Chauvet, color blinders Strike Array 4C 2C and Wash Storm 4 SoloWash

After the ingenious Color Strobe Strike Bolt 1C unveiled in preview at ISE, Chauvet Professional also upgrades the Strike Array blinders to color and IP65 and adds to the Maverick range a very powerful Storm 4 SoloWash presented at Prolight+Sound by David Launay, Chauvet Professional France product manager.



Strike Array 2C and 4C, rated IP65


Strike Array 4C, a powerful color blinder.

Color versions of their elders Strike Array 2 and 4 are offered in warm white, the Strike Array 4C and 2C use respectively 2 and 4 independently controllable RGBA WW LED engines.

With 28 RGBA LEDs and 39 WW (Warm White) LEDs per source, these powerful blinders offer an infinite number of colors and a wide range of quality whites (from 2800 K to 6500 K; CRI of 94.6 @ 3200 K) allowing unify, during a recording, the color temperature applied to the set and the audience.

Strike Array 2C, here coupled with a Strike Bolt 1C strobe.

These two blinders benefit from a selection of 6 PWM power frequencies to avoid flickering in filming and 4 dimmer curves including tungsten emulation.

They are equipped with the new coupling system which does not require tools and ¼ turn locks for omega hooks both on the yoke and at the rear of the Case for easy attachment. They can be controlled using Art-Net, sACN and, DMX-RDM.
The flux of the 4C reaches 53,000 lm and that of the 2C 26,000 lm

Maverick Storm 4 SoloWash, rated IP65

At the top of the Maverick range, the Storm 4 SoloWash comes alongside the Storm 4 Profile (see SLU ‘s bench test here) equipped with the same 1250 W, 7465 K white LED engine with an output flux of 78,300 lm.

Storm 4 SoloWash is not “just another wash”.

Chauvet did not choose to equip it with a Fresnel lens at the output in favor of a hammered lens which allows it to integrate a framing blade module, an animation wheel, and a wheel of 6 interchangeable rotating gobos to create volumetric effects.

With a very wide amplitude zoom which takes the beam from 7° to 74°, a frost, and an iris, there are numerous options for shaping the beam, colored by CMY + CTO flags and a 5-color wheel including a filter for raising the CRI, and a CTB.

This Wash receives Art-Net, DMX-RDM, W-DMX, and sACN protocols, measures 469 x 306 x 817 mm, and keeps a reasonable weight, taking into account its power and its IP65 classification, of 45.5 kg.


For more information Chauvet Professional website

 

AC/DC’s Power Up Tour Electrifies RCF Arena with GTX Extensions

AC/DC delivered their hallmark electrifying performance to over 100,000 fans at the RCF Arena as part of the Italian leg of their Power Up Tour. The concert, supporting their seventeenth studio album, featured TT+ Audio’s GTX 12 line arrays as the delay system, ensuring a superior audio experience throughout the sprawling venue.

For the first time, the RCF Arena, known for its vast open space, was entirely covered by GTX 12 line arrays. Extending the main sound system provided by the tour production, the GTX 12 excelled in delivering crisp, consistent sound with deep, tactile bass response down to 35 Hz.


One of the far delay towers holding 14 GTX 12 modules

With the legendary Paul ‘Pab’ Boothroyd at the helm of the analog Midas XL4 console, the setup maximized sound coverage and clarity, making every note of AC/DC’s powerful hits resonate perfectly with the audience.

The GTX 12 three-way line array module is noted for its high-end Precision Transducers that generate excellent reproduction quality with optimized directivity. Its ability to deliver a maximum sound pressure level of 148 dB with low distortion ensures powerful sound output across large venues.


Five out of the six towers of 14 GTX 12 modules for distant delays, a shot probably taken from the end of the 5° sloping field forming the RCF Arena

The system features a sophisticated 90° x 10° 4PATH waveguide and symmetrical three-way architecture for precise sound dispersion and operates efficiently with XPS 16K amplifiers, with each unit powering three line array modules with utmost efficiency. The four-channel XPS amplifiers provide advanced DSP features including FiRPHASE and Bass Motion Control processing.


Emanuele Morlini, system engineer TT+ Audio Team

“GTX 12 delivers full-range audio performance, allowing for powerful low-end frequencies and crystal-clear highs. We installed four arrays with 16 GTX 12 modules for the near delay towers and six arrays with 14 modules each for the far delay towers, each array was powered using two TTR 16K racks.

Six TTS 56-A double 21″ subwoofers supporting the lower part of the spectrum were installed under each line array for a total of 60 subs. The system was controlled remotely from the FOH (Front of House) position or wirelessly throughout the venue with RDNet,” says Emanuele Morlini, system engineer of the TT+ Audio Team.


Lucio Boiardi Serri, TT+ Audio product specialist

Lucio Boiardi Serri, TT+ Audio product specialist, adds: “The redundant audio routing featured analog and Dante connections feeding ten CR 16-ND control racks distributing audio via AES/EBU and analog to twenty TTR 16K racks for a total of [148] GTX 12 modules and [60] XPS 16K amplifiers.
This setup ensured that every fan in the venue experienced the concert with the visceral intensity that AC/DC’s music demanded.”


More on TT+ Audio and on Youtube the RCF Arena

 

Ayrton Cobra illuminates the Valletta sky

Ayrton Cobra cut through the sky at Malta’s Mediterrane Film Festival.

The Mediterrane Film Festival, hosted for the second consecutive year in Malta from 22nd – 30th June, culminated with the sparkling Golden Bee Award Ceremony hosted by David Walliams at the spectacular Fort Manoel, Gżira. Over a dozen awards were presented to international actors, directors and cinematographers across a variety of categories.

The Awards were interspersed with performances from artists including Mercury Prize winner, Heather Small, Britain’s Got Talent singer Calum Scott, Maltese opera singer Joseph Calleja and the Golden Bee Awards Orchestra.


BAFTA-winning and Academy Award-nominated writer-director Mike Leigh was awarded the Career Achievement Award, and Maltese production coordinator Rita Galea was presented with a Lifetime Achievement Award. The evening was rounded off with a speech from the President of Malta, Myriam Spiteri Debono, who emphasised the importance of the Maltese film industry to the country’s economy.

Raphaël Demonthy, lighting designer and managing director at Sunrise Studios GmbH of Berlin, was responsible for the complete lighting design and realisation of the Ceremony on site, from the moment the glamorous VIP guests arrived on the red carpet, through the reception area to the show itself, and even the backdrop of the Valletta skyline.


Ayrton Cobra

Signature to his visual design was a row of 30 Ayrton Cobra laser-sourced fixtures which he positioned upstage at floor level to form a long line behind the 50m x 10m semi-transparent LED backdrop. “This gave the wall both frame and depth,” explains Demonthy.
“We were able to extend the stage looks by creating a wall of beams that could keep up with the different ‘colour worlds’ created on stage. The Cobra is known for its unique beam look of course, and that is exactly what we want to achieve.”

At specific moments, as the Valletta skyline took centre stage as a backdrop on the other side of the harbour, Demonthy used the Cobra fixtures at their widest zoom setting, adding frost and prism effects to create camera flares for a nice underline below the vignette.


“We are really happy with the way the Cobra cut through the night sky, even over the distances we had to cover,” concludes Demonthy. “If you work on outdoor productions you know that normal spot or beams lights don’t really punch through, especially if the weather conditions are not optimal for the beams of light. But Cobra is much more focused and punchy, giving you a better solution from the outset.”

Demonthy’s team for the Golden Bee Awards consisted of spot caller Didi Timmer, keylight operator Fabian Schmidt, showlight operator Marc Marlo Schelesnow, media server operator Sebastian Huwig, media server farmer Christian van Deenen, and picture engineer David Kulla.

The Ayrton Cobra fixtures were supplied for the event by Motion Rental of Germany through the lighting and technical provider, Nexos Lighting & Video, Malta.
Production/logistics coordination was by 7Twentyeight Ltd together with Mad About Video Ltd, both from Malta. Production and set design was by Florian Wieder. The production company was Lodge of Levity.



