CLAYPAKY BUDDYLIGHT AND THE HY B-EYE K15 AQUA

Called Buddylight, the new Claypaky system for automated tracking is dedicated to small and medium-sized applications such as modern music venues, theaters, places of worship, conference rooms, etc. Compatible with several ranges of Claypaky products, it is intended to be easy to install and use, in particular thanks to its configuration interface accessible via WIFI.

It uses the technology of tags (small boxes) equipped with accelerometers and gyroscopes transmitting data by radio (UWB for UltraWideBand) and which must be worn at waist level by the potential pursuers. The wearer is equipped with a tag on the front or even another on the back, and can thus move independently in a space of 15x15m maximum.


The new interface for Buddylight servo tracking, on the left, is the central unit, on the right, one of the tags that can be used as a target or as a stage beacon.

Putting it into practice also requires placing at the four corners of the stage, four times two (so eight if you are following!) other tags identical to those worn by the speakers (they can be configured in target mode or zone delimitation mode). The physical base of the device, compact and very light, will be easy to hang on a lighting rig or structure.

The system uses the ArtNet network to communicate unidirectionally with the controlled fixtures and possibly the consoles which can access several of the software parameters. Finally, the tags are equipped with a few buttons allowing their wearer to intervene on the current light state if necessary. These switches can be programmed to have access to several different functions.
By adding several control bases and tags, The Buddylight will track up to 8 people simultaneously.

Video presentation of the Buddylight and the HY B-Eye 15 Aqua by Alessandro Melegaro, Digital Product Manager Claypaky




HY B-Eye 15 Aqua

The new wash fixture from the K range is waterproof, hence it is called “Aqua”.

Also unveiled for the first time in Europe since its recent launch in the USA, the HY B-Eye 15 Aqua, wash moving head with effects, is a perfect revisit of its counterpart but with an IP66 rating.

For the sake of uniformity, it has the same optical characteristics as the classic K15, 19 40 W RGBW LEDs as well as a 4° – 60° zoom and the famous system of rotating collimators for the Kaleidoscope effect, a specific brand of the range.

Although now equipped with a casing that acts as a barrier to intrusive elements, the K15 Aqua has gained only a little weight, boasting of weighing only a few kilograms more than the non-IP version.

The manufacturer has taken care to optimize the management of the pan and tilt motors of this new wash so that its movements are identical to its big sister in terms of time and inertia.

For more information check out the website www.claypaky.it

 

THE CHAUVET STRIKE BOLT 1C EUROPEAN PREVIEW

The new Strike Bolt 1C is a conventional LED bar-type fixture with a compact size, featuring a simple but professional design, full of ingenuity. First of all, it is IP65 so practical for the outdoors, even more so for maintenance, which is greatly appreciated.


The main view of the new Strike Bolt 1C is that it is equipped with floor stands. © Chauvet

The second major skill is its rigging/hanging abilities. Compatible for assembly with products from the Strike range, it brings with it a new suspension system (assembly without any tools) allowing up to 16 units of Strike Bolt 1C to be stacked vertically. You can thus create a real line array of fixtures, and given the overflowing energy of this little device, watch out for your retinas, sunglasses are highly recommended!

On the source side, the 1C has two rows of RGBA LED segments. Matrixable, the frame of two parallel lines of eight powerful white pixels mainly dedicated to the strobe effect but which can also be controlled independently. Do you follow me? Because this little piece of work never ceases to surprise us!
Another major innovation at Chauvet, its Smart Frost system uses LCD technology to electrically opaque the protective glass of the device. This system, already known in construction, domestic installations, or even more recently in public transport, is beginning to be used in the entertainment lighting sector.


The Bolt 1C’s LCD frost makes the glass completely opaque, the device’s new main feature. © Chauvet

The principle is simple, the protective glass through which the light is output is equipped with a diffusing film covered with liquid crystals which, when an electric current is applied to them, align and make the glass transparent. We therefore obtain a frost effect without moving parts with a very homogeneous rendering here and at the same time, very convincing!
The fixture therefore goes from a very punchy blinder to a soft colored wash fixture via a transition that is as fluid as it is instantaneous.

Plus d’infos sur le site Chauvet Professional

D&B AUDIOTECHNIK, READY FOR THE FUTURE!

Can d&b audiotechnik see farther ahead than we can? Judging by the new products presented at ISE 2024, it certainly seems that way. In this case, we’re talking about electronics and audio networking, with a new range of equipment all of which integrate as standard the Milan AVB network technology.
This is a further affirmation of the company’s desire to facilitate audio networking between sound systems, which seems only logical, given the development of the latest loudspeaker systems in both their traditional and spatialised configurations.


While the Milan network, using AVB technology, offers a number of attractive advantages for sound designers, it is clear that the tools needed to deploy it on a large scale among professionals in the industry have so far been less than convincing. To remedy this, the giants are coming together.

Looking beyond the spirit of competition and motivated by the joint commitment of the companies involved in the AVnu alliance, L-Acoustics and d&b audiotechnik have joined forces to develop a joint software package for controlling a Milan audio network that is tailored to the current needs of pro audio: Milan Controller.


Mathieu Delquignies

Mathieu Delquignies, Application Support for d&b France, explains: “d&b has been developing Milan AVB products since the DS20 in 2019. We made no secret of our support for Milan and were expecting to see a complete ecosystem emerge. Hive, the current Milan network control software, has been developed for several years almost exclusively by Christophe Calméjane at L-Acoustics, even though it is an open source solution available on GitHub.

“In order to continue its development, we have decided to join forces with L-Acoustics to produce a much more powerful software package that meets the requirements of today’s systems, to be known as the Milan Controller. It should be operational in approximately six months and will remain open source.”

Here are five new d&b products covering the entire signal chain, each incorporating Milan network technology as standard: the DS20 audio network gateway, the DS100M processor and the 40D, D40 and D90 amplifiers. Milan coexists on these units with the other Dante, MADI and AES interfaces, offering system designers all the flexibility they will need in the near future.

But why should we add yet another standard to those that already exist and are working perfectly well? We posed this question to Mathieu Delquignies, who answered with a series of rather serious observations: “First of all, the Milan network uses AVB technology, which has some very interesting features for us.
“The audio streams (and video, if necessary – ed. note) are conserved by the hardware. This guarantees their integrity and saves the designer from having to configure certain parameters such as QoS clock priority, IGMP Snooping or the creation of VLANs to guarantee bandwidth. There’s nothing complex to program, just connect it and it works: less computing, more sound.

“The Milan Controller software will be used to crosspoint, monitor, configure, and route streams and to manage sampling frequencies. Also, with the third-generation gPTP (Generalized Precision Time Protocol) clock protocol, Milan offers precision typically below a microsecond and theoretically down to a nanosecond.

