x T2 Profiles and 13 x iFortes running on a remote follow spot system, supplied to the production by RentAll.


The Dutch-language De Tocht story follows five former skating friends on their adventures skating the Elfstedentocht – an 11-city, 200 km long-distance tour on natural ice over rivers and canals in the Netherlands, which is both a speed skating competition with 300 contestants and a leisure tour with around 16,000 skaters at the start. The last time it was run was in 1997.

Luc worked closely with set designer Jo Segers. He had initially started discussing the show around five years ago with figure skater Madelène Van Beuzekom who he knew through past “Holiday on Ice” productions, and who was one of the instigators of the De Tocht concept. The show was postponed twice due to Covid before finally being premiered in October this year to outstanding reviews.

The staging features a 60-metre-wide by 6-metre-deep bespoke revolving ice track weighing 140 tons, offering up with the stage area included 2000 square metres of ice. The ice revolve was built by creative engineering specialist, Mannen van Staal from Leeuwarden and a seating tribune sits in the middle of this innovative staging concept, offering 270-degree viewing of a stage at one end.


The stage is at one end of the venue, with a 52-metre-wide by 7.2-metre-high LED screen in front which splits open in four sections that track horizontally to reveal the stage behind. These sections move into different configurations to support the action happening on the revolve. At the back of the stage is another screen, this one measuring 41 metres wide and 8 metres high, so with the front screen open and two sections flanking each side of the stage, the total screen area spans an impressive 93 metres!


This presents an 18000-pixel wide vista for the audience and delivers the stunning Impressionist-inspired digital scenery and backdrops that the PWL team has devised for the project.

To stand out in this massive LED environment, Luc needed super bright and clearly defined fixtures … So, he was delighted to be able to utilise all the Robe elements and the Esprites in particular, which are the backbone of the lighting scheme.

The front half of the revolve is all performance space while the 180 degrees behind the seating tribune comprises backstage and technical areas. A feat of engineering in its own right, in conjunction with smart video content, the revolve was vital for narrative details like the impression of speed and motion. It also enabled props to be seamlessly moved into and out of the performance space.

While the show design was originally planned to have projections, the newest ‘dark black’ screens were not yet available in 2018, so after some wrangling, it was decided to go with LED screens supplied by Faber Audiovisuals. Luc then found himself needing more lighting for projection onto the ice, which also led to his choice of very flexible fixtures like the Esprite.


The lights are rigged on a series of curved and straight trusses installed in the roof above the seating tribune and over the stage and ice.

As well as projecting onto the ice, with the addition of four custom gobos designed by PWL, the Esprites add texturing to the ice to make it appear more natural and match effortlessly with the video content. These fixtures also double up as front, top and back light. “They are used in a proper multifunctional context,” noted Luc.

They are paired with the LEDBeam 350s which are used in both spot and wash mode, and to produce most of the general stage washes. Luc likes their small size, serious punch, and general usefulness, “they are such handy little fixtures.”

Four side ladders each side of the stage provide boom positions, which are rigged with more LEDBeam 350s and T2 Profiles. Each boom ladder has 2 x T2s and a pair of LEDBeam 350s plus a smoke machine and fan to boost the atmosphere. Luc highlights that ‘active smoke management’ plays an important role in the overall design.


LEDBeam 350s

Robe T2 Profiles


With just shy of 400 luminaires in the main lighting rig and the large quantities of LED, key lighting and follow spotting were critical, so he chose to work with 13 x Robe iForte FollowSpots rigged above the seating tribune, operated via a remote hybrid manual / automated system.

Robe iForte

Thirty-five other fixtures were also connected to the following system which is triggered either automatically via trackers worn by the cast or undertaken manually by two remote operators.
Luc loves the quality and look of the iFORTE light output and the refined key lighting it brings to the production together with colour temperature control and other dynamic features.

The key light tracking positional information is also used to mask the video content in the disguise gx 2c media servers, allowing the digital content to move in unison with the skaters staying in perspective, which is vital when they are moving, also going in the right direction when skating left to right or vice versa, keeping the background parallax correct.
Crisp key lighting further enabled Luc and the video content team led by Menno Broere to add more cinematic touches to the content with blur and bokeh, all of which look very cool.

The Impressionistic aesthetic for lighting and video content was developed first as a series of mood boards with a scale model at PWL’s HQ in Genk. Lighting was programmed on a grandMA3 console by PWL’s Stijn Vanholzaets and Matthijs van Hulsentop during the technical and rehearsal sessions.

Stijn was dealing with the main show lighting while Matthijs programmed the remote spotting system. Niels Huybrechts was the associate LD. The media servers were programmed by Toon Raskin, and the remote follow system was maintained by Rik van de Weerthof. Once all the lighting and video programming and fine-tuning were completed, operation was handed over to the producers’ show run crew.


Luc mentions that while they had the unusual luxury due to the postponements of plenty of time to think in advance before the production was finally green-lighted, once on site and in situ, they needed to be as adaptable as possible and accommodate numerous changes as the final details were blocked.

He and the PWL team used the 18 months before to engage in rigorous preparation as they arrived on site very well organised and able to fully maximise their time there.
Working on all visual aspects of the production brought the huge bonus of being able to see digital content immediately which speeded up the process, as they could assess and know immediately this needed lighting.

“There was a lot of teamwork involved both internally and externally and it was great to collaborate as always – it’s the best way to work!” stated Luc. “I think we all enjoyed being a] part of staging such a groundbreaking and entertaining performance which our audiences are loving!”.

De Tocht is almost already completely sold out, and is currently scheduled to run until the end of April 2024.

For more info about Robe lighting, you can visit the Robe website

Cameo sets the scene for the “German Film” exhibition

Since its opening in October 2023 in the presence of German Federal President Frank-Walter Steinmeier, the “German Film” exhibition has been on display at the UNESCO World Cultural Heritage Site at the Völklingen Ironworks in Saarland, Germany.

The fascinating industrial hall on the grounds of the UNESCO World Heritage Site is dominated by gigantic blowing machines and flywheels and presents more than 125 years of German film on 100 large screens, combined with over 350 original exhibits.


In order to provide flexible lighting for these and future exhibitions, the Völklingen Ironworks’ sponsoring organisation invested in a modern lighting technology setup consisting of Cameo P2 FC LED profile spotlights and ZENIT W300 LED wash lights.


Cameo P2 FC

Cameo Zenit W300


“The Gebläsehalle is an extraordinary industrial hall with a very special atmosphere,” explains Udo Treimetten, who, together with Mario Esch, is the managing director of Triacs Veranstaltungstechnik GmbH. The full-service provider from near Trier, Germany, has been the Völklingen Ironworks’ technology partner for more than 20 years and was responsible for the lighting design and programming of the control system.

“We needed spotlights that could be variably adapted to a wide range of requirements and also impress with their high CRI values and ease of use. As we have always had good experiences with Cameo, we ultimately opted for the P2 FC and ZENIT W300 models.”



Wireless control

Elektro Rief – responsible for installing and setting up the lighting technology – placed a total of 150 P2 FC LED profilers with 230W RGBAL COB LEDs and alternating zoom lenses (15°-30° and 25°-50°) in the ceiling structure of the 6,000 square metre blower hall.