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

More information on Sunrise Studios can be found at www.sunrisestudios.de

 

Robe launches 4 new projectors at Plasa 2024

Robe is using the 2024 PLASA London expo (London, September 1 to 3) to launch four new products – the iFORTE Fresnel, the PAINTE Fresnel, the SVOPATT and the SVB1.
The new ‘live show will be premiered on stand A70 “The Fifth Dimension”, featuring three live performers, lots of tech and heaps of imagination. We are promised a few surprises in this show, and there are even rumours of one of Robe’s most popular ever products being present!


Robe’s other businesses – architectural and LED lighting manufacturer Anolis, networking and control specialist Artistic Licence, legendary UK-based console manufacturer Avolites and Australian-based power distribution gurus LSC – will all be located on adjacent stands.
This will illustrate the natural synergy and interconnection between all these brands which are integral to Robe’s future plans and visions.
The Fifth Dimension

The new live show will feature a diversity of Robe fixtures like iBOLT, iFORTE LTX, T32 Slim, Footsie1 and Footsie2 Slim, iSpiiderX, TetraX, Tetra2, the ever-popular LEDBeam 350, the RoboSpot remote follow spot system and the workhorse iT12 range of luminaires.
The show will play 5 times a day at 90-minute intervals

PLASA Awards

Three Robe products are nominated for the 2024 PLASA Awards for Innovation – the iBOLT and both the newly launching PATTS – the SVB1 and SVOPATT.
Robe will be presenting all its brands at the show – Anolis, Artistic Licence, LSC and Avolites Avolites with the D7-330 and D7-215 versions of the new D7 console.


iFORTE Fresnel

The most powerful Fresnel Wash of Robe’s iSeries, the IP65-rated iFORTE® Fresnel is available with a choice of two patented data-capturing IP65-rated TRANSFERABLE ENGINES: the iSE-TE™ 1000W White XP (Xtra Performance) 6.700 K, 40.500 lumen (Integrating sphere) with CRI70 is for maximum output requirements, while the iSE-TE™ 1000W White HCF (High Colour Fidelity) 6.000 K, 27.540 lumen offers a CRI of 96 for exceptional colour rendition.

The patented F2L™ two element smooth outer surface lens maintains a traditional Fresnel-style beam, the curved finish reducing the accumulation of outdoor detritus, while the parCoat™ hydrophobic, oleophobic-resistant coating facilitates easy cleaning without damage.

A motorised 10:1 zoom optical system, with a 6° to 61° zoom range, provides all the wash flexibility needed for multiple applications.

The iFORTE® Fresnel features a CMY colour mixing system. Two colour wheels and a variable CTO of 3.000 – 6.700 K offer all the tools needed to achieve everything from dense saturates to refined pastels.

ChromaTint™ patented green content control software allows fast adjustment, ideal for broadcast users. In a departure from other Robe fresnels, the patented PLANO4™ framing shutter module has four individual blades in separate planes with module rotation of +/- 60° to maximise beam control!


PAINTE Fresnel

The PAINTE® Fresnel delivers a quiet, quality wash solution for short to medium-throw applications in theatrical, television, installation, live or corporate settings.

The PAINTE® Fresnel colour palettes are properly boundless using the advanced CMY colour mixing system, a wheel with nine dichroic colours, variable CTO and Robe’s ChromaTint™ patented plus / minus green.

These luminaires are designed for noise-sensitive environments with multiple fan controls and a choice of a TE™ 310W HP (High Performance) White LED engine for maximised output or TE™ 310W HCF (High Colour Fidelity) engine for optimal colour rendition with an inherent CRI of 96.

With all the softness of a classic Fresnel beam, the motorised 8.3:1 ratio zoom has a range of 6°- 50° from the 150mm Fresnel lens, making it a compact wash luminaire.

There beam control is including medium and light frosts; RotaScrim™ graduated filter with position control, +/- 180° rotation and edge colour correction; the rapid 4Door™ internal barndoor system for accurate individual leaf control and +/- 90° module rotation for maximum flexibility.

The PAINTE® Fresnel is packed with Robe innovation including Cpulse™ flicker-free management for HD and UHD cameras; L3™ Low Light Linearity dimming software for smooth imperceptible fades to black; AirLOC™ (Less Optical Cleaning) technology that keeps the optics pristine for far longer and EMS™ Electronic Motion Stabiliser technology for enhanced fixture stability.


SVOPATT

Iconic Czech luminaires are instantly recognizable in the lighting world, and Robe has been inspired to honour this past legacy … with the SVOPATT™.

SVOPATT™ features a contemporary housing with nine individual modules each containing 7 x 40W RGBW multichips and the centre pixel also containing a 200W white LED strobe, seriously bright, worthy of its lineage and ready to make an impact with the SVOPATT™ both as a scenic element and a source of captivating effects.

An RLCT™ lens coating helps maintain high performance and protects against scratches and scuffs whilst preventing particle adhesion, ensuring optics stay cleaner for longer.

Multiple modes and protocols include ArtNet and sACN for easy pixel mapping; there is a choice a choice of RGB or CMY colour mixing modes; a variable CCT range; an onboard DataSwatch™ colour library with 66 preset colours, and tungsten lamp emulation. On top of that, the SVOPATT™ has a comprehensive colour control set.

Each individual module contains a noise-dampened motorized zoom, and the 3.8° – 50° zoom range enables the creation of tight beams or wide washes from each individual module. Cpulse™ software eliminates on-screen flicker and the +/- green content control makes it great for studio environments and broadcast scenarios.


SVB1

The eye-catching SVB1™ is a multifunctional effect, beam, and wash luminaire, a versatile, compact powerhouse in the new Robe SVOPATT™ family!
It delivers high-output and extreme speed with continuous pan and tilt rotation.

With seven individual 40W RGBW LED cells plus a central pixel with both RGBW and a powerful 200W white strobe LED module, the SVB1™ offers full pixel mapping for anything from mind-blowing to beautifully ephemeral looks and effects.

An RLCT™ lens coating protects against scratches and prevents particle adhesion, ensuring optics stay cleaner for far longer. The motorized zoom range offers precise 3.8° beams, up to expansive 50° washes, and the rapid speed and wide coverage are further enhanced by 360° continuous pan and rotation.

Colour mixing modes can be RGB or CMY, there is a variable CCT range and an onboard DataSwatch™ colour library with 66 preset colours, plus tungsten lamp emulation, and full colour control.

As with the SVOPATT, Cpulse™ software offers flicker free operation and +/- green content control, so this luminaire is ideal for studio environments.

Many modes and protocols include ArtNet, while sACN ensures straightforward mapping and network communication is streamlined with REAP™ (Robe Ethernet Access Portal). An Epass™ Ethernet pass-through switch maintains connectivity even when the fixture is powered off.

Robe at Plasa – From 1 to 3 September – Olympia London – Booth A 70

More information on the Robe website and the Plasa website

 

Arcadia Lights Up Glasto 2024 with Dragonfly and Robe iBolts

Flames, lasers and lights fired up the night sky at the 2024 Glastonbury Festival of Contemporary Performing Arts in the UK as Arcadia launched its amazing new “Dragonfly” spectacular concept, a sculptural installation, performance arena, a live show and a complete world of visual, aural and sensory experience, taking the art of imagining recycled industrial and military scrap metal to new and different levels.


themancphotographer.co.uk

Lighting included six of Robe’s new iBolts, a massively bright laser-source searchlight style moving light capable of jaw dropping effects, and 12 x iPointe65s, an IP65 version of Robe’s famous MegaPointe moving light, fixtures stood out from over 200 lights illuminating the Arcadia Arena.
The Dragonfly’s body was projection mapped adding texture and depth, the head comprised a custom transparent video screen made from 200 LED tiles and lasers were its wings. Naturally, in true Arcadia style, the show featured an impressive array of fire effects.