“This guarantees perfect synchronisation of audio streams with a very low and fixed latency, which is quite essential when driving loudspeaker systems directly. Additionally, a CRF Stream clock stream is carried over the network and can be used as a conventional Word Clock reference by compatible equipment such as consoles, processors or preamps.”

Other benefits of the Milan network include transparent redundancy, enabling users to deploy two parallel networks. They will also be able to operate several synchronised sub-systems, at the same or different sample rates, while also sharing the same network infrastructure. It’s also worth noting that lucky Macintosh owners will be able to use the audio streams from the Milan network directly without the need for an additional external interface, since AVB is supported natively within MacOS.

The new D90 amplifier is the future replacement for the famous D80, which is already thirteen years old. It boasts four channels of class D amplification, of 5,400 W at 4 Ω (4 × 2700 W at 8 Ω) each, as well as the ability to manage Milan network streams directly. It incorporates the latest generation of DSPs, with even more headroom to accommodate more processing. It has kept the four AES digital and analogue inputs, as well as a flexible fallback system for transmitting a secondary signal, if necessary.


The D90, a new standard from d&b for the coming years.

The rear panel of the D90 has everything it takes to appeal to sound companies and system engineers.

Remote control and integration into sound systems are of course guaranteed by the d&b ArrayCalc simulation software and the R1 remote control software. Finally, careful attention has been paid to reducing power consumption.


Its little brother for touring applications, the D40…

… and the 40D amplifier for fixed installations are already equipped with an Ethernet connection as standard, and will also be compatible with Milan networks.

The DS100M. The look may look rather similar to its predecessor, but it packs more power, with Milan and MADI to manage more inputs/outputs.

Other products that will be integrated with Milan include the new DS100M processor.
The new unit device will be more powerful than the current DS100, which was introduced in 2018.
Its hardware has evolved, as well as its processors. It will incorporate processing that is identical to that currently used to manage Soundscape spatial sound systems and matrix solutions.


The rear of the DS100M highlights the new capabilities of this processor.

In addition to Milan compatibility, d&b has cleverly added MADI inputs/outputs, increasing its routing possibilities compared to the 64 channels of the DS100 model with Dante.


New clocks on the DS100M: MADI, WordClock, Milan and CRF Stream.

Depending on the requirements, clock synchronisation can be activated on the Word Clock, the MADI or on the dedicated Milan network clock, known as the CRF stream. With more inputs, the user can select from 128 MADI inputs, 64 Milan inputs, 128 MADI outputs, and 64 MILAN outputs. When used without a licence for spatialised audio applications, the DS100M can be used as a DSP matrix, making full use of all the MADI and Milan inputs and outputs for far greater possibilities.


And to complete the list of product launches, the Milan version of the popular and very useful DS10, the new DS20. Identical in design, the DS20 has all the features of this network gateway. It offers a Milan interface, four input channels and 16 AES output channels, plus five ports on the switch, which can be operated in standard or redundant mode.

The Milan-equipped DS20 on the d&b stand in Barcelona.

The DS20 also has a bypass mode. In this case, one AES input feeds four AES outputs and the switch becomes independent.
This is an elegant way of creating a 2-to-8 digital distributor that can act as redundancy in the event of a technical problem on the network.

Each input is equipped with a sample rate conversion function that enables any device operating at a different sample rate to that of the Milan network to be integrated into the network, such as a 48 kHz console on a 96 kHz network.

All these new products should be available on the market within a year.


In another important development, d&b audiotechnik and L-Acoustics are now collaborating with SoundPLAN, a German manufacturer that specialises in environmental sound modelling. For many years, d&b has been working exclusively with SoundPLAN to develop its free NoizCalc software, which allows users to simulate and limit the impact of its PA systems on the environment.


SoundPLAN, for determining the environmental spurious noise emission of a d&b system and, soon, also of an L-Acoustics system.

System simulations carried out in ArrayCalc or NoizCalc can be imported directly into SoundPlan, which then provides precise mapping of sound spillover, in order to assess the noise impact on the neighbourhood. By lifting this exclusivity, an exchange format will be able to be defined between the software of sound system manufacturers and the leading environmental noise simulation software.

Further information on new products from d&b

 

Sixty82 Welcomes Avenion GmbH to Their Reseller Network in Germany

Sixty82 is excited to welcome Avenion GmbH to its growing network of resellers in Germany. This addition aims to strengthen Sixty82’s presence in the German market and ensures that customers have wider access to its innovative products.

Avenion GmbH is making waves in the AV solutions sector with its fresh approach. Under the guidance of Matthias Matthes, Avenion has quickly become known for its innovative ideas and commitment to quality. Furthermore, the team has extensive experience in the areas of rigging and trussing.
As they continue to develop, Avenion is evolving into a full-service provider, broadening its range of offerings to meet the diverse needs of their clients. This collaboration between Sixty82 and Avenion GmbH is not just a business partnership; it’s a meeting of minds that share the same enthusiasm for the future of entertainment technology.


“We’re really excited to have Avenion GmbH join our team,” said Fokko Smeding, CEO of Sixty82. “Matthias Matthes and his crew are exactly what we look for in partners, they’re young, they’re innovative, and they’re all about pushing the limits of what’s possible.
We’re not just adding a reseller; we’re gaining a partner that shares our vision and energy. This is going to bring some great things to the German market, and we can’t wait to see where this partnership will lead.”

Matthias Matthes, leader of Avenion GmbH, shared his excitement about the collaboration, “Joining Sixty82’s reseller network is a big deal for us. It’s recognition of the hard work the Avenion team has put in and a chance to bring something new to the German entertainment scene. We’re all about innovation and pushing boundaries, so pairing up with Sixty82, a company that values those same things, is perfect for us. We’re ready to roll up our sleeves and get started.”

This partnership is more than just business, it’s a commitment to innovation and quality in the German market. Avenion GmbH will now be part of the extended family of Sixty82 resellers, ensuring that customers in Germany have access to the latest and greatest in trussing and staging solutions.

For more information about:

Robe Fortes in Heaven

Lighting designer Mikael Kratt was super happy to be among the first visiting creatives to use the Royal Danish Opera’s new Robe Forte moving lights in a recent production at the Copenhagen Opera House.
This was for Som I Himlen (As It Is in Heaven) a lively and heartwarming musical adaptation directed by Edward af Sillén of a 2004 Swedish movie telling the story of a famous conductor who returns to his small Swedish hometown in the North of the country to retire … and is asked to help with mentoring the school choir.


It was Mikael’s first time using Fortes, 80 of which arrived at the Copenhagen Opera House in summer via Robe’s Danish distributor Light Partner. The package features 32 x Forte Profiles, 34 x Forte Fresnels, 4 x Forte FSs (follow spots) and 10 x iFortes, all part of a technical upgrade that was installed just in time for the restart of the high-profile venue’s winter programme.