“As the P2 FCs have to be repositioned for each exhibition, it was important for us to be able to control the spotlights wirelessly. This allows us to remain flexible and minimise the installation effort,” explains Karsten Rief, Managing Director of Elektro Rief.

For this purpose, each P2 FC was equipped with an optional Cameo iDMX STICK W-DMX receiver, which was supplied with DMX signals via four W-DMX T2 2.4 GHz transceivers distributed throughout the hall. A ChamSys QuickQ Rack, in conjunction with a Swisson Ethernet DMX Node, is used to control the lighting setup.

Triacs had a special task in mind for the 30 ZENIT W300 LED wash lights: to illuminate the massive blower machines in high-resolution colours, the team placed the robust IP65-capable LED wash lights in a cavity in the floor beneath the blower machines. From here, the LED floodlights shine steeply upwards and impressively highlight the huge flywheels.


In addition to the precise illumination of the exhibits, the lighting of various original film posters in particular presented Triacs with an unusual challenge: “We had to match the colour temperature of the posters exactly to the temperature and colouring of the respective film being shown,” explains Udo Treimetten. “This would not have been possible without the high CRI value and the infinitely variable adjustment of the colour temperature of the P2 FC.”


The following Cameo products are used at the Völklingen Ironworks:

  • 150 x Cameo P2 FC full-colour LED profile spotlights
  • 100 x Cameo P2 15-30° ZOOM LENS Zoom lens (for P2 spotlights)
  • 50 x Cameo P2 25-50° ZOOM LENS Zoom lens (for P2 spotlights)
  • 30 x Cameo ZENIT W300 LED Wash Lights
  • 150 x Cameo iDMX STICK W-DMX Receivers
  • 04 x Cameo W-DMX T2 2.4 GHz W-DMX transceivers

Further information:

voelklinger-huette.org
triacs.de

cameolight.com
adamhall.com/fr-fr
blog.adamhall.com/fr/

Prolight+Sound 2024, From 19 to 22 mars 2024

With less than two months to go before it opens its doors at the Frankfurt exhibition centre, Prolight+Sound sees the return of some heavyweights from the audio industry. The lighting and stage equipment industries, for their part, have clearly understood the importance of this exhibition in terms of international trade, and have reserved their product launches for it.


Of the 27,556 visitors to the 2023 Prolight+Sound, 47% came from outside Germany.
For almost 40% of visitors, this is the most important trade fair in the world. And more than 50% of the trade visitors were top-level decision-makers. Survey reveals 85% satisfaction rate.


In a constantly transforming event industry, Prolight + Sound is helping to shape change and providing impulses for the future. From 19 to 22 March 2024, the leading trade fair for the event & entertainment technology industry will open its doors to focus on innovation, inspiration and networking.

With a clear commitment to the sector and a broad spectrum of technological innovations, the event proves its reputation as an important international meeting place for manufacturers, decision-makers and creative minds from all areas of event technology.
The promising development in the event industry and the positive feedback from the sector are reflected in the manufacturers’ commitment to Prolight + Sound.


A large number of well-known companies have already declared their participation for 2024, including

Adam Hall, Adamson, ADJ, ALFA-SYSTEM, Algam, Altimate, Area Four, ARTTHEA, ASM, Astera, Aura Audio, AV Stumpfl, Avolites, Ayrton Lighting, BÜTEC, Cast, ChamSys, Chauvet, Claypaky, CLF Lighting, Coemar, ComputerWorks, CSI Audiovisuel, Das Audio, Dataton, Digital Projection, DTS, Elation, ETC, Eurotruss, FACE Bvba, Follow-Me, Gerriets, GLP, Harmonic Design, Highlite International, InEar, inoage, JB-Lighting, Kupo, KV2, Kvant Laser, L-Acoustics, Lawo, Lightpower, LMP, LumenRadio, Luminex, MA Lighting, Madrix, Major, Martin, MDG, Meyer Sound, Milan, Mipro, Movecat, Music & Lights, Music & Sales, Neutrik, NTi, Osram, Portman, Prolite, RCF, Riedel, ROBE, Robert Juliat, ROE, Rosco, Roxx, RVE, Sfat, SGM, Smoke Factory, SICA, Sixty82, SpotlightSRV, Steinigke, TAIT, TMB, Tronios, Unilumin, Vari Lite, Verlinde, Vision Ears, Vireless Solution, Zactrack… and more to be discovered on the prolight+Sound website


Mira Woelffel

Mira Wölfel, Director Prolight + Sound, emphasises: “We are creating an internationally oriented stage in the heart of Europe where the industry comes together to develop innovative ideas for the future and to set trends.
At Prolight + Sound, the industry not only underlines its economic importance, but also its awareness for sustainability, networking, creativity and the promotion of young talent.”


Uniting the industry: The main goal of Prolight + Sound 2024

In the face of impending recession and a growing demand for sustainability, the event industry finds renewed optimism through mutual support and collaboration. Prolight + Sound 2024 recognizes this spirit and aims to position itself as a catalyst for new alliances and innovative solutions.
The fair aspires to be a melting pot, bringing together creative minds from all corners of the event technology world. At the heart of the sector for 29 years, Prolight + Sound remains at the forefront of industry discourse. The event is a true community get-together, a global family where professionals can connect and explore the latest advancements.

Wide-reaching platform for the industry

Whether concert stages, opera houses, clubs, museums, theme parks or worlds of experience: Prolight + Sound presents the entire spectrum of technological innovations from the world of event technology and provides them with an internationally relevant platform.
Sound, studio and production equipment, as well as media and camera technology, are once again at home in Hall 11.

One of the highlights is the newly developed Image Creation Hub: In cooperation with the Bundesverband der Fernsehkameraleute e.V. (BFVK – Federal Association of Television Camera Operators), a unique area is being created for everything to do with moving pictures. The heart of the site is the Speakers Area in the style of a television studio.

Hall 11 will also be the stage for innovations in DJing and digital live performance, complemented by various audio demo rooms and workshops.
In Hall 12, everything revolves around lighting and theatre equipment, projection and display technology as well as event services, equipment and planning.
The outdoor area will attract visitors with spectacular live presentations of outdoor solutions for audio and display technology as well as mobile stages, tents and inflatables.



Focusing on the Future: Trends and Innovations

As the public’s appetite for entertainment grows, evidenced by this year’s vibrant festival season, Prolight + Sound 2024 aligns itself with the future, focusing on the sustainability concepts and the promotion of young talent.


©Messe Frankfurt Exhibition Gmbh.

The Prolight + Sound Experience: ‘Glitz and Glamour’ meet Business: The upcoming show promises a vibrant mix of glitz, glamour, and serious business. Attendees can anticipate an exceptional keynote programme, captivating live performances, exclusive community nights, and upgraded red carpet award ceremonies. Prolight + Sound 2024 is where the international event technology family convenes.


Key Highlights: What to Expect

– Theatre + Light: Europe’s largest trade fair for lighting in the event industry, showcasing the latest products by key players from nearly 40 countries. In addition, ROBE will celebrate their 30thanniversary at Prolight + Sound 2024 with a spectacular area.