Photography by Chris Cooper/ ShotAway/ www.ShotAway.com/ #shotawaydotcom

Originated and designed by Arcadia’s Pip Rush (creative director) and Bert Cole (technical director), the 30-metre-long 8.5-metre-high biomechanical Dragonfly is built from an ex Royal Navy Sea King helicopter, and it was at the heart of a 70,000-capacity evolved geometric space at the festival.
The sculpture ‘awakened’ every night at 11.30 during a breathtaking 9-minute show, “Warraloo”, developed by Arcadia in collaboration with the Wadjuk Noongar nation of Western Australia and based on the Dragonfly’s pupation cycle. This was followed by a full lineup of DJs and artists playing over the three main performance days of Glasto 2024.

In addition to being a stunning piece of art and engineering in its own right, the Arcadia zone was the core of the festival’s vibrant late night entertainment culture.
The Dragonfly’s production lighting design was by Dave Cohen of creative lighting studio MIRRAD, with technical production manager Katie Davies overseeing all related production elements on site throughout the two-week build and 3-day run periods, including coordinating 47 core crew and technicians.


themancphotographer.co.uk

With the DJ booth located in the cockpit of the helicopter / head of the Dragonfly and surrounded 360-degrees by the bespoke transparent Led screen construction, Arcadia fans enjoyed banging headliner sets from Fatboy Slim, Eric Prydz, Amelie Lens, Andy C and many, many more, delivering superlative music and vibes throughout the three-day festival, which is among the best known worldwide.

The six iBolts were rigged on the top of six 11-metre-high trussing towers positioned around the Arena, and used for blasting beams and effects out into the sky and creating those massive, big site-wide looks that ensured the Arcadia arena was visible from everywhere across the undulating site at night, helping to generate that special Arcadia energy.

The weatherised iPointe65s were positioned on four inner podiums circling the dragonfly, each with a large flaming bull-rush and smoking grass sculpture on top, comprising three fire jets. The bull-rush podiums were also made from recycled metal parts and crane arms and provided an organic environment for the Dragonfly. The iPointe65s were rigged below the podium’s metal grated floors and used for architecturally lighting the bull-rushes while the podiums were utilised by performers during the show.


Robe ibolt

Katie commented, “The iBolts were fantastic as a powerful and dynamic lightsource seen from all over the site, while the iPointe65s were perfect for ensuring the bull-rush podiums stood out during the show!” Reliability was a key factor for Arcadia for both these fixture types, and anyone familiar with the unpredictability of the English summer will know, the weather can be erratic!

“We already knew from previous experience that Robe fixtures are rock solid, you can put them up and they will just work and work, and IP rated Robe fixtures, even better. We are really confident using these products and they worked from day 1 of the installation,” noted Katie, adding that the technical partnership between Arcadia and Robe has been “really valuable in helping to bring the Dragonfly to life” and deliver unique and memorable shows.

Everyone worked intensely and with passion and excitement on this project as the show evolved, seeing the dragonfly morph from a slightly prosaic collage of utilitarian grey metals and objects, transforming into a beautiful, living, breathing Dragonfly pulsating with colour, movement, and positive energy.

The Warraloo show was inspired by strong connections made by Arcadia and the Aboriginal First Nations of Western Australia during a residency in Perth in 2016. The performance explored multiple themes including renewal, climate change and our relationship with technology. Lighting for the show was operated by Sam Werrett, also from MIRRAD, using an Avolites D9 console. Avo has been another enthusiastic technical partner of Arcadia for some time.


themancphotographer.co.uk

The lighting crew included head of lighting James Bunning, Arcadia lighting crew chief Jake “Sharkie” Cawkwell, dimmer tech Stu Barr and lighting techs Nat Archer, Charlie Knight and Rupert De-Renzy-Martin plus lighting power specialist, Jack Coffin.
They were joined by three technical interns, Sinead Brooker and Becky Winrow students from the Confetti Institute of Creative Technologies and Tyler Haines from Robe’s NRG initiative.

The Arcadia arena and the showcase performance were a massive success, and the area continues to be one of Glasto’s favourite and most visually stimulating and innovative creative performance spaces. With conflicts currently raging around the world, the transformational nature of a one-time weapon of destruction into a monument of hope for a more peaceful future brought additional resonance and symbolism to the Dragonfly as a cross-cultural symbol of courage, strength, and happiness.

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

Ayrton Cobra joins the party at Fairground Festival

Cologne-based motion design and show development studio, visualprime, is used to doing things on a large scale, and Hannover’s Fairground Festival of electronic music is no exception. The second iteration of this relatively new festival, already classed as Germany’s third-largest indoor festival, took place in the cavernous spaces of the Hannover exhibition halls hosting 40,000 party-goers over two remarkable days.


Ayrton Cobra fill the dance floor at Fairground Festival © Fairground Festival/visualprime.

A line up of top international EDM acts included headliners Paul Kalkbrenner, Ben Böhmer, Jan Blomqvist, Stephan Bodzin, ArtBat, Camelphat and Charlotte de Witte. Visualprime lighting designer, Tobias Reinartz, employed over 100 Ayrton fixtures to inject dynamism, colour and striking linear arrays across the stage and dance floor, choosing 84 laser-sourced Cobra fixtures rigged overhead throughout the hall for dramatic beam effects, and 20 Ayrton Khamsin fixtures as a floor package for the acts.


Ayrton Khamsin

Ayrton Cobra


“I chose Khamsin for the floor package as we needed a bright spot with gobos that do nice aerial looks even in narrow beam angles,” explains Reinartz. “We also needed a beam light with fantastic colour mixing that was also capable of powerful gobo and prism effects onto the audience. Cobra could do all of this, but it was the sheer power of the Cobra beam that was the main decider. We were able to create multiple beam looks throughout the whole 120m x 120m arena from a height of approximately 8m.


Dance floor drama with Cobra at the Fairground Festival © Fairground Festival/visualprime

They looked amazing, and despite the throw distances, we were never in danger of running out of power, no matter what ideas we put into being! “I believe there is pretty much no alternative to Cobra, it’s impossible to think of more variations and combinations you can do without them. I am witless happy!”
The Cobra and Khamsin fixtures were supplied by Czech-based High Light Touring whom Reinartz describes as “a really outstanding company! They are really creative in finding good solutions to anything we need.”
The next Fairground Festival will return to Hannover in November 2024.

More details on Ayrton Cobra and Khamsin, and the full range of Ayrton LED and laser-sourced lighting fixtures can be found at www.ayrton.eu

visualprime can be contacted at www.visualprime.de

 

Paris’ Théâtre de la Ville goes Immersive with L-ISA

Faisant face au Théâtre du Chatelet, le Théâtre de la Ville, entièrement rénové.

Integration and rental specialist BLive accompanied the theatre to create an immersive experience in a historic Paris building. Having featured Sarah Bernhardt on its stages for almost two decades, and staging the very first play by Sartre, Théâtre de la Ville has earned its place as one of the world’s most prestigious venues.

Throughout its 150-year history, the venue has staged all manner of productions and today is known for its offering of modern dance, theatre and world music. Following a major seven-year refurbishment designed to equip the 19th century building with 21st century innovation, Théâtre de la Ville has again placed itself on the edge of technology, able to offer L-ISA immersive experiences to audiences via its BLive-installed sound system.



For almost a decade, Théâtre de la Ville had been in search of the perfect system to realise its immersive audio ambitions. As part of a wider refurbishment, the venue, in collaboration with L-Acoustics Certified Partner BLive – a long-time technology partner and friend of the venue – embarked on a number of visits to immersive system demos.


The L-Acoustics L-ISA configuration comprises 5.1 system using Kiva II and SB15m hangs with KS21 subwoofers.

With optimal audio capabilities being the primary goal, other crucial considerations were weight restrictions and placement limitations due to the historical architecture and a need for versatility to address the hugely eclectic range of productions.


One of the X8 speakers hung around the sides of the Théâtre de la Ville for surround sound.

After careful deliberation, Théâtre de la Ville concluded that L-Acoustics L-ISA technology was the perfect fit, landing on a 20.1 Scene System of five hangs of two SB15m over eight Kiva II with a centre-flown cluster of six KS21 subwoofers.
Thirteen X8 hung around the sides of the venue, balcony edge and ceiling provide surround sound to the parterre while 17 further 5XT speakers nestled in the walls provide surround sound to the under-balcony seats.