Som I Himlen is a co-production with Malmo Opera and was first produced there in 2021. Mikael has worked with the director Edward before and was asked to collaborate on this production by him. There were no Robe moving lights involved in that production as Mikael utilised Malmo Opera’s repertory rig. The entire creative team from the popular Malmo show helped to deliver the production in Copenhagen.

When the first discussions started with the Copenhagen Opera House chief LX Sune Schou, he mentioned that the move to having LED fixtures in the rig was imminent, and Mikael was also delighted to see Robe LEDBeam 150s on the kit list, which he has used before together with several other Robe products on his various projects.


With many intimate moments in the show, the set, designed by Kim Witzel, was pushed as far downstage and as close to the audience possible, where there were fewer rigging points for lights, and the orchestra, who figures prominently in the narrative, was upstage on a podium.

This was slightly tricky to manage in terms of lighting coverage, but with the Fortes in the rig, Mikael was able to light the action both efficiently and elegantly using both the profile and fresnel versions of Forte which he thinks are “brilliant!”


“The punch is great as is the quality of light,” he confirmed, explaining that the show is a pacey mix of classic musical production numbers and operatic drama for which the general style of lighting is realistic and lifelike.

“We wanted to present a series of relatable scenarios for the audience, as the story is about everyday people dealing with normal situations that can have a dramatic impact on their lives,” he explained. Much of the set was woody in colour and texture, so he also wanted to retain this natural warmth and emphasise the subtleties of different seasons and times of the day with lighting.


He loved working with the Forte fresnels which replaced the 5K HMIs he had used for the same roles in Malmo, commenting that he didn’t need to go above 60% most of the time due to the brightness. With approximately 10 metres of trim height, and some older hard-edged moving lights to augment, he noted “they are extremely powerful!”


Robe Forte

Fifty-seven Fortes are used in total for Som I Himlen, all rigged on house bars in the top rig lighting above the stage and the orchestra, with a couple more behind the scrim in front of the orchestra riser, which flies out to reveal the orchestra, and the full lighting rig in a spectacular moment, towards the conclusion of the story.
Other features he likes include the zoom range, which he says is “amazing” enabling wide shots to even be covered with one fixture in some cases, and no loss of output when zoomed out.

“Overall working with these Fortes made a massive difference to the scope and latitude I had to light the show and the detail that could be added,” he stated, saying that the colour rendition is “beautiful” all the way from the subtle pastels and intricate cold areas of the spectrum to the deep, rich blues and reds which were “gorgeous”.

The density and texture of the reds really surprised him, as LED luminaires can strain in these areas, but the Fortes retained their power and punch even in the darker colours.

For contrast, there was just one number “Fråga Arne” (“Ring til Arne” in Danish) in the show that broke from the realistic lighting aesthetic into a more traditional all-singing-all-dancing musical showstopper, and Mikael was even wondering at one point if the impact of a FORTE colour chasing might have been a bit over-the-top for this, but the treatment worked out perfectly. The Fortes also assisted in creating different rooms onstage.

The shutters were really helpful here, and some scenes were quite short and rapidly flipped to different places, so he was able to go from the naturalistic looks to harsher more abstract environments just with nuances in the light.


Mikael had initially been worried about the ‘banana effect’, light beam edge aberrations when zoomed in or out, as all his pools of light needed to be super sharp, “but even with fixtures zoomed out 100%, the edges are clean precise which is very impressive”.
He also appreciated the dimming curve which he describes as “excellent” for some of the very long and slow fade ins/ outs and crosses.

Four of the Opera House’s LEDBeam 150s were used for side fill light, rigged at low FOH positions, and these were cloned from Source Fours on the Malmo plot. Mikael has used LEDBeam 150s as side lighting before as the dimming, zoom and colours are “all great”, and has 8 on another show, Änglagård”(House of Angels), which is also based on a Swedish cult movie and is running to sold-out houses in Stockholm, and he spec’d 16 for Tootsie last year running at the same theatre, Oscarsteatern, where they were used as front and effects lights.

Mikael concluded, “It was great coming to the Royal Opera in Copenhagen, I had a terrific time. It was a delight working with Sune and his team of skilled lighting technicians and also my lead programmer Mikkel Bedsted who did a fantastic job. I had a total blast revisiting this musical once again and everything fell into place enabling us to create a production of which we are all very proud.”

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

 

THE NEW MOVING HEADS FROM PROLIGHTS: HYBRID 330IP ET JET HYBRID 200

Fabio Sorabella, Managing Director of the Italian company, presents two new compact Beam/Spot LED luminaires. These will now join the Astra and Jet series.



Astra Hybrid 330IP

The main newcomer to the Prolights stand, the Astra Hybrid 330IP is a Beam/Spot fixture suited to most applications, from small stages to large-scale productions (thanks to its 330 W LED engine), indoors or outdoors (IP65 certified), with the exception of long-throw applications.

With its sober, discreet design, the new Astra 330IP will fit right in with most applications.

Unleashing outputs ranging from 8,500 to over 15,000 lumens (depending on the beam angle), its 7,000 K native white light engine packs quite a punch. And it needs a certain amount to supply photons to the many different effect modules in the luminaire!

Let’s start with colour, which is achieved using a CMY system with three graduated colour wheels plus an additional (CTC)wheel with filters for adjusting the colour temperature.
This module is complemented by three (no less!) additional wheels, with dichroic fixed colour filters and filters for increasing the CRI.

Projections are provided via two gobo wheels, one with rotating patterns and one with static patterns, plus an additional animation wheel. There are also two prisms (radial and linear), all of which can be diffused to varying degrees using a dedicated frost filter. Its zoom lets you tighten the beam down to 3° or spread it out to a maximum of 50°.

The fixture’s 29 parameter channels can be controlled via DMX/RDM, ArtNet, sACN or wireless (LumenRadio Timo Fx module). Finally, its hermetically sealed, lightweight magnesium alloy housing makes this fixture impervious to humidity (IP65) for outdoor use.


Jet Hybrid 200

The Jet Hybrid 200, a new flagship in the Prolights Beam/Spot range.

The Jet Hybrid 200 features even more compact dimensions and a 200 W LED source. This flagship product, designed for small venues, delivers a beam divergence that can be described as a beam/spot hybrid, from 3.5° to 40°, via its motorised zoom module.

There’s no CMY here, but a wheel of 11 dichroic filters, with CTO filters (3200 K) and a high CRI filter (CRI 84 maximum), two gobo wheels (one with rotating gobos and the other with static ones), an interchangeable linear frost filter and a five-facet rotating prism.

These two new models, which will begin shipping in the spring, are priced at around €5,000 and €2,600 respectively, excluding VAT.

For more info, visit the Prolights website

 

Theatro Marrakech Upgrades to L-Acoustics K2

When Theatro Marrakech opened its doors in 2003, it was the very first nightclub in Morocco, and today, the 2,000-capacity venue still stages one of the most unique nightlife experiences in the world. Its consistent ranking as the best nightclub in Morocco, the best in Africa and one of the globe’s Top 50 has cemented the venue on the bucket list of travellers and artists alike.