©Messe Frankfurt Exhibition Gmbh-Mathias Kutt.

– Expanding the Audio Sector: Key players such as RCF, L-Acoustics, HK Audio, DAS Audio, and Meyer Sound will present exciting innovations. At the new Audio Bar, visitors can try out high-quality headphones from well-known brands in a relaxed bar atmosphere. The Live Sound Arena will showcase sound reinforcement systems under realistic conditions.


– Performance + Production Hub: The innovative hub for product experience, knowledge transfer, and entertainment will be expanded to a 3,000 m² area including a newly built Soundbox, that will be brought to life by an array of high-calibre live performers.


©Messe Frankfurt Exhibition Gmbh-Mathias Kutt

– Enhanced Educational Programme: The Prolight + Sound College will consist of three bilingual colleges (EN/GE): Camera College (in cooperation with the BVFK), ProAudio College (in cooperation with the VDT e.V.) and the VPLT College.

– The Prolight + Sound Knowledge Hub will include the Prolight + Sound Conference (in cooperation with the VPLT), I-ESC (International Event Safety Conference) with a curated, bilingual programme, the Manufacturers’ Forum and the Main Stage, where an array of high-calibre keynotes will be presented by renowned speakers.

– Emphasising Sustainability: “Green Sessions” in collaboration with EVVC, are-designed Future Hub as an Urban Garden, and guided tours on sustainable event technology.


©Messe Frankfurt Exhibition Gmbh-Mathias Kutt.

– Image Creation Hub: A new moving image area, developed in cooperation with the BVFK (Federal Association of Television Cinematographers), featuring workshops, exhibitions, and daily talks on cutting-edge topics.
At an accompanying exhibition, visitors can experience the innovations of renowned brands (for example, Canon, Sony, Sumolight and many more).

– Promoting young talent: Future Hub (Hall 11) is the central contact point for young event talents.

©Messe Frankfurt Exhibition Gmbh

It consists of the Campus (where educational institutions present specialised courses of study), Career Center (a meeting hub between professionals and companies with vacancies), Start-up Area (a low-cost presentation opportunity for young, innovative companies) and the Networking Lounge (which invites young and seasoned professionals to relax, connect, and exchange ideas in a cozy Urban Garden setting).

The Future Talents Day (on 22 March) shows occupational fields in the industry to trainees and students.

– Upgraded community events and awards: Prolight + Sound 2024 introduces new community events, including three community nights at exclusive locations in Frankfurt City, among them the Champions Bar at the Marriott Hotel.
The Opus / Sinus Award Ceremony transforms into a glamorous red carpet gala dinner at the Steigenberger Icon Frankfurter Hof (21 March).

– New visitor groups: Prolight + Sound is further opening up new target markets and visitor groups, among them Scandinavia, amusement parks, churches, theatres & playhouses and rental companies. 1,000 theatres from all over Europe are invited, including 50 French theatres.


Meet the Maestros: Guest Speakers and Performers

Prolight + Sound 2024 boasts an elevated keynote program with luminaries such as:

– Holoplot : on the groundbreaking immersive audio system they created for The Sphere in Las Vegas
– Genevieve Cleary : Award-winning creative director on “The Power of Sound”
– Stefan Weil : CCO of Atelier Markgraph on “Music makes the people”
– William Ellis & Prof. Tim Wall : talk about their “What is your One LP?” project
– Gregor Tresher & Edgar Dirksen : on their careers, being a producer, running a label etc.
– Stefan Luppold et Patrick Haag : will explain the “Success factors for events”
– Yasi Hofer : about live performing and touring life
– Renowned live performers, including award-winning: DJ Emanuel Satie and guitarist
Yasi Hofer (Helene Fischer band and others), promise to elevate the entertainment quotient. The full programme, including further speakers and performers, will be announced in the coming weeks.


Free Access to Knowledge and Innovation

All lectures, workshops, product demos, and the PLS Community Nights are free of charge for visitors with a valid ticket.

Prolight+Sound : From 19 to 24 mars 2024 – Location: Messe Frankfurt – Website : Messe frankfurt

 

CHAUVET MAVERICK STORM 4 PROFILE, A STROKE OF GENIUS!

We couldn’t miss the first 1250 W LED source! But if it is also installed in a fixture capable of singing in the rain, what more could you ask for? A list of parameters as long as my arm? Many protocols that would make a network administrator green with envy? Complete connectivity? Simple and quick disassembly of modules? And why not aim for the moon too?



Chauvet : What if we proposed all of that?

SLU : Could you give us the moon too!?

Chauvet : All of it, except for the moon…

SLU : OK and, when is all this ready for?

Chauvet : It is already available!


A strong and beautiful baby!

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For this new source, the American brand hit very hard. It was thanks to the collaboration between the Chauvet United States and European teams, who collected and then cross-referenced the requests from rental companies and users that this project saw the light of day.

The two “love handles” are ideally placed for easy lifting and handling of the fixture.

We will start at the beginning and make it clear that the Storm 4 Profile is mainly intended for large venues. On the one hand, it’s a pretty baby that measures 836 mm from the top of the head to the bottom of the base unit.
It is also well built with a width of 469 mm from handle to handle! It must also be said that the midwife cleaned her glasses twice to check the 46.5 kg of this sacred baby!

To carry it, no problem, two additional handles have been added to the yoke to facilitate movement. If there is a lack of space, they can be removed using 4 BTR screws.


The IP Tester by Chauvet.

It is important to point out that from birth the newborn was clean, we did not detect any air or leaks of light. Like the entire Storm range, it is IP65 and waterproofing requires the application of permanent internal pressure.

It is also part of this new generation of IP sources that can be opened. Thanks to the “IP Tester”, which is, basically, a compressor with a pressure controller.
On the one hand, we can check that everything is going well, but also automatically recreate the right pressure in the head and yoke.
This allows you to check that all the casings have been reassembled and that the seals have not moved at all.


From head to toe

The compressed air connector is located on the rear of the base, just above the USB socket which is used for updates. It is possible to modify the software version on several fixtures if they are connected via DMX. We don’t always think about it, but this socket can also be very useful for connecting a USB lamp if you need to do a little maintenance or tidy up in a dark area.
There are also two XLR 5 sockets for the DMX signal, a Seetronic PowerCON power socket, and two RJ45 In and Out connectors for the ArtNet and the sACN. The Storm 4 is also controlled via W-DMX and is RDM compatible. If you use the CRMX Protocol in G4S mode, you can use the Chauvet Micro T-1 TRX G6. Of course, all connectors are IP65 and should be capped if not in use.


Do you prefer square ones, round ones, or flat ones?

Just like the rear panel, the front panel of the base unit can be dismantled from the front (not from above) and held by 8 screws. This is a detail that seems practical to me for maintenance. On the front of the base unit, the LCD screen displays the status of the fixture. You can also view the menu and modify the options using the 6 navigational buttons.


The baby is already in full adolescence, screen and buttons!