“The full surround configuration provides exceptional sound quality without compromising any of the space’s aesthetic splendor,” commented Alexandre Tramontin of BLive, who lead a team of engineers and experts throughout the specification and installation process.


X8 speakers are placed on the edge of the stage for spatial in-fill.

Five LA7.16i amplified controllers were specified for their low energy consumption and high channel count, which allowed for fewer rack space and less cabling. The LA7.16i was found to provide exceptional power output when required, but consume minimal power when not, leading to 30% less power consumption as compared to other similar systems.


LA7.16i, 16 inputs and outputs of smart and tailored power.


A vital element of the success of the project was the close collaboration between Théâtre de la Ville and BLive, which took an especially proactive role in helping the theatre to achieve their desired results. BLive and L-Acoustics also provided all Théâtre de la Ville staff with comprehensive training on the new system and helped them to adapt their process from stereo to fully immersive surround sound.


5XT speakers discretely placed in the rear wall of the theatre provide surround sound to the under-balcony seats.

Théâtre de la Ville has reinforced its position as one of the globe’s most prodigious and pioneering spaces, combining the historic with the contemporary in a way that is set to delight visitors and performers alike for generations to come.

Benoit Goupillon, Sound Manager, Théâtre de la Ville concludes: “We are very happy with the support from L-Acoustics on this project. They proposed a relevant and elegant solution, in the face of significant technical and artistic constraints, and considered our concern for the current environmental context. After several months of intensive use, we are proud to have this system, which in our opinion presents a major evolution in the quality of sound reinforcement for shows, with subtlety and efficiency.”


More about:

– Le théâtre de la Ville
– L-Isa
– BLive

 

A Glowing Halo of Investment in Astera Products

Barbie Movie Premier at the Tate Modern, London © Halo Lighting X Organic Publicity

Central London-based lighting and event technology and services specialist Halo now has one of the largest and most extensive stocks of Astera products in the UK. Halo’s total count of well over 400 Astera luminaires includes Titan Tubes, Helios Tubes, Hyperion Tubes and many others.

Extensive Inventory and High Demand

Yann Guenancia is in the middle of the back row (with arms folded)

Halo’s extensive Astera inventory also features AX2 PixelBar, AX3 Light Drops, AX5 PixelPARS, Hydra Panels, NYX Bulbs, PixelBricks and PlutoFresnels. All of which feeds a never-ending demand on a diversity of events and projects, explained Halo CEO Yann Guenancia.

All the Astera products in the inventory are useful in different ways but apart from the workhorse Titan Tubes of different lengths, Yann singles out Pixel Bricks for a specific mention. He admits that initially they were a little surprised at how popular these have become and how “people never stop coming up with creative ways of using them!”

Serving Diverse Client Need

Large UK lighting rental and concert touring companies frequently come to Halo for Asteras, while smaller companies benefit from Halo’s extensive cross-rental services. When it comes to Halo’s own productions, 90 per cent will have an Astera element included in the lighting design.


Halo’s own shows will typically be boutique style events and often in cool and more off-beat site-specific environments. The kind of scenarios where battery powered fixtures are completely indispensable! The company is also the lighting and event technical services provider for an entire range of interesting small-to-medium studios and venues of up to around 500 capacities where assorted Astera combinations can be used to rapidly create nice ambient lighting systems.

The Asteras are especially handy for places with low ceilings which are being utilised for product launches, brand activations or fashion shows, complete with bespoke staging. “The beauty is that they can be used equally well for ambient, direct or accent lighting. The possibilities are endless,” noted Yann.

Strategic Commitment to Technology and Growth

Aquaman2 Movie Premiere party at Soho House, London © Halo Lighting X Organic Publicity

Halo’s Equipment Hires Manager, Aryan Goudarzi, thinks, “Astera products have made a significant impact on the industry” through their smart design, quick charging capabilities, and the “elegant, seamless App that empowers consumers with precise control.”

Functionality, like the long battery life, is a winner for Halo together with the quality of the light output, an aspect on which Astera has concentrated the R ‘n’ D over the years. Aryan also highlights other features like the fixtures being light in weight, portable, and with numerous rigging options.

He appreciates the Titan LED Engine, which provides “comprehensive colour replication over the spectrum and caters to the diverse needs of professionals working in film, TV, events, and venue lighting.”

Great Return on Investment

Naturally, the use of LED technology can also reduce costs over time, and Aryan reckons that, at least for Halo’s clients, Astera tubes, PixelBricks, and AX3s have all gained immense popularity, “swiftly becoming essential must-haves in our hire inventory. It’s due to this high demand that we are continually investing in Astera, and continuing this commitment and expanding our product line and range of accessories is a strategic priority.”


A part of a 2024 Brit Awards related event staged at The Lower Third, Outernet, London © Halo lighting X Sketch Events

Among the most recent Astera purchases are PlutoFresnels, which have been excellent for red carpet events and film premiers in London’s Leicester Square, providing a perfect solution with no cabling and rapid deployment. NYX Bulbs are another busy Astera product for Halo, and while the AX2 bars are quite large compared to some of the others, they are good for larger studio jobs. The AX5 PixelPAR is THE Astera product in Halo’s rental stock that everyone can simply not get enough of!

Halo has also invested in many of the accessories, carry cases, etc., all of which assist in making their Astera packages imaginative and even more viable solutions. Yann thinks back to the start of his professional career 30 years ago with raised eyebrows and comments that it was hard to imagine then … how things would be today!

Halo’s Asteras: Success Stories

Halo’s Astera products continue to light up notable events like:
Nike’s product launch at Vinyl Factory
Movie premiere of “Federer: Twelve Final Days” at Leicester Square’s Odeon Luxe
The UK launch of Greta Gerwig’s “Barbie” at the Tate Gallery.

These high-profile applications demonstrate the versatility and effectiveness of Astera solutions in lighting bespoke constructions.


White City New Year’s Eve Party – © Halo Lighting X Soho House

Strong Partnerships

Halo’s relationship with UK distributors Ambersphere is a cornerstone of its success as this partnership enables Halo to continue expanding its product line and enhancing its service offerings.

For more info about Astera LED, you can visit astera-led.com
Discover how Halo’s extensive Astera inventory can illuminate your event at www.halo.co.uk

 

Robe Has BEEN There Done That!

A team from Netherlands-based creative studio Live Legends headed by project director Serge Patist and lighting designers Thomas de Vries and Bas Knappers completed a bold and modern interior design and technical set, video, lighting and audio, scheme for the SIR.TEEN Group and their new Club BEEN, a brand-new venue and entertainment concept that has burst onto the highly competitive nightlife scene in Beijing, China.
The lighting design features over 250 Robe moving lights, 144 x Spikies and 76 x Viva CMYs and six T1 Profiles.


Also engaged from the Live Legends side were Daan Oomen (creative director and principal designer), Stefan Peters (interior designer), Rik Schoutsen (video specialist), VFX Artists Jim de Brouwer, Robbert Lubken and Boudewijn de Kraaij, plus music producers Joos van Leeuwen and Maarten Bokma Music Producer).

SIR.TEEN group likes to keep ahead of the constantly evolving curve of nightclub trends and Live Legends delivered a design with architecture and infrastructure based on a cool industrial look featuring plenty of square and cube shapes. They wanted to emulate physical elements like RSJs and concrete pillars with lines of lights that could intersect and create eye-catching Matrix-style effects with different beams and colours.

“We knew we needed small and powerful lights,” elucidated Thomas, adding that Live Legends has used these for numerous club installations. “They are small, bright, the continuous rotation is ideal for club lightshows while the flower effect adds an extra layer of interest!” he commented.


Club BEEN has a video screen upstage of the DJ booth along the back wall, and a large, automated cube-shaped centrepiece rigged above the middle of the room also with a screen that folds down from the ceiling enclosing the DJ booth from the top as well, encasing them in a cube! The stage can be built in two different positions, in front of the back wall or it can be moved more centrally in the room, but the fold-down LED screen works similarly in both scenarios.

The building had previously been operated as a club but was completely stripped out to a shell and reimagined from scratch according to the client’s brief for Club BEEN. The client wanted to present a clean and contemporary environment rather than the ostentatious and sometimes overpowering pre-Covid club designs that were popular in China.