Before becoming a nightlife hotspot, Theatro was Africa’s first music hall, inaugurated over 60 years ago, and from this past, the club has kept both its unique décor – a mix of dramatic theatrical and dynamic Moroccan themes – and an immoderate taste for show.

Upgrading to a professional sound system to defend world-ranking status

Defending a competitive and coveted spot on the world’s nightlife ranking means keeping up with the best technology and for that reason, Theatro Marrakech recently upgraded to a premium L-Acoustics K2 sound system to attract leading international artists who know and appreciate the brand.

The DJ Booth with the new L-Acoustics “Power Headphone” based on a pair of A15 Focus atop of a KS21. Per side. Groovy !

Inspired by a visit to Omnia Las Vegas and its L-Acoustics professional sound system, Theatro management worked with renowned Paris-based nightclub consultant Timothée Renard of the Fox Agency and L-Acoustics Certified Provider Integrator Potar Hurlant for the upgrade.
“Our main objective was to integrate a rider-ready sound system to attract internationally acclaimed artists and provide a unique experience for all of our clubbers, from the main floor to the intimate VIP areas,” commented Renard.

Timothée Renard and the POTAR team, with the support of L-Acoustics Application Engineer Pascal Charousset, created a unique sound design for each section of the space: the central dance floor, a mezzanine, an ultra-VIP lounge facing the dance floor, and a mini-VIP zone just behind the DJ booth.
The main dance floor and an upper balcony are covered by an L/R system of six K2 per side with four KS28 in cardioid configuration flown behind each hang, while three flown A15 Wide per side provide in-fill to the main dance floor while two A15 Focus per side are used for side-fill to a podium for performers and dancers.


Theatro Marrakech’s main dance floor and an upper balcony are covered by an L/R system of six K2 per side with four KS28 in cardioid configuration flown behind each hang while three L-Acoustics A15 Wide per side provide in-fill to the main dance floor.

The DJ booth is flanked with one KS21 per side, topped by two A15 Focus for monitoring. A tiered mini-VIP area behind the DJ booth has an LCR system of three A15 Wide for the upper tier while the lower tier is served by five X8 coaxials. A single KS28 and LR hangs of three A15 Wide cover the dance floor from this area. Fourteen LA12X and three LA4X amplified controllers drive the entire system over Milan-AVB networking.


Transforming a VIP Lounge

An ultra-VIP lounge below the balcony has a system of two hangs of one A15 Wide and one A15 Focus in front, with two additional hangs of one A15 Wide in the back corners and a ground-stacked KS28 topped by two KS21 subwoofers.

Three L-Acoustics A15 Wide per side provide in-fill to the main dance floor, and two A15 Focus per side are used for side-fill to a podium for performers and dancers

“We wanted to offer an unparalleled experience in the VIP area, creating a profound impact in the low frequency range. Our most esteemed guests deserve nothing less than to feel the music as much as they hear it,” comments Julien Antinoff, Communications Manager at Theatro Marrakech.

“The audio upgrade has received positive feedback from our patrons and artists. Experiencing the new L-Acoustics concert sound system is like stepping into a new dimension of clubbing. The VIP Area, specifically, is a testament to this transformative journey,” concludes Renard.

To get more about:

– Theatro Marrakech
– L-Acoustics
– “Screamin’ Pot” POTAR

 

ACT Entertainment Acquires Ambersphere Solutions

Ambersphere Solutions Ltd, a leading provider of professional lighting solutions in the UK, has officially become a part of ACT Entertainment, one of North America’s leading supplier of entertainment technology.
This acquisition is a testament to the shared values and long-standing relationship between the two entities, especially in their distribution of MA Lighting and Ayrton products.

From left to right: Glyn O’Donoghue, Philip Norfolk, Lee House (Ambersphere) and Ben Saltzman d’ACT Entertainment.

ACT Entertainment, renowned for its comprehensive offering across professional lighting, audio, video, and more, serves a broad spectrum of the entertainment industry’s needs. This exciting development promises to leverage the strengths of both companies to deliver products, technical service, and support to entertainment professionals worldwide.

“We are excited to bring together ACT and Ambersphere and continue to build on our mission of providing technology for our customers to realize their creative vision,” says Ben Saltzman, CEO of ACT Entertainment. “Just like ACT, Ambersphere prides themselves on offering industry-leading products with an accomplished staff of experts in sales, service, support and training.
I have tremendous respect for Lee (House) and Philip (Norfolk) and am excited to work alongside them as a valuable partner to our customers, extending our reach and continuing the strong tradition of excellence Glyn (O’Donoghue) created at Ambersphere.”

The transition sees the departure of Glyn O’Donoghue and Ken Sewell, with Lee House stepping up as Managing Director, alongside Philip Norfolk, who continues in his role as Sales Director. The focus remains on preserving the company’s core values while leveraging ACT Entertainment’s resources and capabilities.

Lee House concludes, “It’s business as usual at Ambersphere. Our collaboration with ACT has always been strong, and this move is a natural progression of our ongoing relationship.” This sentiment echoes the closer ties and shared values of both companies, emphasizing continuity and the mutual goal of maintaining the highest standards of quality and service.

About ACT Entertainment

ACT Entertainment, headquartered in Jackson, Missouri, is one of the world’s largest manufacturers and distributors of industry leading brands of audio, video, and lighting products, services, and education. ACT Entertainment is the choice of industry professionals reaching across six distinct markets; Concert Touring and Live Experiences, Retail Music and e-Commerce, ProA/V – Installation – Broadcast, House of Worship, Film and Television, and Industrial Wire and OEM.

More informations on the ACT entertainment website and the Ambersphere website

 

Christopher Bauder favours MDG for his autobiographical installation Vektor

German light artist, Christopher Bauder, has chosen MDG ATMe haze generators and Me2 fog machines as the foundation of his latest installation, Vektor, a personal piece loosely based on his life experiences.


Vektor, Memories in Light & Sound, is Bauder’s third installation at Berlin’s Kraftwerk, an old power plant-turned-art gallery in Berlin that Bauder refers to as an ‘industrial cathedral’.
The abstract work is a personal ‘memory chest’ using small audio snippets of memories from Bauder’s childhood through to present day: the sound of the sea from his childhood living on an island in the North Sea, church bells on a Sunday, laughter of loved ones, as well as samples recorded from the Kraftwerk building itself.

The recordings can be precisely targeted throughout the building, transforming the building itself into a living, breathing work through sound and illumination. “The audience doesn’t need to understand the thoughts behind it, or be aware of the massive amount of technology behind it, but I hope they will catch glimpses of the references here and there,” says Bauder.


The new artwork consists of 50 lasers mounted on 10 evenly spaced, heavy-lift winches specifically developed by Kinetic Lights which synchronise movement of all the lasers. These enable Bauder to create a sculpture in mid air that fills the whole volume of the enormous exhibition space.