As a practical little tip, if you need to work on the fixture, a long press on the two top buttons (when the machine is in place) deactivates the pan and tilt parameters. We can thus control and check parameters without the risk of being disturbed by the head movement.

Here you can see the electronic board. for the tilt function. The other is where the big three-phase motor is for the pan function.

The side covers of the yoke “arms” are held in place by 10 screws each. This is the most effective way to maintain uniform pressure all around the seal.

As on the majority of fixtures, we find, on one side the head drive (tilt) but for once with a motor management card plus a strand of cables, and on the other, the power supply cable runs with two electronic cards. We can also see in this arm, the imposing three-phase stepper motor of the Pan parameter.

Each of the head covers is held in place by 8 screws. As with the “arms” of the yoke, it is necessary to have regular and complete contact between the two covers and the structure of the head to ensure that the pressure is maintained and to guarantee sealing.

The laws of physics mean that the overall architecture of the head does not differ from other sources. At the back are the light source and its cooling, then the settings compartment, and finally the optics.


This is how we see that everything is precise. We cannot say that the Storm 4 lacks cooling!


At the very rear of the head, the enormous radiator cools the 1,250 watts of LEDs. It is crossed by a flow of air generated by 6 fans, 3 above and 3 below. It is also crossed by a series of pipes in which a fluid circulates in a liquid state which vaporizes by absorbing thermal energy emitted by the hot light source.


Keeping its cool!

The vapor/steam then circulates to the cooling system where it condenses to return to a liquid state. Placed against the radiator, the LED matrix is on the border between the rear section and the first compartment.

It’s clear that, like at home, the more space you have, the more stuff you have! The Storm 4 is far from having the size of a wimp and one might have expected to find a little empty space in the settings compartment, but nope. Not even room for my baby finger!

On the other hand, we note that dismantling the 2 parameter blocks is easier than in certain smaller machines. Thanks to two “large” screws that can easily be loosened with a flat head or Phillips screwdriver, you can replace the parameter block without removing the fixture from the truss or pipe and thus maintain optimal precision on the focused points for your show.

The first module, closest to the light source, are the 6 CMY trichromic flags (2 per shade) and the 2 CTO flags. On the color side, there is also a wheel with 6 slots accommodating 1 CTB, a CRI corrector, and 4 colors. The solution of dichroic glasses glued close to each other was used, it allows a better transition between the slots and a much better reproduction of two-color beams.


On the first module, on the light source side, in the middle of an array of motors, we can see 4 of the 8 CMY and CTO flags.

Just above is the effect wheel with one axis for insertion and the second for continuous rotation. And finally, 2 wheels of 6 rotating gobos. We also note the presence of 5 fans allowing all of these little “busy-bodies” to operate without a problem.


On the other side, the color and effect wheels as well as the 2 gobo wheels.

The gobo size.


On the second module, it is “simpler” but just as busy. This is where the 4 framing shutters are located which each use 2 motors. The module supporting all of the framing shutters is of course rotatable. The last parameter is the iris.

In the upper part of the head, the zoom moves between two sections and of course along with the focus. There are also 2 diffusers and 2 prisms. We can notice a metal plate that can be placed in front of the zoom. This is the “Sun Shield” which helps protect the optical components when the sun passes through the 188mm lens.


Having studied among machine tools and technical drawing desks, I am always in awe of the framing shutters modules.

The Iris is a parameter that is very heat-sensitive.


There is a constant at Chauvet, the design of the base units of all its fixtures. Even if there are variations in size, we always find the rectangle with the 4 corners rounded inwards to form the handles. The moving heads are also very similar with some differences depending on the size of the Pan motor. We find the oval shape as well as the alternation of exterior circles with interior rounded angles (a little reminder of the base unit).

It is often the grooves that, in addition to the position of the series name, identify the model. On the Storm 4 Profile, they are shallow, unlike those of the Force 3 Profile, but present in quantity on all sides. They allow it to slim down the rather potbellied silhouette. I find it well proportioned with a balanced mix of lines and curves which enhance the hidden strength of this fixture.


Our first steps

Thanks to the 6 buttons on either side of the screen, using the menu is very easy and user-friendly and there are a multitude of options! To avoid any errors, access to the menu is lockable. If a colleague forgot to remove the option and you don’t want to read the manual, the code is 0920! To facilitate basic configuration, the choice of address, protocol, and mode are at the start of the menu.
Even if we often use the option in the controller/lighting desk, we can also reverse the pan and tilt in the fixture but we also have a choice of 3 ranges of movement for each of the two axes. As long as it’s logical, we might as well put the screen rotation with the pan and tilt inversion, even if I would have preferred a shortcut on 2 buttons, always more practical than searching in the menu, with your head upside down.

Among the most interesting options, the menu offers different “Move in Black” options, a total reset, and 5 other resets by parameter type, 3 menu memories that can be automatically synchronized with the Storm 4 Profiles of the same DMX line, and 5 fan speeds!

Video presentation



With a single fixture and a complete universe at my disposal, I have the luxury of choosing the 55-channel mode. Controlling via ArtNet works on the first turn of the wheel. Of course, I roughly direct the nose towards the white target and @ Full, then “Wow! Now that is a slap in the face”! One thing is for sure, there is no shortage of light!

Both pan and tilt parameters are well managed. I tested the movements with several speeds, tilt alone, pan alone, and a combination of the two. Given the weight of the head, one might have expected problems, but the big three-phase stepper motors make it possible to obtain smooth movements with slow or rapid transitions and smoothness at the ends of the movements.

On the optical side, the aperture range is very close to that of the large and small sharp edge beam. We regret a somewhat short amplitude but it is more than sufficient for the vast majority of uses. Depending on your working habits, or what you want to do, there is a “Minimum Zoom Focus” option which offers complete independence between the two settings or automatic focus adjustment when the zoom approaches its minimum value. You can also add the iris to obtain a tight beam/pin spot of light.


From 5 m away we can obtain a sharp-edged circle of 5m to 60cm in diameter, and using the Iris it can come down to 20cm.

The base white is at 6855 K (according to our measurements) with a CRI of 72. Even if I prefer to work with slightly lower white temperatures, this value increases the visual impact. The CRI is within the range of most of the fixtures commonly used in shows.


Now, concerning the color settings. As we have seen, the Storm 4 benefits from a CMY three-color process with dichroic glass flags/blades. The insertion of colors is discreet and we can therefore work with pretty pastels. It also produces beautiful saturated shades even if the base white limits the depth of the reds a little.


A small taste of what the trichromic flags can do.

4 colors and 2 correctors on the color wheel.


The 2 CTO flags can roam at will in the beam of light

We can also play around with the progressive CTO to warm up the white or, a color. The color wheel includes 4 shades that are difficult to obtain with trichromacy, a corrector that allows you to obtain a CRI of 91, and a CTB. The combination of all these parameters gives us a wide range of colors and the power of the source makes it possible to bring out certain saturated hues quite nicely.

It’s always a pleasure to have at least 2 rotating gobo wheels. With 2 x 6 rotating gobos we are at ease, especially since the choice of images is intelligent. They are often effective in projection and volumetrics with a good range of luminosity and finesse. Certain combinations of 2 gobos are very interesting with the possibility of playing on several focal lengths. We also have pretty water or fire effects by adding color.