Thomas and Bas took a similar route for the lighting which was a collaboration. Thomas completed the drawings and visualisations while Bas did most of the programming in the studio and on site in Beijing. They also created some special light and visual shows for the opening nights.
“We wanted long linear runs of lights that reinforced the cube theme and accented the space clearly and with an elegant demarcation,” Thomas explained. The main room is around 30 x 30 metres square with some adjacent VIP areas, plus different bars around the space.

Both Spikies and the Viva CMYs ticked the ‘compact’ box and were a perfect fit for the BEEN aesthetic where all the visual elements are connected to ensure consistent branding.

Robe Spikie

Robe Viva


Spikies are rigged in horizontal and vertical rows on the roof beams and can shoot in all directions through the space, with a quantity at floor level and around the DJ book area onstage for contrast.
The Viva CMYs are primarily rigged on bars inside columns carved out from the concrete walls, with most of the fixture bodies hidden and only the front lenses visible, always in a line or a block shape in keeping with the cube theme.


Robe T1 Profile

“They provide bright spots and beams left and right that can fill the space effectively with movement and colour,” explained Thomas. The main room is primarily filled with tables and there is a small dancefloor.

For key lighting on the DJ and dancers, Thomas and Bas specified 6 x Robe T1 Profiles, and there are a variety of other lights involved in the installation, but Robe is a key brand and among the most noticeable fixtures.

Club BEEN has been popular since opening and all the signs so far are that it will be the trailblazing destination the owners envisioned. Thomas says, “We have been involved in several designs and installations in China now, and it’s always a pleasure to work with our Chinese Partner SIR.TEEN Group who are dedicated to providing their visitor with the very best creative experiences, production values and excellent music.”


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

 

ETC SOURCE FOUR SERIES 3: LUSTR X8 AND XDLT OPTICS, A WINNING COMBINATION

With more than 10 years of experience including 7 years of analysis and feedback on the Source Four Series 2 Lustr, ETC has developed the 3rd generation of Source Four. Equipped with the Lustr X8 Led panel, it produces deep reds and features a new range of XDLT optical “noses”, optimized for LED sources. We put it through the bench tests at La BS and compared it to the Series 2 Lustr and the original Source Four version with the halogen lamp.


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ETC has been helping lighting to evolve for almost 50 years. The American company has become a key player in programming and lighting, with each new product bringing innovations. Let’s see what happens with this new profile.


The Source Four Series 3 adapted to all profiles!

Out and inside

We immediately notice an evolution in its design. The more contemporary look of the Series 3 marks the consideration of the tastes and expectations of all users. I like the idea of changing the “tube” aspect along its entire length. This should be more practical for housing the source, the cooling, and the electronics but the mixture of the different shapes and especially the connections to integrate them results in a quite beautiful fixture.


Concerning the connectors, it is all engraved on the metal surface!

In addition to the aesthetics, the designers also thought about ergonomics. The rear of the fixture has been divided into 3 panels, one vertical and 2 slanted. The one on top receives the PowerCON True1 in and out power connectors to power another source and 2 XLR 5-pin sockets for the DMX – RDM signal.

For the Art-Net and sACN protocols, instead of direct input, the American manufacturer preferred to implement a Multiverse receiver from City Theatrical. The antenna connects to the dedicated connector located on the bottom panel. A transmitter can carry up to 10 DMX universes via an ArtNet or sACN input. So, a little bit of advice, always plan to have a node in case you don’t have an RJ45 or Wireless solution. Thanks to La BS for loaning me a Showtech Net 2/5, small, simple, and effective.

On the center panel, there is a color screen and 4 rotary buttons, 2 other buttons as well as a powered USB connector for updates and saving configurations. There is also a very practical little switch that allows you to lock the controls section. Access and configuration are very simple. Access to the menu and options pages is done with the button placed under the intensity controller (the bottom button (Fn) is used to choose the control mode).


The rear is well-designed for access to the display panel.

It offers a maximum of 4 options, each having the color of one of the 4 buttons located around the display. I love this idea which makes configuration easier, plus the buttons light up when you access the menu. You can also use your phone and the Set Light application via the NFC protocol to configure the fixture even if it is not powered up.

Simply remove 4 screws to access the entire fixture. At the back, the electronics and the power supply, then a fan for cooling the radiator where the LED matrix is in place. Finally, a box contains several mirrors forming a tunnel that ends at the condenser. This system, developed for the Series 2, makes it possible to homogenize the flow of LEDs and the colors, regardless of the number of shades used.


No need to search for things, it’s all there!


In 2014 the arrival of the Series 2 Lustr X7 matrix created a revolution. The addition of lime green allows a clear improvement in the performance of white shades and pastels. The new Lustr X8 LED panel from Series 3 also uses this concept, this time adding the intense red tint. R&D has also increased the number of LEDs from 60 to 96 Lumiled Luxeon chips.


The wide color spectrum of the Lustr X8 ranges nicely in deep red (document provided by ETC).

The new source therefore has 8 shades, Intense Red, Red, Amber, Lime, Green, Cyan, Blue, and Indigo for a wide spectrum. The other advantage, and not the least, compared to the previous version, is that the Series 3 is accompanied by a whole new range of XLDT optics. It must be said that the design of the previous ones dated from 1992, the beginning of Source Four.


When you look in the “peephole”, you can see the Led matrix of the Lustr X3 is knocking on the door!

Much more suited to the expectations of lighting designers and LED sources, these new “noses” bring an impressive number of improvements: more brightness, more contrast and clearer colors, better sharpness (especially for gobos), and almost total elimination of chromatic aberration. This XLDT range offers 8 models: 5°, 10°, 14°, 19°, 26°, 36°, 50° and 70°.

In Vivo

It’s mouth-watering and we can’t wait to try this little gem. For this test, we thought it would be interesting to go even further by first putting the Series 2 and the Series 3 side by side, and even bringing out the original version with a halogen lamp.

By pressing the button marked “Fn” you access 5 control modes (Studio, Color, Gel, Effects, Preset) and DMX mode. For the latter, 5 choices from 1 to 12 channels! Direct mode, which allows you to control each color individually, is more intended for consoles like the EOS or the Hog 4 (V4) which has internal features allowing you to combine these 8 colors to obtain, among other things, the best light output for each color. With other consoles, I would rather recommend the extended mode which allows you to fully use the potential of the Lustr X8 matrix with RGB or Studio encoding.


The 6 control modes

– Fn button: Press the button then scroll using the intensity knob then press again to confirm.
– DMX: Choose the DMX mode and settings for the fixture
– Studio: Use one of three studio (white light) presets, or customize the presets.
– Color: Use one of 12 color presets, or customize the presets.
– Gel: Choose from a list of common gel colors.
– Effects: Use a sequence, or customize a sequence.
– Preset: Use one of 12 presets (color preset + fade time), or customize the presets


DMX modes


V2 and V3 @ Full and the Lustr’s light up!

You don’t have to twist the potentiometer much, the difference is clear! The progress of the new matrix coupled with the new optics is truly astonishing in terms of intensity but also beam quality and color density. To go a little further, we need to take a look at how the fixture works.
In extended mode, there are a few parameters to know for optimal use. To begin with, the Mix channel allows you to work in Studio (white) or RGB mode. We also have the possibility of making a transition from one to the other.
In Studio mode, we can play with the CTC parameter which varies the white temperature from 1900 K to 10,950 K with one slot at 3,200 K and another at 5,600 K. In this mode, we also have a Tint function which adds a dominant green or magenta.

If we work in RGB we of course use the 3 additive trichromic parameters. Working in RGB with a matrix of 8 colors requires an algorithm, so why not do several to satisfy as many people as possible? The Tuning channel allows you to choose the color calculation method. Either you favor brightness, with the Brightest option, or you choose to have optimal color rendering with the Spectral option.