“It’s important for me to start from symmetry that allows me to break it later,” he explains. “By starting with a very symmetrical layout I am able to create completely random shapes and spacing in the second stage of the creative process. If your initial layout already creates a shape, then you are always bound to that shape and can never break away from it.


“I use the lasers to create three-dimensional shapes and textures that I hope will evoke a memory and an emotional response within the viewers. I like to play with these things, taking a step further to tell a story by very abstract means, and encourage the audience to create their own picture, rather than just showing shapes synchronised to music.

For example, in Vektor, I have an ‘under water’ scene where I play sounds of the ocean with birds flying over, and have created a surface with the lasers in blue with bobbing lights reminiscent of floating buoys. This combination immediately makes everyone think about the sea and an underwater scene, but it is just technology triggering their memory of it. It’s an emotional and poetic show.”
As with any light show, a basis of good haze is of paramount importance to reveal the work of the artist to its full extent, and Bauder states that he uses MDG hazer generators and fog machines whenever possible to create the ‘right’ atmosphere for his pieces.

“The visibility of the light is important as I use light in an architectural sense, like a material that I can shape and form in space into a tangible form that almost feels touchable. At the same time, of course, the light is intangible, not physical, so I need the haze as a basis to materialise the light in space.
“When looking for the perfect haze there are two aspects to take into consideration, translucence and visibility. If I have a lot of haze I have good visibility of the lasers in close proximity, but it obstructs the view of the lasers that are further away.


So the quantity of the haze is extremely important, but also the quality: the quality needs to be translucent enough to keep the whole piece visible across the full 100m distance. I still need to be able to see the back of the space, but at the same time give enough texture in the air to create the visibility of those lasers.

“It’s a really fine balance between the two, and MDG haze delivers that balance. The key factor is the fineness of the droplets in the air which defines the visibility throughout the space. It mainly just reacts to, and refracts, the light without obstructing visibility. That’s why I always try to use MDG haze generators as they provide both these aspects.”

Kraftwerk’s exhibition space is a massive 100m x 60m x 25m high, naturally dark, indoor space on two levels. “The volume is huge,” says Bauder, “but we have just 2 MDG ATMe hazer generators, and 2 Me2 fog machines running at intervals, to fill the whole space.”
The two ATMes are located at each end of the hall, and the two Me2 fog machines in opposite corners. “At the start of the day we run the Me2 fog machines for about 10-15 minutes to quickly fill the space and introduce enough texture.

Then we have the ATMes running on 100% for the rest of the day, with two of MDG theFAN™ to aid circulation, which keep the stability of the amount of haze for the rest of the day and maintain the visibility. Even running at 100% we only use about 20% of the fluid and gas compared to the systems we’ve used in the past.”

Each MDG ATMe, with theFAN™, is housed with gas and fluid in purpose-built MDG Vertical Flight Cases for convenience, storage and transportability. The supplier was cast C. Adolph & RST Distribution, MDG’s exclusive distributor for Germany. “Cast are super, we love them,” concludes Bauder. “They are always ready to demo products for us and quick to react when we need service or supplies. We have a great relationship with them.”


The Berlin art scene has a notably discerning audience but VEKTOR has received an overwhelming response. Four live shows are planned for 15 March and 5 April with music written by Bauder for the first time. “We didn’t know what to expect, but from the start it was crazy – 6500 people on the first weekend and 30,000 in the first four weeks!” says Bauder.

Vektor runs at Berlin’s Kraftwerk from 1 February – 7 April, with the first live show on 15 March 2024.

For more information on MDG haze, fog and low fog products, visit www.mdgfog.com

For more information on Christopher Bauder and Vektor visit the Vektor Art website

 

Helsinki Music Centre makes its first investment in Robert Juliat Arthur LT followspots

The Helsinki Music Center (Musiikkitalo Helsinki) in Finland has just invested in its first Robert Juliat followspots – 4 long-throw 800W LED Arthur LT – for its main concert hall. The followspots were sourced through Intersonic, Robert Juliat’s exclusive distributor for Finland.


Konserttisali_Arno_de_la_Chapelle-Courtesy-of-Helsinki-Music-Center

The team at Musiikkitalo had a specific list of criteria when looking for their new followspots. The fixtures needed to be very quiet, bright enough for serious television productions from distances over 30m, in both daylight- and tungsten colour temperatures; have a narrow zoom so no light would be lost by using an iris; be easy to operate, have good DMX control and, crucially, an LED light source. “Put simply, we wanted to have the best followspots available!” says the venue´s Head of Light, Valo Virtanen.



Virtanen spent a long time comparing followspots and, as soon as he saw it, requested the brand new 800W LED Robert Juliat spot for testing from local distributor, Intersonic. “We made some serious tests together with sound engineers and camera teams; our second Head of Light, Tuukka Aimasmäki, made a DMX profile for our lighting console and took light quality measurements,” says Virtanen.
“We also knew Robert Juliat´s reputation as the most specified followspots in the world and have experienced of them from hiring them for previous shows. The tests went very well so we ordered spots. Intersonic has done very good job with testing and delivering, and with supporting us throughout.”


AUF-concert ©Tuukka Aimasmäki

Musiikkitalo’s audience is seated in-the-round so good 360° coverage is needed. The four Arthurs are therefore positioned evenly around the lighting gallery that surrounds hall high above audience. “We also bought tripods as a safety measure but installed the Arthurs on the gallery´s rail pipes with followspot rail mount adapters to get a bit better coverage in the tight locations,” says Virtanen. “The adapters are excellent and work perfectly.”


The throw distances vary from 20m-50m but with Arthur LT’s output of 2000 lux at a distance of 50m exceeding that of an HMI 2500W Aramis, and a zoom range of 4°-10°, the range was no problem.

Arthur’s sound level is much quieter than any of its discharge rivals, and offers a choice of ventilation modes. “We found the spots to be silent!” confirms Virtanen.
“We use them in Silent mode which reduces the brightness by about 20%, but they are still absolutely bright enough.”


The ergonomics of the new Arthur LTs proved very popular with Musiikkitalo’s followspot operators and technicians who had a wealth of feedback: “The controls are well thought out with the zoom/focus and dimmer handles, and iris, frost and CTO filter knobs well positioned and very easy to use from whatever position the operator favours. The DMX operation is very well considered with dimming and output levels controlled locally or direct from the console.

Telrad Reflex Sight Finders were also purchased for each Arthur LT: “This is an excellent operator aid and such a simple, cheap and perfect add-on.”


Scène principale du Centre musical d’Helsinki avec l’aimable autorisation de Musiikkitalo

“The Arthurs are excellent!” confirms Virtanen. “The operators love them and the TV teams like their quality of light (Arthur LT has a high CRI of >94), and brightness, and they are SO quiet. The build quality is strong and are so well made that – aside from cleaning the optics – we do not expect any need for service in the following years.”