Added to this is the possibility of superimposing one of the prisms with one or two gobos. The first 5-facet prism produces a circular multiplication and the second, with the same number of facets, multiplies the image along a line. Finally, the effects wheel, which can be used alone or with the gobos and/or prisms, producing a linear animation, adds dimension to the rotation of the gobos. The Storm 4 has a complete range of stackable parameters to create many effects and adapt to the different atmospheres if needed for a show.


12 indexable and rotating gobos give you a new dimension.

Whether in a circle or a line, it’s always x 5.

The framing shutters module is also one of the settings that I find effective. Each shutter can completely pass through the beam but, depending on the zoom aperture, we still manage to have an acceptable sharpness on several shutters, with the advantage of having an almost homogeneous defocus on all sides.
Of course, if your zoom is wide open, a large cut will not be possible but with a little practice, you can anticipate and position the fixture in the right place to get an optimal result. The complete module is indexable over 120°, this is, in my opinion, the minimum so as not to have too many problems with cropping when playing with the pan and tilt axes.


Watch out it’s shuttering!

The last mechanical parameter is double, light and/or medium. These are the 2 frost filters that are separate on two parameters. I find it wise to choose these diffusers which correspond perfectly to most common uses. There is also a virtual setting that may be interesting, “Virtual Shaking”. It’s a sort of “chaser” in the LED matrix which generates flickering effects. You can simulate an old movie/film, a laser beam, or shine in a gobo.


The frost: without, light or medium.


Here comes the downpour of numbers

Derating

The derating measurement shows that despite its 1,250-watt LED source, the flow stabilizes in 10 minutes with 3.42% attenuation of illuminance in the center.
Just to be sure, but also to go and enjoy some Sushi, we leave the fixture on for a little over an hour. Upon our return, we have the same value.


Faisceau 20°

We start the measurements with the reference aperture at 20°. At the center of the target, we note 26,420 lux after derating (27,355 at cold start) and between 8,100 lux and 10,400 lux at the edges of the beam. The luminous flux reaches 53,720 lumens (55,620 lm cold).
If I’m not mistaken this must be our highest score in the Spots and Profiles category! No incident is visible on the intensity curve. I can also tell you that with the CRI corrector, the white temperature drops to 5900K, and with the CTO at full 2900K.


Small sharp-edged beam

The following series of specs concern the smallest sharp-edged beam (without using the iris) but the measurement range limited to 99,999 lux of our Minolta lux meter was exceeded by the illuminance of the Storm 4. At this aperture, the Chauvet photometric readings indicate an illuminance at the center of 131,608 lux at 5 meters and a flux of 26,678 lumens for an aperture of 6.6°.


The widest sharp-edged beam

For the widest zoom, we can take a look at our lux meter which displays at the center of the target 3,852 lux after derating (3,990 lux cold start) and 1,000 lux at the edge. The flux reaches 53,600 lumens (54,500 lm cold start) for an aperture of 53.13°. The intensity curve is nicely drawn.


An encouraging storm!

The Storm 4 is built to tackle the great outdoors. Very bright, it offers a complete range of functions with an avalanche of rotating gobos, a torrent of colors, and a deluge of effects. Development and manufacturing deliver a quality product that seems built to last. The value for money makes it a very attractive fixture that should very quickly be found on the largest stages on earth and, perhaps one day, beyond!


We like:

  • The powerful light output
  • The value for money
  • The very extensive menu

We miss:

  • The possibility to invert the display via a shortcut with the menu buttons

General Specifications

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ETC strengthens its sales team with new position for Matt Cowles

ETC has announced the promotion of Matt Cowles to Associate Regional Manager for the UK and Ireland. In his new role, Matt will continue to manage sales activities for key accounts in the region whilst assisting Regional Sales Manager, Jeremy Roberts in developing stronger relationships with ETC’s dealers and specifiers.

Matt joined ETC in 2019 as a Field Project Coordinator, managing projects across the UK and providing technical sales for ETC’s customers. Prior to this, he had over 17 years of experience working in the industry.


Regional Sales Manager for the UK and Sub Saharan Africa, Jeremy Roberts comments: “Matt has made an exceptionally positive contribution to the work of the ETC London office with his customer focus, technical ability and care for colleagues.
This new role will allow him to become more proactive in the increasingly busy UK market; assisting in managing key accounts, and continuing to grow relationships with the rental market and lighting community, building upon the success of recent years.”

For more info about ETC, you can visit the ETC website

Ayrton Diablo and Mistral for Japan’s legendary pop singer

Ayrton Mistral and Diablo were chosen for Hiromi Go’s 50th Anniversary tour concert special.

Hiromi Go, the super-legendary Japanese pop singer, celebrated his 50th anniversary in 2022. He toured all the country throughout the whole year to meet his fans and share the celebration.
In the final month, December 2022, a special prestigious tour “Hiromi Go 50th Anniversary Tour, The Final Countdown in 2022” took place. Mainly composed of his ballads, this proved extremely popular, and was performed with an especially luxurious stage setting.


This special concert was revived in 2023 for a special one night show at Nakano Sun Plaza Hall, this time not only to celebrate Go’s 50th anniversary, but also to commemorate the concert venues’ 50th anniversary and its very last year. The Sun Plaza Hall, which had served as a landmark concert venue for many famous artists in Tokyo for half a century, finally closed in the summer.


Naomasa Kajiura, an award-nominated lighting designer for PRG Japan, who has supported Hiromi Go’s tours for decades, chose to use Ayrton Diablo and Mistral as main set-up for this special staging.

“Not only for this show, but also for other shows, these devices are small and compact, yet offer excellent brightness and functionality, and enable dynamic performances” he says.


Ayrton Diablo

Ayrton Mistral


“This is especially true in Japan, when these types of tour are conducted mainly in local concert halls, where there is a tendency for those concert halls to have weight limitations on the load the trusses can safely hold. In these situations, Diablos and Mistrals are especially useful: they still offer great brightness with low power consumption. That is why I felt these fixtures would be best for this show.


“In addition to which, the fixtures are perfect not only as a beam intended to light the space, but their compactness allowed me to set the fixtures directly on the stage, even in the smaller halls. This allowed me a wide variety of expressions on the floor, and at the same time use it effectively to light the singer.

“On a different occasion, I had the opportunity to use Perseo and Huracán fixtures in a major large stage setting, and they were great! Their LED source showed comparable robust brightness among other fixtures, even against the large screens that formed the background.”


PRG Japan has been the local exclusive distributor of Ayrton since 2019. “We feel that Ayrton’s extensive fixture lineup can be used in a variety of ways to suit the characteristics of each venue in different Japanese entertainment scenes,” says Naomasa Kajiura. “More and more they shall become the preferred choice of Japanese lighting designers in the near future!”


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

Ayrton is distributed exclusively in Japan by PRG Japan. For information, visit www.prg.com

 

Soweto Theatre Invests in Robe Esprites

The colourful, funky, eye-catching architecture of the Soweto Theatre stands at the centre of Jabulani, an area fast developing into a bustling future CBD. For the last 10 years, the venue, designed by Afritects, has provided a buzzing performing arts hub and forum for creative expression reaching into the heart of the local community.