The third option, Studio, is based on the Spectral algorithm with a variation of the metamer. That is to say the mixture of colors having the same chromaticity. If applied to a white wall, these colors appear identical.
However, as soon as light reflects off surfaces with a complex spectrum such as fabrics, paint, or even skin tones, differences in spectral composition become evident. With color systems using 5, 6, 7, or 8 emitters, the possibility of obtaining the same chromaticity, with several mixtures becomes much higher.
The last point which concerns intensity and color is how the dimmer will work. To choose one of the options, we use the DMX 2 channel which offers 2 curves, one incandescent to simulate a filament and one linear. It can also simulate the temperature change when the intensity of a halogen source varies, for these 2 curves.

Once we know these features, we know how the Lustr x8 source works. On my console I am in Studio mode by default so we start with working in the whites.

When we turn on the Series 3 alone and vary the CCT parameter, we obtain the variation from a very warm to very cold white with a nice progression. The fact of having separated into 2 slots (3200 K / 5600 K) is interesting because we can access them quickly. 4 slots (for example 1,900 K / 4,000 K – 4,001 / 5,200 – 5,201 / 6,200 and 6,201 K / 10,450 K) would also have been interesting for separating warm whites and cold whites.

When we turn on the Series 2 next to it we find this same effect “Ah yes its all the same! » on the initial turning on. The Lustr X8 shows a clear advance with homogeneity, depth, and luminosity. I took advantage of Studio mode to test the dimmer options and unsurprisingly, the curves and the Red Shift met my expectations. For those who only use white, the Daylight HDR version is tailored to their needs with a wider white range and higher brightness.


Projecting on our target we have the Series 2 Lustr X7 on the left and, on the right Series 3 Lustr X8  with XDLT optics.

If the Series 3 Lustr X8 has undeniable advantages in whites, it is in color, in extended mode, that this new source fully blossoms. Depending on the shade, it is not systematically brighter than its predecessor, but, on the one hand, the color palette is much wider and the shades offered have both more body and more density. I also find them more uniform in brightness.

If the Series 2 was already well equipped, the Series 3 offers a great range of colors. With additive synthesis, color “input” is instantaneous. From the first DMX values, we have a uniform coloring of the color and we can thus obtain homogeneous pale shades, luminous pastels, and, thanks to very good management of the LED sources, the progression toward saturated colors is linear. This is an important asset for transitions between 2 colors and the precision of the desired shades.


A small color sample to see the difference between Series 2 (left) and Series 3 (right).


We couldn’t resist the ultimate test, Halogen Source Four, Series 2 and Series 3!


Of course, it is the original version that is brighter, but let us point out that its lamp is new (provided by the BS after a small incident along the way). What a pleasure to find this magnificent light again.

On the other hand, we must not forget that we consume 750 W and that after a few minutes, you will burn your fingers, gloves are obligatory to adjust the focus, and you must also bring a few spare lamps!

The new optics have a lot to do with the quality of the Series 3, in terms of beam homogeneity and brightness.


On the left the S1, on the right the S3, and above the S2. For Series 5 we will reproduce the Olympic rings!

It also brings a real improvement to the framing shutters/blades. Positioned on 2 focal planes, we obtain a nice sharpness on 2 blades and we are not far from it on the 2 others. We can even, by very slightly unfocusing, be practically homogeneous on all 4 sides.


The quality of the optics is especially visible using the framing shutters.


We took a few measurements to confirm our positive feelings.

Derating

For derating the light output remains at maximum. We could almost speak of ‘Inverted derating’ or Raising. In fact, instead of decreasing after switching on, the illuminance increases slightly and stabilizes. It is, to my knowledge, the only LED fixture that behaves in this way, which should appeal to the video world.


26° Optics

For the total flow, we of course used our magic spreadsheet. The first measurement in the center, in Brightest mode, with the 26° optic gives us 2,750 lux. We stop 120 cm further on with an average brightness of 1,473 Lux. The total flux column shows 10,616 lumens.
The brightness curve shows us very high-quality optics. The measured aperture is 26.5°. For Series 2, in 2014, we used a 19° lens. The central brightness was 2,785 lux and the total output was 4,487 lumens. est de 26,5°.


Color Chart

Dimmer

We tested the progression of the intensity according to the dimmer value. The outline of the linear curve is perfectly straight from 0 to 100%. If we look from 0 to 10% there are some small imperfections but nothing noticeable without a light meter.


Dimmer curve from 0 to 100 %.

Dimmer curve from 0 to 10 %.

We also did a V1 / V3 comparison. If we take the native white of 3,000 K of the new halogen lamp, the Series 1 produces 3,200 lux and the Series 3 provides 2,278 Lux. When we compare the lamp version with gels for the 8 shades of Series 3, we reverse the trend. With a Lee 200, we obtain 439 lux for the Series 1 and 1033 lux for the Series 3. On the other hand, in yellow or magenta the Series 1 is brighter.


The Lustr is bringing on the lux

The Lustr X8 with XDLT optics is a fantastic combination that comes into its own with the Eos and Hog consoles. The perfectly “clean” beam and the evenness of the light are a great success of ETC’s R&D. The 8 colors of the new LED engine offer a range of whites and colors which is increased tenfold with the numerous control options.
The Lustr 8 and Daylight HDR can meet all demands. The comparison between the 3 generations of Source Four is a strong argument that breaks down all the barriers to switching to LED. I, therefore, encourage you to call ETC immediately and request a complete presentation of the possibilities of this incredible source!


We like:

  • The depth and brightness of the colors
  • The range of tints
  • The quality of the optics

We like less:

  • The absence of internal color pallets

General Specifications

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First French DiGiCo Quantum 852 for secret event on top of CDG1 airport

Being the first to use a brand-new mixing console is an exciting prospect, but when your venue is on the roof of a busy international airport that has never needed a goods lift, logistics suddenly become a very high priority, as Tristan Mazire found out during preparations for a secret event on the roof of the iconic Terminal One Building, Paris Charles De Gaulle Airport on July 17th.


Not really a stairway, but a lift to digital heaven.

The event was planned as part of Olympic Celebrations and live streamed via Amazon Music’s Twitch channel to huge audiences. The entire proceedings, from set-up to pack-down, were also recorded for a feature film to be aired later in the year. Mazire captured the whole event live, whilst mixing for the live stream and the roof-top audience of 2,000.

The specially created audience areas were filled with a mixture of invited guests and lucky Parisians who had won the chance to be there on the night via an event ticket lottery.

There were live performances from Phoenix, AIR and DJ sets from Etienne de Crecy and Inès Mélia. The event was a glittering example of French cultural excellence and highlighted the role of the airport as a gateway to the summer’s festivities.


Tristan Mazire, sound engineer, product specialist at DiGiCo and co-owner with Guillaume de la Villéon of Paris-based consultancy company, The Audio Agency.

Mazire, sound engineer, product specialist at DiGiCo and co-owner with Guillaume de la Villéon of Paris-based consultancy company, The Audio Agency, is well versed in mixing high profile multi-media events. But being part of a secret performance, with little time to rehearse and a backdrop of landing passenger jets, is enough to make even the most gig-hardened professional get excited.

“The original plan was to use two Quantum 338s in Mirror Mode, but French partners MPM: Audio, Lighting, Video had just taken delivery of a brand-new Quantum 852,” he says. “Because of the longstanding relationship between our companies, they were willing to let me do something a little bit crazy with it.”

The Audio Agency is renowned for facilitating high profile, filmed events, and getting equipment into unusual venues is always a major consideration. When your location is the roof of a large airport terminal, it makes things even more complicated. Much of the equipment was manually taken to the roof, but with the larger items, including the Quantum 852, a helicopter was employed to lower equipment into place.
Once in position, the flexibility of the Quantum 852 surface meant that two engineers could work side by side if needed, which was essential because the show ran for three hours, broadcasting constantly, without breaks.


The nowadays famous “British” Parisian blue sky.

“The plan was always to have multiple cameras, with live vision mixing, and to stay broadcasting the entire time,” says Mazire. “We had lots of surprises planned, but everything happened live, except some recorded footage at the beginning and end of the evening.”
Staying on air for that long is a formidable task, but one that using DiGiCo products makes possible, thanks to their range of solutions that are now available and fully compatible with the Quantum range.

Rehearsals on the 338 DiGiCo with the Air group technical team.