The first production for the new Arthur LTs was the Aurora Orchestra’s opera The Rite of Spring lit by television lighting designer, David Bishop, and broadcast live using 18 television cameras. Classical television broadcasts with a variety of soloists from Helsinki Philharmonic Orchestra, Finnish Radio Symphony Orchestra, Helsinki Baroq Orchestra, followed along with pop concerts from artists like Pandora, Samuli Edelmann and Rajaton, and galas from the RSO Christmas special to many special themed concerts by Vantaa Pops.


Samuli Putro Musiikkitalo © Leif Vare

“Robert Juliat is the only manufacturer concentrated on making serious followspots for professional users,” concludes Virtanen. “Even before we bought the Arthurs, we knew what to expect. Robert Juliat followspots are specifically designed from the outset as followspots, not modified profile spots. The design team has listened to end-users and made tools for serious professionals. And that makes them the best tools for professionals.”

More information on the Robert Juliat Arthur LT and the full range of followspots and lighting fixtures can be found at www.robertjuliat.com

For more information on Musiikkitalo contact Musiikkitalo

 

Robe Helps Perpetuum Celebrate 40 at Ljubljana’s Cankarjev Dom

Popular Slovenian vocal group, Perpetuum Jazzile, celebrated their 40th anniversary with a series of high-profile shows at Ljubljana’s Cankarjev Dom, the country’s biggest theatre venue, asking Crt Birsa from design studio Blackout to create lighting suitable for the occasion.

Lighting designer Crt Birsa from design studio Blackout.

With typical enthusiasm and imaginative zeal – plus the assistance of substantial quantities of Robe moving lights, Crt created an impressive visual showcase, working closely with Mark Pirc, brought in as video content creator and co-show director with Aljaz Bastic for these special performances.

Crt has lit the group several times over the last 10 years, and specifically more regularly in the last two after as Blackout has become their permanent lighting design provider. In fact, Crt’s first proper arena design was 10 years ago with Perpetuum Jazzile for their 30th anniversary.


For this show, the basic elements of his programming from the last two years were taken as the starting point. Initial ideas for the 40th included a stage at 45% to the audience with a shallow thrust protruding in an arrow shape, and above that they wanted a circular truss, which Crt morphed into a triangular shape that more harmoniously mimics the shape of the deck below.


He then filled the 8-metre equilateral triangular truss above the performance space with lights rigged on sub trusses, creating a slightly Floydesque ‘monumental chandelier’ effect that provided multiple layers of lighting that could be stripped right back or fattened out, depending on the vibe of the song.

The concept worked brilliantly and dovetailed beautifully with the other visual aspects including the angled stage and an upstage 16 x 6 metre LED screen. The lighting kit was mostly supplied by Ljubljana-based rental company, Intralite, with some pulled from the Cankerjev Dom’s house rig, which also features a lot of Robe fixtures.


The numbers added up to 8 x Robe BMFLs, 24 x LEDBeam 150s, 16 x FORTES, part of a recent investment by Intralite, 10 x MegaPointes, 34 x Spiiders and 20 x ParFect 150s.
These luminaires constituted the majority of the lighting rig, together with 32 x LED strobes, 12 more LED PARs plus six of the venue’s own genuine Svobodas which were rigged on the triangle and created an ambience of their own.


Robe FORTE

Twelve of the FORTES were used for the primary back lights in a line upstage. While they looked like they were on a single truss, they were flown on a combination of house LX bars which are arranged in rows left, centre and right of the stage.

The other four FORTES were utilised for side keys. Their accurate shuttering allowed Crt to cut the beams in tight to the stage and the artists. He also used them to project gobos over the singers during the song “Mesto Sanj” (Dream City).

Crt has been using FORTES throughout the year for different projects and loves them for the brightness, multiple features and excellent quality of light.


The eight BMFLs were positioned upstage on the floor and were the only rear lights from this low-level position. They were also a highly effective counterbalance to the power of the FORTE beams coming in from above.
The 10 x MegaPointes were placed inside the triangle, arranged in four rows in a 4-3-2-1 pattern, and they were used as high impact blocky light sources to complement and contrast with the Svobodas, a technique that worked well and dramatically.

BMFL Spot

Robe MegaPointe


The LEDBeam 150s outlined the structure of the triangular truss, eight fixtures on each of the three structural truss pieces creating the shape. From these positions they could produce an all-enveloping stage wash as well as be utilised as a show and effects light.

Crt describes them as “exceptionally handy” little fixtures. The LEDBeam 150s were also used for audience lighting, a task they achieved efficiently and subtly without blinding people! An ongoing nuance of the venue to make this work is dealing with the high balconies, and the LEDBeam 150s assisted in finding an elegant solution.

The 18 x Spiiders formed the main stage wash looks, with six doubling up as the principal key lighting for the soloists and guest singers.

Robe Spiider

The six key lighting Spiiders were from the house rig and positioned on the lighting bridge together with all the house profiles. They allowed Crt to match the colour temperatures of the TV lighting as one of the shows was recorded for Slovenian national TV.

Six ParFect 150s toned the triangle with another four boosting the side lighting positions for the solo singers when standing on their downstage marks. Another ten augmented the audience lighting, so plenty of colour and energy could be added to the audience looks for the broadcast wide shots.

Overall challenges included Crt persuading everyone on the merits of going with a triangular shape (rather than a circle) above the stage and getting the whole rig together with the LED screens at the right trim heights, because theatres do not have unlimited clearance. And, as always, time on site was tight!


The get-in for the first show started at midnight … and Crt finished finessing the focusing of audience ParFect 150s one minute before doors.
The visually assertive style of the show was a big hit with everyone, and Crt even found himself during programming paring some lighting back to ensure the artists stayed central to the picture and being reinforced proportionately by lighting and video.

He enjoyed the collaborative process of working with Mark on the content, show directors Mark Pirc and Aljaz Bastic – Aljaz was also multi-cam director. Crt benefitted from receiving the video content before the show which gave him some valuable prep time to think about matching lighting looks, scenes, and texturing to what would be appearing onscreen, which enabled a more integrated and mood-aligned visual picture to evolve to frame the performance.


Crt and his team at Blackout regularly specify Robe fixtures for their projects. The brand has a very strong presence in the Slovenian market thanks to the proactivity of Ljubljana-based distributor, MK Light Sound.

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

Joining forces for the future of the industry: Prolight + Sound 2024 starts in Frankfurt am Main

From 19 to 22 March, the exhibition grounds in Frankfurt will be the meeting place for the global entertainment technology industry. Over 500 exhibitors and brands from 34 countries with an international share of over 50 per cent will present product innovations for impressive events and fascinating audience experiences at Prolight + Sound.