In 2023, the lighting department, headed by Nkululeko Mazibuko, received 12 new Robe Esprite moving lights as part of a technical upgrade which was co-ordinated by the venue’s technical manager, Lebugang Andrew Mnisi.

The lights were delivered by Robe’s South African distributor, DWR, and join the original Robe LEDWash 300 and 600E Spot moving lights that have been working hard in the theatre since it opened in 2012, together with the LEDBeam 150s that were purchased in 2019. The Esprites, which will be deployed in the Soweto Theatre’s largest closed performance space, the Gibson Kente Theatre, are “a big leap forward,” says Nkululeko.

The Theatre hosts a diversity of theatrical and drama performances and is also regularly used for concerts, music-based TV programmes, gospel shows, musicals, DVD shoots and festival events so Esprites were chosen for their multipurpose nature.
They are also bright enough to be rigged on the outside amphitheatre stage. Now at the back part of the Theatre, this was Soweto’s original performance space and can accommodate up to 10,000 people in its current format, complete with sweeping views of the hills and south part of the city.

Esprite fitted all their criteria for a bright profile LED fixture that was versatile, with good gobos, robust, well engineered and with good longevity. The LED light source was important to save power which is a constant challenge in South Africa with daily load shedding.

Soweth Theatre technical manager, Lebugang Andrew Mnisi (L) with DWR’s Kevin Stannett (centre) and lighting designer Nkululeko Mazibuko (right)

The Esprite’s TE, transferable engine, technology was another key point for both Nkululeko and Lebugang for whom the concept and possibility of replacing or being able to swap out the LED engine makes perfect sense. Lebugang also mentions that being able to use them as a follow spot if needed was another bonus. Nkululeko could hardly contain his excitement as the new fixtures were delivered!

He lights many of the shows there and loves the fact that the Esprites will “allow us to broaden our imaginations with all their features so we can really push the boundaries of what is possible to evoke with lights and lighting.”
He thinks that Robe’s product development is generally “innovative” when it comes to creating tools to allow people like him to “create magic onstage”, and that having them on the rig will enhance the whole theatre and performance experience for those onstage and in the audience, a craft he describes as a “fine balance” of environmental authenticity, illusion, and emotion.

The theatre’s programme also includes many community productions, and everyone there enjoys giving these a professional presentation. “These new fixtures will help us make people’s work look great, and that’s what we enjoy making happen,” he added.

Soweto Theatre’s general manager, Vincent Motau, commented, “Soweto Theatre is constantly improving its technology to broaden the horizons of an artist’s creativity while also limiting the problems that they might encounter. As a result, our theatre practitioners now have more time to contemplate and expand their creativity.

“Robe, the recognised leader in moving light technology, has made another major leap in innovation, and the Esprite Profile LED automated luminaire has a fast-change, low-cost, transferable light engine ingeniously solving the problem of performance longevity for those preferring the higher brightness of white source LEDs as an obvious replacement for old and ageing stock of discharge workhorses.”

Soweth Theatre technical manager, Lebugang Andrew Mnisi (L) with DWR’s Kevin Stannett (right)

DWR’s Kevin Stannett, who looks after the Soweto Theatre account, highlights that getting a luminaire like Esprite in house also makes sense from a cross rental perspective. “If they need to increase the quantity for a specific show, the stock can be augmented as there are already plenty of Esprites in circulation.”

Both Nkululeko and Lebugang understand the importance of good tech support and having a great relationship with the supplier, in this case DWR, something that has been built up over the last decade.

“Our schedule is constantly busy with shows going in and out every week, so we have to keep going, and if anything needs swapping in and out or fixing, then that has to be now!” noted Lebugang, to which Nkululeko added that “consistency and reliability” is a given with DWR. Lighting control is grandMA.

Both Lebugang and Nkululeko have worked at Johannesburg’s famous Market Theatre, groundbreaking in welcoming “all races” onstage and in the audience during the apartheid era of racial segregation, during the early parts of their careers.

The Market is known as a hotbed of independent thought and imaginative expression and has touched the lives of so many of South Africa’s truly great actors, creatives, technicians, producers, directors, and theatre professionals over the last 50 years. It also now has an extensive rig of Robe T1 Profiles and Washes.

Lebugang has also toured internationally with several shows and started at the Soweto Theatre when it opened in 2012, initially as a sound engineer. In 2014, he became technical manager.

Nkululeko studied business at the University of Johannesburg, became involved in the drama group there as an actor but found he enjoyed backstage activities and technology more than treading the boards! There was no-one doing light or sound at the time, and the system was prehistoric, but he made it work and became fascinated with the power and energy of lighting.

After graduating, he applied for an internship at the Market Theatre, learned a massive amount about lighting and design and made some important contacts, working as a freelance LD for a while before joining the team at Soweto Theatre in 2012.
Everyone at the Soweto Theatre is dedicated and passionate about their work, community and how music and theatre can have a positive effect, engaging and uniting people, ideas, and societies.

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

 

Anthony Hazelden chooses Ayrton for Burna Boy’s Love, Damini Tour

Grammy Award-winning global super star, Burna Boy, brought his Love, Damini Stadium tour to the 80,000 capacity London Stadium last summer in front of his largest solo audience to date, simultaneously becoming the first ever African artist to headline a UK stadium.


The tour celebrated his sixth album “Love Damini”, with his electrifying performances, and dramatic production and lighting designs from Anthony Hazelden of Live Lighting.


Ayrton Domino LT

Hazelden chose a quantity of Ayrton Huracán LT, Eurus Profile and Domino LT fixtures as the mainstay of his London Stadium rig, which were supplied by London-based Colour Sound Experiment. Ayrton is distributed exclusively in the UK by Ambersphere Solutions.
“We went with all-Ayrton gear because their products are all LED-sourced,” he explains. “Another major reason for our choice was our need for high power output, but also some IP-rating and the Domino LT meets all of those needs.
Most of the shows I design now are heading towards IP fixtures. Crucially this allows us to place units around the stage or the stadium which is something we just couldn’t do before.”

Hazelden rigged 40 Huracan LT as the main flown spot fixture on stage, with 30 Eurus Profiles at centre stage lining the risers, all within the protection of the stage roof. 32 of the IP-rated Domino LT fixtures were rigged on the FOH delay towers, cat walk and B stage, and in the stage right and left wings all in areas that have no weather protection as the units’ IP-rating afforded all the protection that was needed.


Ayrton Huracan LT

Ayrton Eurus Profile


“By having a range of Ayrton fixtures, we could be sure the colours matched nicely without having to make many changes,” he explains. “We could also have the same gobos across all the fixtures which made the lighting states look a lot more uniform.


“Because there were so many wash fixtures, I needed spots that would be very bright, and able to cut through with amazing aerial and beam effects. The light output from these units is incredible: some of the looks where the units face towards the roof of the stadium and light the whole structure looked stunning!”

Burna Boy’s Love, Damini tour continues across North America until March 2024.