With minimal rehearsal time, Mazire needed to be meticulously organised. His system was designed with built-in redundancy to ensure nothing interrupted the broadcast or recording.

The Quantum 852 utilised its two engines, and the Orange Box and SD Racks were run in a loop, with dual power supplies, plus analogue and digital outputs, so Mazire was certain the signal would get through, whatever happened on the night.

“Because of the type of event, I couldn’t have a single point of failure,” he explains. “It was a lot of responsibility and because of the location, everything had to be as small as possible, there was no OB truck, no fixed gallery, everything was all in flight cases and manoeuvrable, so nothing was ever in shot that didn’t have to be.”

Thanks to the variety of solutions that DiGiCo offers, Mazire could design the entire signal path around DiGiCo products, increasing reliability and compatibility whilst reducing the need for additional on-site network testing time.


The 338 at FOH and in front of it, the monitors world with a SD7 Quantum.

“When I first started, around 20 years ago, I would have to use many different brands to complete a system design like this. You had to trust that everything would work together, that there were no firmware issues, or compatibility problems. Now, thanks to DiGiCo’s range, I can be confident that my set up will work straightaway. It’s so flexible and the Optocore protocol is strong. It makes projects like this much more possible.”

Setting up an event when you know it is going to be viewed by hundreds of thousands of people has additional pressures, not only does your equipment need to work seamlessly, it needs to be discreet. Wherever possible, Mazire used small, multi-purpose units, with minimal cable runs to ensure the sound equipment was as hidden as possible and not likely to trip up any of the camera or drone operators capturing the performances.


Tristan’s CDG1 broadcasting studio featuring her majesty the Quantum 852.

“DiGiCo is like a Swiss Army knife! it has so many nice products, I can always find something for every situation,” Mazire concludes. “There are more and more projects like this now, events that cross the boundary of live and studio sound. The tools that DiGiCo offers have the precision of studio processing within the consoles, so I now have the flexibility to sit comfortably in both worlds.”


More on:

– DiGiCo Quantum 852
– The Audio Agency
– MPM

 

ETC Unveils Season Two of its “On Headset” Podcast Series

ETC is thrilled to announce the launch of season two of its acclaimed podcast series, On Headset. Offering a unique glimpse into the fascinating realm of theatrical lighting design, this immersive audio experience invites listeners to join real-time programming sessions with renowned lighting designers as they craft the visual magic of major productions.


Paule Constable

In season two, also known as The Paule Project, listeners will embark on an educational journey with internationally acclaimed lighting designer Paule Constable and programmer Will Frost, as they share lightly curated recordings of headset conversations during the tech rehearsals of the National Theatre’s production of The Normal Heart.

This iconic play, depicting the 1980s HIV/AIDS crisis in New York, serves as a perfect case study in theatrical lighting, providing valuable insights into the creative process behind bringing a show to life on stage.

“The National Theatre graciously granted us access to their groundbreaking production, allowing us to offer listeners an exclusive behind-the-scenes look at the intricate work involved in lighting a show,” says Declan Randall, outreach and training specialist at ETC. “From conceptual discussions to the creation of lighting groups and presets, each episode of On Headset provides invaluable knowledge for both seasoned professionals and aspiring lighting enthusiasts.”

Spanning five episodes, season two of On Headset delves into various aspects of lighting design, including collaborative processes, programming techniques, and the integration of lighting effects. It offers listeners the unique opportunity to experience real-time programming, guided by Constable’s audio instructions, alongside supporting materials such as show files, a lighting plot, and a lighting operator’s guide.


Each episode provides a comprehensive understanding of the intricacies involved in lighting design and programming through the collaborative efforts between Constable and Frost, allowing listeners to witness the evolution of the lighting design from its initial stages to the polished production seen on stage.

“Our goal with On Headset is to bridge the gap between conventional classroom training and the practical experience of operating an Eos desk in a theatre,” adds Randall. “Whether you’re seeking to enhance your understanding of context or improve your muscle memory, our ‘console flight simulator’ caters to both needs, offering an engaging and educational experience for all.” “We’re excited to unveil The Paule Project and invite listeners to join us on this immersive journey into the heart of theatrical lighting,” concludes Randall.

Don’t miss out on the opportunity to experience the magic of theatrical lighting design firsthand. Tune in to season two of On Headset now, available on all major podcast platforms. And for those eager to delve deeper into the world of theatrical lighting, all the supporting materials are available at etcconnect.com/onheadset

For more information about ETC range of products, you can visit www.etcconnect.com

 

Robe for the 2024 Metro FM Awards

2024 was the second year that South African lighting designer Renaldo van den Berg has lit the prestigious Metro FM Awards, which is a leading celebration of African musical talent and creativity. Renaldo specified over 200 Robe moving lights to ensure that the high-energy-high-profile live broadcast on SABC was enjoyed by a massive TV audience as well as several thousand excited music fans catching the action in Mbombela Stadium in Nelspruit.



This year, 19 sizzling hot Awards were presented, with the lifetime achievement award going to Oskido, and multiple live performances followed the Awards, with a full-on festival-style concert offering another glittering line up of Africa’s finest.

Johannesburg-based MGG Productions supplied a full technical, structural and set solution and Renaldo collaborated closely with MGG’s technical stylist and project manager, Tamsyn Strydom, to imagine an epic production design for their client, the agency Dzinge Productions. This year’s Metro Awards theme ‘Black to the Future’ offered plenty of creative scope.


Tamsyn and Renaldo received a brief from their client, Shandu Nesengani MD of Dzinge Productions, regarding the look and aesthetic he wanted to achieve, which was slick and futuristic.

They proposed a series of complementary geometric shapes created with LED video elements which set the architectural parameters and assisted the narratives by showing tailored content, and the set developed from that base idea.

When it came to lighting, Renaldo has always been a big fan of Robe products and like many in South Africa, he’s grown up with the brand which has had a strong presence thanks to the proactivity and hard work of distributor, DWR Distribution.


“We needed bright fixtures to punch through the numerous LED screens, and feature-rich lights with multiple options to keep the energy pumping and ensure that all the segments looked different and distinctive,” he explained.

Shandu was keen on having a progressive and unique portal appearance, so Tamsyn and Renaldo created several different ‘worlds’ within their defined stage space and decided on the very ‘technical’ look for the broadcast space.

Three double-sided triangular screens were flown above mid-stage, and upstage at the back was a masked semi-circular screen. An array of 5 x different sized LED columns were hung on both sides of the stage at different heights, and all the surfaces were of different pitches for added texturing.

Having worked on several projects with MGG, Renaldo knows their inventory which includes hundreds of Robe products purchased via steady investment over the years.
He started with key lighting.

“I knew that Esprites were available and that was great for quality light output, intensity and power, plus the excellent shuttering system, all of which were exactly what I needed,” he commented. Twenty-eight Esprites were dotted around the overhead trusses.

Renaldo then chose Robe BMFLs, a combination of Blades, WashBeams and Spots, for his secondary keys and specials utilising 38 x BMFL fixtures in total. “BMFL is still one of my favourites moving lights,” he enthused.
Once the screens were all in place, the lighting positions were calculated so the Esprites and BMFLs could light from behind or across the whole set, and also function well for additional effects and looks capturing the action.


Robe Esprite.

BMFL WashBeam


They specifically paid attention to multiple camera angles and how to fill the back-of-shots with both lighting and video, explained Renaldo, “We focussed on creating big, beautiful production shots and close up detailing, taking inspiration from broadcast and live show production visuals.” Renaldo worked in tandem with Watchout operator Dylan Findlay who was outputting all the screens content, which was mostly supplied by the producers, to make sure that lighting would support or contrast the video content at any given moment.



He chose Robe’s Spiider for his primary wash lights: “They are reliable and predictable in terms of lighting characteristics, so overall great fixtures!” As they can be pixel mapped, he could programme and run corresponding sequences to match with the video effects at specific times.
In between the triangular screens were lighting ladders rigged with 16 x MegaPointes and 24 x Pointes which enabled an abundance of different scenes, looks that transformed the stage and set looks. They were positioned at different heights to enhance the depth of the whole space.