In cooperation with associations, companies and other partners, this year the trade fair is presenting new areas and networking events as well as an expanded, bilingual education programme dedicated to current industry topics. From technological innovations and recruiting opportunities to concepts for sustainable events, Prolight + Sound 2024 offers its visitors four days full of inspiration, innovation and entertainment.


Prolight + Sound 2023

Every year, the industry event brings together decision-makers, buyers, users and young professionals with key players and top brands from all areas of professional event technology. From lighting and lasers to AV media technology, sound reinforcement and studio, theatre and stage, Prolight + Sound offers a wide range of products and topics that reflect the creativity and innovative strength of the event technology industry.

With the comprehensively expanded ProAudio range, the trade fair will be focussing more strongly on this area at the upcoming show. In the new moving image area Image Creation Hub, a first-class workshop and lecture programme will meet product highlights from renowned brands.
The newly created LightLab offers expert knowledge on blue light hazards and limit values. On the Main Stage, renowned speakers will address a variety of topics that are currently moving the industry including success factors for events, innovative audio systems, modern visual designs and concepts for sustainable events.

“With its unique symbiosis of technology, education, networking and entertainment, Prolight + Sound is a decisive catalyst for technological innovations, progressive ideas and new collaborations in the global event technology sector.
Together with the industry, we are creating a wide-ranging platform with Prolight + Sound, where important impulses for the event business of tomorrow are set. We are looking forward to moments full of creativity and innovation, emotional reunions and to celebrating successful cooperation,” says Wolfgang Marzin, President & CEO, Messe Frankfurt.


Prolight + Sound 2023

New and expanded areas, attractions and educational programmes

The newly created Image Creation Hub in Hall 11 will be organised in cooperation with the BVFK (Federal Association of Television Cameramen). As a central contact point for cameramen and professionals from the moving image sector, it combines workshops, specialist lectures and talks in a unique special area. The programme is rounded off by an exciting exhibition where visitors can experience the latest products and technical innovations from renowned manufacturers, exchange ideas with experts and obtain information.

The ProAudio range will be expanded in a special way at the upcoming show

With the expansion to 3000 m², the Performance + Production Hub (Hall 11) will become the largest area for music production and DJing in Europe. Created in cooperation with the Sample Music Festival, the area brings together product presentations, workshops, showcases, live performances and information on developments in digital sound creation. The spectrum is complemented by forwardlooking topics such as controllerism, live remixing and looping as well as biohacking.


In the new Live Box, well-known artists will deliver rousing performances, while the Swing Flare Club invites music enthusiasts to jam with or without previous musical knowledge.

Product innovations from top brands in segments such as digital audio workstations, samplers, sequencers, synthesisers, mixers, controllers, effects devices and mobile DJ equipment offer insights into new technological highlights in the field of professional audio equipment.

A highlight of the ProAudio area is the new Immersive Audio Dome in Hall 11. Realised in collaboration with Quickspace and United Brands, the impressive installation integrates an innovative system of Adamson loudspeakers, a Fletcher Machine multichannel audio rendering processor and creative visuals on full-screen projection walls.
Within the 100 m² igloo-shaped dome, an immersive all-round experience of sound, light and colour is created for up to 75 people. If you need a short break from the hustle and bustle of the trade fair, you can test high-quality headphones from well-known brands in a relaxed atmosphere in the new Audio Bar.

The audio programme will also be expanded on the outdoor area in front of Hall 11. Four outdoor stages await visitors there – a record in the history of Prolight + Sound. In addition to the already established Live Sound Arena, the manufacturers RCF, dBTechnologies and DAS Audio will each be presenting their high-quality products on their own demo stage. On the Silent Stage in Hall 11, the public can experience innovative sound technology solutions from InEar. Daily live performances will show how direct sound can be reduced on concert stages.

Prolight + Sound 2023

The new special area LightLab in Hall 12 offers expert knowledge, background information and demonstrations on the important topics of blue light hazards, risk groups and limit values.

The project of the Hamburg University of Applied Sciences (HAW) is supported by the brands Ayrton, Cameo, ClayPaky, Elation, ETC, GLP, JB-Lighting, Robe and Prolight + Sound. The presentations will focus on potential risks, the correct use of modern stage spotlights and the effect of optical radiation on the eye.

There is also an innovation in the seminar programme: The “Prolight + Sound College” combines three educational formats under one roof for the first time – the new Camera College (in cooperation with the BVFK), the ProAudio College (in cooperation with the VDT Association of German Sound Engineers) and the VPLT College.
From current audio trends and AI applications in film and TV to key topics in event technology and best practices, the platform provides concentrated expert knowledge in numerous lectures, workshops and talks. The presentations will be held partly in German and partly in English. Participants will receive a written confirmation.

The Guided Tours are professionally moderated and provide compact insights into new products, innovations and technologies in theatre technology. Participation in all lectures, workshops and product demos is free of charge for all holders of a valid ticket.

Together against the shortage of skilled labour

Topics such as recruiting and personnel development have gradually gained in importance in the event industry over the last few years. The career and training opportunities on offer at this year’s Prolight + Sound are therefore moving even further into the spotlight.

As a central point of contact for young industry newcomers and experienced professionals, the Future Hub combines a comprehensive range of information on training and further education opportunities with a presentation area for innovative startups and inviting networking options. With one of Europe’s largest job markets in the sector, the area also offers an ideal platform for professionals looking for a job.

In addition, Prolight + Sound invites pupils, students and trainees to the Future Talents Day on Friday, 22 March

The Future Talk on the Main Stage is primarily aimed at students, trainees, interns and pupils in years 10 to 13. Here, they can find out how future talents and professionals from the fields of technology, organisation, culture and congress look at their career ideas and expectations. The “Hands-on event technology” format is primarily aimed at pupils in years 7 to 13 as well as trainees, students and interns in the event industry.

In 30-minute short workshops, the young participants can try out the technical aspects of lighting, sound, video and rigging in small groups. The Future Talents Day is realised by the VPLT (Association for Media and Event Technology) in cooperation with the BDKV (Federal Association of the Concert and Event Industry) and EVVC (European Association of Event Centres).

For a greener future of the event industry

In view of rising energy prices and the desire for greater sustainability, the responsible use of natural resources is becoming increasingly relevant in the industry. Prolight + Sound is therefore providing impetus for a greener event industry with a series of programmes. For example, the Green Sessions are being organised in cooperation with the EVVC.

In presentations and panels on all four days of the trade fair, topics such as sustainability communication, resilience, social sustainability, sustainable large-scale events and organisational and technological steps towards climate-neutral events will be discussed and debated. Interested parties can find out about particularly resource-saving product innovations and technologies in the expertly moderated Green Tours. The topic will also be addressed as part of the keynote programme on the Main Stage in Hall 11.

Let’s get together: New Community Nights

In addition to product innovations, the promotion of young talent and training and further education, networking and a spirit of cooperation are essential pillars of Prolight + Sound.
To put the latter even more centre stage, the PLS Community Nights will take place for the first time this year in exclusive locations in the heart of Frankfurt city centre.