Credits for Burna Boy at London Stadium:

Lighting Design: Anthony Hazelden
Chamsys Support / Programmer: James Harrison
Colour Sound Experiment Project Manager: Jordan Dormer
Colour Sound Experiment: Haydn Cruickshank


For more information on Ayrton Huracán LT, Eurus Profile, Domino LT and Ayrton’s full range of LED and laser-sourced lighting fixtures, visit www.ayrton.eu

Ayrton is distributed exclusively in the UK by Ambersphere Solutions

Colour Sound Experiment can be found at www.coloursound.com

Midwich Portugal to Distribute Robe

Midwich Portugal, part of the Midwich Group, is thrilled to announce the addition moving light manufacturer Robe Lighting to its exclusive distribution portfolio for the Portuguese market.

Based in the Czech Republic, Robe develops and manufactures moving lights and LED lighting technology for the professional entertainment, performance, and broadcast industries and for architectural and architainment applications.
For 30 years, Robe has been producing innovative and trailblazing tools for designers and creatives working in and across these diverse and dynamic disciplines. The products are proudly ‘Made in Europe’ and known globally for their quality engineering and inventive features.

In addition to technical excellence, Robe is known for its people-focused approach to business, its commitment to sustainable production and its interest in developing a range of related opportunities that will encourage present and future industry professionals to grow and evolve their craft.

Midwich Portugal welcomes Robe with open arms. The brand will be integrated into the Portuguese market by a fully dedicated team. Robe will strengthen the company’s market positioning and reinforce its philosophy of offering the highest quality solutions combined with the best customer service and attention to detail.

Ingo Dombrowski, International Sales Director for Robe Lighting s.r.o., commented: “There is a saying, ‘Nothing beats a winning team!’, and I think there is nothing better than giving a winning team more responsibilities! A well-developed market like Portugal needs a strategic and analytical approach, and we already know this is integral to Midwich Group’s Spanish branch, so it is a completely logical step to widen our collaboration to include Portugal.”

Pere Castro, Managing Director Midwich Portugal, added: “We couldn’t be happier with the addition of Robe to our catalogue of top solutions. After more than a decade of successful partnership with Robe in Spain, now having such a great, supportive, and loyal partner in Portugal is excellent news. Together with the recent announcement of the ‘Avolites – A Robe Business’ ranges being added to our Portuguese portfolio, we can consolidate and strengthen our philosophy of offering top brands and service!”

For more info about Robe lighting, you can visit the Robe website

 

Adamson VGt: The Future of High-Performance Audio


Jochen Sommer, Director of Operations EMEA.

Adamson is proud to announce VGt, the first cardioid, large-format line-array module, with onboard Class-D amplification, Milan AVB and full DSP, in the Vergence Group; setting a new standard for high-performance audio products with seamless integration.

“VGt represents more than a technological advancement; it’s the next level in sound engineering, designed to deliver unparalleled power and sonic performance.” “VGt isn’t just changing the game, it’s redefining it.”

Innovative Technology Meets Exceptional Design

Brock Adamson, President & CEO.

At the heart of VGt lies our patented mid-range technology, which redefines the capabilities of a line array system. Combined with onboard class-D amplification, redundant and daisy-chainable Milan AVB, and comprehensive DSP, VGt delivers astonishing power and clarity while maintaining a surprisingly compact size and weight.

“Over the years, we have always managed to innovate with designs that lead the field in loudspeaker development, with a focus on mid-range.”

“When I envisioned the M140, the concept was to bring the power of our ground-breaking M200 transducer to a concentric line array enclosure, while improving on the performance. What our team has managed to produce with the VGt outperforms the best that the market has to offer.”

The patent-pending M140 MF compression drivers introduce cutting edge technologies redefining the quality of the mid frequency range. Both the M140 and the 3” HF compression drivers are loaded to critically optimized sound chambers producing a slightly curved wavefront.


The M140 MF driver covers the range from 300 Hz to 4 kHz, just like the soft domes of studio monitors, the best solution for clear voice reproduction.


The horizontal coverage, a pipeline from 150 Hz to 18 kHz.

The LF section contains both direct and directional components to achieve a multi-mode low frequency dispersion pattern. VGt is designed to provide uniform 90° horizontal coverage across its entire frequency range, while outputting an impressive SPL with ultra-low distortion.

Customizable Sound Coverage

Understanding that every venue has unique acoustic challenges, VGt offers variable low-frequency coverage patterns. Users can choose from various cardioid or non-cardioid configurations to tailor sound coverage precisely to their needs.

3 different low-frequency presets.


Efficient Rigging System

A closer look on the Autolock rigging system, as well as the onboard Class-D amplification, intelligent networked DSP endpoint and connections including power, analog audio and redundant network containing Milan digital audio and AES70 control data.

Our Autolock© rigging system allows a single technician to quickly and safely set up an entire system.

This innovation streamlines the process, saving time and labor costs.

A Complete Ecosystem

VGt is more than a standalone product—it’s part of a comprehensive ecosystem. This includes brackets, dollies, accessories, and covers, all designed to work seamlessly with our Array Intelligence software.
This powerful combination enhances design, deployment, control, and monitoring capabilities in both mobile and installation environments.

Optimization Without Compromise

From the start, VGt users will benefit from Adamson’s Optimization feature, ensuring broad-band coverage correction without adding any latency, for an optimal listening experience.
Using the ArrayIntelligence software allows for seamless combination of VGt with CS-Series, while the Adamson Bridge closes the gap to integrate all legacy ground amplified systems.

ArrayIntelligence meets every need in terms of design, monitoring, remote control, tuning, optimization, and much more.


Pieter van Hoogdalem, Business Development Strategist.

“After years of in-house development and testing, the launch of VGt starts a pilot phase with a handful of exclusive partners extensively using the VGt on the road. The first deployments received nothing but positive feedback.”

“Throughout the year we will be organizing live demonstrations to give everyone ample opportunity to experience VGt in action.”

Maximized Efficiency

Four VGt on the new dolly.

The dolly design optimizes truck space and includes a flat-top platform option for additional stacking flexibility, accommodating both 3-high and 4-high dolly configurations. With energy efficient and lightweight electronics in each loudspeaker, rack-space is drastically reduced.

As an example, an array of 18 VGt require 4 rack units, and only 6 power and network homeruns.
In contrast, current rack amplified arrays similar in size, require more than 20 rack units and offer less headroom and control.

As speaker cables are virtually eliminated in VGt there is no speaker cable loss and even long home runs are possible without impacting quality.
By getting rid of most rack space and transporting all space consuming accessories on the dolly, VGt forms the tightest truck pack possible, reducing environmental impact.

Versatile Bracket Solutions

An underhang bracket expands VGt’s functionality, allowing users to fly CS10 under the VGt. It also doubles as a pull-back frame and a secure point for the array during harsh weather conditions.


A glance below the grille reveals one of the 13″ at the front and the 10″ in charge of bass directionality and forward energy addition, both sporting Adamson’s trademark yellow Kevlar cone.