Robe Spiider

Robe MegaPointe


“I programmed a number of different layers of lighting that I could grab and mix into the bigger pictures, and into the large production scenes, some of which I needed to create on the fly,” he stated, alluding to the pressure and fast pace of this broadcast.

For set and performer dressing, 20 x Robe Tetra2 moving LED battens were deployed on the floor and these helped merge the stage with the LED screens. The pixel map-ability of the Tetra2s helped this plan, and Renaldo ensured that there was always some content running through the Tetra2s even if extremely subtle. “They really pack a punch and are also great as side lights,” he commented.



Thirty-six LEDBeam 350s lined the two ramps, grouped in clusters of three and on the deck for dressing. “I needed something small and unobtrusive that could be tucked in amongst the presenters and guests.” The lighting was designed and programmed so all angles were covered with plenty of movement, colour changing and other kinetic effects for the camera positions to feast on.

LEDBeam 350s

Another major objective was to ensure that the long shots really captured the scale and stature of the stage and the substance and impact of the design. “It’s an outdoor stadium show, and it needed to have that grand sense of occasion,” underlines Renaldo, adding, “All these Robe products worked brilliantly in helping to achieve this goal.”

While Robe moving lights were the main fixtures, the rig which also had some strobes, moles and other linear LED battens, adding up to a total of 40 DMX universes running via a grandMA full-size console. The challenge was balancing all the design elements that were technically driven by it being a large broadcast event in a dynamic live show environment … that needed to be controlled enough to work for TV.

“It was all about finding equilibrium between the live, live broadcast and staging in a big outdoor venue element,” concluded Tamsyn. “I wanted an impressive overall look that translated for all media, and that also worked when cutting to close ups and SFX,” for which she and Renaldo worked closely with camera director Leticia Masina and the team from the SABC.
On site, the lighting team was co-ordinated by MGG crew chief Lefeti Kambile who did a fantastic job of ensuring that the build process was efficient and well organised. All of this great teamwork brought spectacular results and another Metro FM Awards show for everyone to remember.

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

 

ETC Ltd announces eco-building move as part of expansion plan

ETC has announced plans to expand its business with the relocation of its London operations to a new, state-of-the-art eco-building. The move supports ETC’s expanding business and service offerings as well as planning for future growth.
The new space, which is located in west London’s Greenford, is more than double the size of ETC’s existing building and will feature enhanced facilities to accommodate the needs of its customers and workforce.


The design of the new building is being developed by ETC with its own in-house team, in-line with the company’s global design approach. There will be more capacity for training, logistics, meetings, and dedicated areas for ETC’s customers and employees.
The company’s dealers and end users will benefit from having access to an expanded training program and bigger demo spaces. The additional logistics space will better support the business’s growing operations and will hold significantly more inventory to meet the needs of ETC’s customers.

Another key consideration for choosing the new building is its focus on sustainability the space holds a BREEAM Outstanding certificate and a -32 A+ EPC Energy rating. It is the first industrial refurbishment of its type in the world that is completed to BREEAM Outstanding standards, meaning it is in the top 1% of non-domestic buildings in the UK.

Power is derived from roof mounted solar panel banks generating 180 kW with on-site battery storage of up to 80 kWh of energy. The building also has electric vehicle charging points, and a rainwater harvesting system feeding a 144 m2 external green wall.
With plans to move by the end of the year, the expansion reflects ETC’s continued business growth and a focus to better serve its customers and end users with a larger physical presence in London.

Matthew Brookfield

ETC General Manager, Matthew Brookfield comments: “At ETC we recognise that building great products for the industry is only part of the story. We want to ensure that we can give our customers the best possible experience by offering the best facilities.
This new building will allow us to speed up the time it takes to get products to customers, improve our ability to showcase and demo our products, and increase the scope and frequency of our training programmes, all whilst significantly reducing the business’s carbon impact. Our existing building in North Acton has been our home for nearly 30 years and we’re looking forward to our next chapter in the new building.”

For more information about ETC

 

Robe Gets Thirty, Rough & Dirty with Scooter

Lighting designer Andre Beekmans from design studio The Art of Light buckled up for some hardcore techno rave action with legendary band Scooter on their “Thirty Rough & Dirty” tour celebrating 30 years of success, innovation, energy and larging it at the cutting edge of dance music!

Andre’s technical rider specifies several Robe moving lights, 78 x Pointes, 45 x Spiiders, 82 x Tetra2s and three Fortes used as follow spots on a remote follow system, all picked for their speed, functionality, and robustness for a genre of music that seriously challenges the build quality of any piece of lighting kit!


Andre, whose clients include Armin van Buuren, Afrojack and a string of other high profile dance artists, started working with Scooter in 2022 on a stadium tour of German-speaking countries.
One of Andre’s starting points for Thirty, Rough & Dirty’s production lighting design was Maarten Hoogland’s set which includes six large LED screens complete with LED headers which largely dictated where the lighting positions were, so Andre filled up all the gaps with fixtures, mostly rigged on custom ladders between the video surfaces!

In addition to using lights he knew could keep up with the furious pace of the music, it was important to have bright fixtures to punch past the large amounts of LED screen onstage.


Ahead of imagining the design, Andre had also chatted to Scooter lead singer HP Baxxter who is very ‘light-minded’ and well aware of how fundamental lighting is to any show and especially a techno extravaganza! “He really likes lighting to have a great impact onstage and is very tuned in to how this emotionally affects the fans,” explained Andre.

The 82 x Terta2s outline the set and all the LED screens. He wanted Tetras specifically for the dramatic lensing effects and the power of the movement enabling big sweeps of light to flash across, up and down the performance space.


Robe Tetra2

This many fixtures “worked brilliantly in adding proper layers of lighting,” he explained, which provided hi-impact accenting for those sumptuous big beats and climactic synth breaks.

As they had the relative luxury of time ahead of the tour at lighting vendor TDA Clair GmbH’s facilities in Bottrop, Germany, he was able to craft numerous cool and relevant Tetra2 looks and to really maximise the fixture’s features.

These included playing with varying zoom effects to create laser thin beams of light that could instantly be fattened out to big solid sheets of luminance engulfing the whole stage. Andre also utilised the Tetra2’s flower effect with great impact, bringing yet another dimension to the show.


“Scooter shows are very colourful and lively,” stated Andre, “So having the Tetra2s to hand I was able to create some real optical and brain teasing effects.” He also explained that HP loves beams and actively wants them in the show to help get the energy off the stage and out into the audience.


Robe Pointe

With nearly 80 Pointes, Andre again had capacity to produce some stunning looks, aerial effects, and moments, combining beam technology and super-quick movement.
“Pointes have everything we needed,” said Andre, “prisms, fast colour changing, and rapid movement and they are small, lightweight and unobtrusive.”

Spiiders have long been one of his favourites and go-tos, and they can be found in most of his designs. Here they are positioned in a matrix grid below the ceiling set piece above the two centre most screens.

Robe Spiider

They were added to the big looks as beams and at other times were zoomed out to bath the whole stage, band, and dancers in smooth, rich colours.
The dynamic zoom and extra features like the Flower Effect make Spiiders far more versatile than an average LED wash light, and great value as a fixture enthused Andre.

Two of the three Fortes are positioned on the front truss with one upstage centre, all linked together and used as follow spots via a remote operating system. Andre loves the intensity, quality, and CRI of the Forte.


Talking about the challenges of lighting the tour, Andre says, “While it is essentially dance music, there’s also a lot of rock in there so it covers a vast range, all of which is vibrant and present, so there is a lot of nuances needing to be detailed with lighting.”

The show is mostly run from timecode which makes operating a bit more flexible, Andre programmed the show and was out on the first 6 gigs, then handed over to Rik Verschuren as on-the-road lighting director and operator for the rest of the tour, with Maxim Rath touring with the band for all the summer festival shows, both employed by The Art of Light.
Scooter will be playing festivals over the summer which will involve a special set up and adaptation of the design, with UK touring dates scheduled for Autumn.


Andre, who often designs epic one offs, has enjoyed working on a touring show with the continuity of the same setup each night. “You can plan design ideas that will work and can evolve over a longer period, and there is also room for refinement and developments as needed.”

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