VGt is not just another speaker; it’s a large-format line array enclosure including 8 transducers and 5 amplifier channels that’s been meticulously crafted for use in arenas, stadiums, festivals, performance halls, and more. This groundbreaking product is set to transform the way audiences experience live sound.



Specification

  • Frequency Range (+/- 3dB): 50 Hz – 20 kHz
  • Nominal Directivity (-6 dB) H x V: 90° x 6°
  • Maximum Peak SPL: 151 dB
  • LF Component: 2 x ND13-S 13” Kevlar Neodymium Driver
  • Directional Component: 2 x ND10-LM 10” Kevlar Neodymium Driver
  • MF Component: 2 x M140 Kevlar Compression Driver
  • HF Component: 2 x 3” Compression Driver
  • Rigging: Autolock™ Rigging
  • Connection: 2 x etherCON™ – passive continuity when powerless, Analog XLR3 in & thru, powerCON TRUE1 TOP in & thru
  • Height Front (mm / in): 338 / 13.3
  • Height Back (mm / in): 286 / 11.25
  • Width (mm / in): 1306 / 51.4
  • Depth (mm / in): 562 / 22.1
  • Weight (kg / lbs): 85 / 188
  • Colour: Black & White (Standard), RAL Colours (On Demand)
  • Amplification: 5 channel Onboard Class-D, SMPS, 10 kW peak
  • Processing: Onboard, controllable through proprietary software

To have more on VGt

 

ETC gear selected for new and advanced Al Hadath TV studios

ETC dealer, Oasis Enterprises have supplied ETC control, networking and fixtures for Al Hadath’s brand new broadcast studios in Riyadh, Saudi Arabia.
The Al Hadath news channel, which specializes in both regional and global current affairs, has launched its new studio as part of an ongoing expansion of the channel’s operations in the region.


Oasis Enterprises worked with Al Hadath to achieve its requirements of a creating a modern, dynamic space that is equipped with the latest advancements in LED technology.

Their fixtures of choice were ETC’s versatile ColorSource Spot jr’s, these were controlled by Eos Apex selected for its powerful color tools and award-winning software.

They also chose Response Mk2 DMX Gateways for networking and powerful data distribution in the studios. These were installed following a year of planning for the modern space.


“Our goal was to enhance the visual experience and flexibility of the studio and we did this using the superior capabilities of ETC’s products. Using the Eos Apex console – the latest in the field – brought great value for the project and fulfilled the operator’s requirements,” comments Oasis Lighting System Manager Karim Abdel Massih.


ETC’s latest line of Eos consoles offer a powerful programming surface packed with advanced technology allowing for easy manipulation of color on-camera; with its designer tools allowing for effortless adjustment of skin tones.

The ColorSource Spot jr’s small form factor and stylish design makes it a flexible fixture for any sized space, perfectly tucking into the ceiling of the newsroom, and its flicker free mode ensures perfect UHD content. The system runs on a backbone of Response Mk2 DMX Gateways for data distribution, allowing for easy configuration and error reporting over RDM direct from the console.

“The Al Hadath studio project reflects our commitment to pushing the boundaries of technology; creating an immersive and dynamic space for unparalleled visual experiences,” adds Karim.

ETC Regional Sales Manager for the Middle East Mark Larcombe comments: “We are thrilled to see ETC gear at the new Al Hadath studios. The impressive newsroom is sure to be a leading studio in the region and we are happy to be a part of their latest expansion plans using advanced technology. Thanks to Oasis Enterprises and the Lighting Manager of Al Hadath, Mr Safwan Harcouss for all of their work and support on this project.”

For more information about ETC, you can visit the ETC website

The world’s largest cinema image sensor for Sphere


Sphere Entertainment Co. revealed new details on its work with STMicroelectronics a global semiconductor leader serving customers across the spectrum of electronics applications, to create the world’s largest image sensor for Sphere’s Big Sky camera system.
Big Sky is the groundbreaking, ultra-high-resolution camera system being used to capture content for Sphere, the next-generation entertainment medium in Las Vegas.


Postcard From Earth as seen inside Sphere.

Inside the venue, Sphere features the world’s largest, high-resolution LED screen which wraps up, over, and around the audience to create a fully immersive visual environment.

Big Blue on a gyrostabilized head attached to the underside of a helicopter, ready for the filming of Postcards from Hearth.

To capture content for this 160,000 sq. ft., 16K x 16K display, the Big Sky camera system was designed by the team at Sphere Studios, the in-house content studio developing original live entertainment experiences for Sphere.
Working with Sphere Studios, ST manufactured a first-of-its-kind, 18K sensor capable of capturing images at the scale and fidelity necessary for Sphere’s display.

Big Sky’s sensor, now the world’s largest cinema camera sensor in commercial use, works with the world’s sharpest cinematic lenses to capture detailed, large-format images in a way never before possible.


Deanan DaSilva

“Big Sky significantly advances cinematic camera technology, with each element representing a leap in design and manufacturing innovation,” said Deanan DaSilva, lead architect of Big Sky at Sphere Studios.
“The sensor on any camera is critical to image quality, but given the size and resolution of Sphere’s display, Big Sky’s sensor had to go beyond any existing capability.
ST, working closely with Sphere Studios, leveraged their extensive expertise to manufacture a groundbreaking sensor that not only expands the possibilities for immersive content at Sphere, but also across the entertainment industry.”


Alexandre Balmefrezol

“ST has been on the cutting edge of imaging technology, IP, and tools to create unique solutions with advanced features and performance for almost 25 years,” said Alexandre Balmefrezol, Executive Vice President and Imaging Sub-Group General Manager, STMicroelectronics.
“Building a custom sensor of this size, resolution, and speed, with low noise, high dynamic range, and seemingly impossible yield requirements, presented a truly novel challenge for ST one that we successfully met from the very first wafer out of our 12” (300mm) wafer fab in Crolles, France.”


Hidden inside his body, a ST’s 316-megapixel, hence 18K sensor.

As a leader in the development and manufacturing of image sensors, ST’s imaging technologies and foundry services cater to a wide range of markets, including professional photography and cinematography.

Big Sky’s 316-megapixel sensor is almost 7x larger and 40x higher resolution than the full-frame sensors found in high-end commercial cameras.

The die, which measures 9.92cm x 8.31cm (82.4 cm2), is twice as large as a wallet-sized photograph, and only four full die fit on a 300mm wafer. The system is also capable of capturing images at 120 fps and transferring data at 60 gigabytes per second.


Viewing the various shots from Big Blue after filming in the Alps.

Big Sky also allows filmmakers to capture large-format images from a single camera without having to stitch content together from multiple cameras avoiding issues common to stitching including near distance limitations and seams between images. Ten patents and counting have been filed by Sphere Studios in association with Big Sky’s technology.

Darren Aronofsky’s Postcard from Earth, currently showing at Sphere as part of The Sphere Experience, is the first cinematic production to utilize Big Sky. Since its debut, Postcard from Earth has transported audiences, taking them on a journey spanning all seven continents, and featuring stunning visuals captured with Big Sky that make them feel like they have traveled to new worlds without leaving their seats in Las Vegas.


More information about The Sphere Experience is available at thesphere.com
And more info regarding STMicroelectronics