On three evenings, all trade fair participants are cordially invited to make new industry contacts, exchange ideas and celebrate together over music and drinks.

Participation in the PLS Community Nights is free of charge for visitors with a valid ticket. Admission wristbands are available at the info counter in Hall 12, West Foyer, Via Level (one wristband per person). These are always valid on the evening in question.

Further information can be found at pls.messefrankfurt.com/community-nights

All details about Prolight + Sound at www.prolight-sound.com

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

 

ETC APEX 10 AND SENSOR3 BUT ALSO ELATION MAKE THEIR ENTRY AT LIDO 2 PARIS FOR A TRANSITION TOWARDS LEDS AND MUSIC HALL

For its grand reopening, Lido2 Paris presents the musical: “A Funny Thing Happened On The Way To The Forum!” by Stephen Sondheim, directed by Cal McCrystal under the artistic direction of Jean-Luc Choplin. ©Julien Benhamou

Supported by artists mainly from London and New York, Jean-Luc Choplin, the new director of Lido 2 Paris, accompanied by the Accor group, has launched a series of investments with the aim of an in-depth renovation of the main room and the acquisition of a brand new ETC Sensor3 system, two ETC Apex consoles, and a brand new Elation kit.


The entire black part represents the stage. The red zone outlines the room. The famous Lido effect lowers the floor by one meter so that the audience ends up with a stage at eye level and the impression that the room is moving up when it is the opposite.

When you enter the Lido, the ground floor corresponds to the balcony level. Go down one floor and you arrive at the zero level of the room which has more than one trick up its sleeve by taking you down another meter before the show to reveal a stage thanks to a clever movable floor system (the famous Lido effect).

To ensure a new musical/theater program, the Lido is coming out of an 8-month-long facelift of work and 3 months of renovation. I meet up with Eddy between the two shows. “Forum” has just finished and the crew is tackling “Rocky Horror” for a premiere in March.


Lido 2 Paris has been completely redesigned by French fashion designer Alexis Mabille. © Lido2Paris


SLU : What technical investments have been made here?

Eddy Couloigner : “The idea was to renew this equipment because the old ones were no longer functional with regular breakdowns. We worked hand in hand on the refurbishing part with Cyril Auclair & Léonard Françon from Unisson Design.

Eddy Couloigner takes the time to present the Lido renovations to us despite a busy schedule. A big thank you for his welcome 🙂 As he tells it, the space has changed a lot since his first day on the project when the walls were completely bare.

For my part, I am a service provider on the lighting side through the company GTC, so I am an associate.
Among the major renovations, we have redesigned the network by switching to a system that is capable of managing the welcoming of international creations and provides more flexibility to become a real performance hall. This resulted in a brand new lighting kit, mainly using Elation.”

Indeed, taking advantage of a restructuring and an overall renovation, Eddy, who had already worked for Jean-Luc Choplin at the Marigny theater, began his work as General Lighting Manager while the walls of the Lido were literally stripped.


History of the Lido

Before the 1970s, the Lido cabaret’s address was 78 Avenue des Champs-Élysées. Then the Clerico brothers, owners, moved it near the George-V metro level and the Lido shared its entrance with a movie theater under rental lease. The Lido institution, as we know it, appears.

After many years of operation, it was sold to the French company Sodexo, its food supplier (caterer), to pay unpaid bills. The group took over for seven years but did not meet with the success hoped for. During the same period, Hollywood released the film “Moulin Rouge”, a box office hit that directed tourists from all over the world toward the competitor of the same name.

In 2023, the Accor group becomes the owner of the Lido for a symbolic euro and appoints Jean-Luc Choplin as manager. The objective of reinventing the Lido formula is an interesting challenge for someone who « aime avoir les mains dans le cambouis et travailler au plus près de ce qui se passe en scène jusqu’au bout ». Exit the catering part during the shows, but also the revue and the French Cancan, in favor of in-house or welcoming creations based purely on Music Hall. The programming changes every 3-4 months and the Lido is kept up to date.


The network and lighting desk

The lighting control room is installed in an “old-fashioned” way in a small room above the main room and separated by a large bay window. Even if today this concept does not seem ideal, it has the advantage of protecting the best seats in the venue and of being located near the Robe Robospot, which facilitates communication between the console and the follow-spot operators.

A brand new ETC APEX 10 lighting desk

Concerning the choice of desks, Eddy explains : “On Broadway, we all work in ETC and the management’s thinking was to say: if one of our shows goes to Broadway or London we must be in ETC and vice versa for us when welcoming shows. Hence the Lido went for an ETC Apex 10 active et une APEX 5 en backup. An EOS server runs the cues and shows every night.”


The latest ETC APEX 10.

The brand new ETC APEX 10 console is a little gem of technology. Its strength is provided by dernières nouveautés logicielles apportées par la version EOS 3.2, it is capable of:

Using a powerful and user-friendly syntax for programmers of all levels
State-of-the-art tools for controlling colors
Magic Sheets for programming and personalizing views
Programming environment and visualization with Augment3d
The Virtual Media Server for pixel-mapping
Integrating timecode and automation
A multi-user and multi-programmer workspace

Furthermore, it offers an elegant control interface designed for the comfort of lighting engineers and console operators with very advanced customization offered by buttons topped with small LED screens (customizable so-called Target keys for direct selections), an integrated flexible keyboard, and a touch screen.
Its programming surfaces are generous, and it has high power for complex lighting and video installations such as at Lido as well as output allowing the control of 24K parameters.


The ETC APEX 5 desk awaits the arrival of its bigger version the l’APEX 10 to be delivered soon.

SLU : What do you like, personally, about the new ETC APEX?

Eddy Couloigner : “The control buttons with small screens are shortcuts that allow you to go very quickly, especially those located in the wheel area. If the lighting designer wants us to do a little pan, a little tilt, and correct the colorimetry, if he has the player in the right place, we don’t need to change the program we are in and we have everything at hand. Reacting fast is necessary because rehearsals here only last three weeks.”

Indeed, we quickly understand that for around twenty actors, the rehearsals are quite busy. The crew must readjust the show in relation to the space available, the kit, and the sets. “We need to review the positions and dances. We could rather talk about technical and artistic rehearsals” underlines Eddy. “Also since the space is not very big, everyone cannot work at the same time. Light, sound, and video have slots and everything comes together at a certain time. So these are three weeks of fairly intense creations.

SLU : You have two consoles, I imagine that this is part of the objective of facilitating creations…

Eddy Couloigner : Indeed, one is used for the visiting desk operator who generally works in the morning and another for the Lido desk operator, in the afternoons and evenings during rehearsals. One can do his Go without disturbing the other who, for his part, continues to work on his palettes and positions, etc. The idea of this management is ultimately to produce one or two creations per year.”

Protocole and networking

The two ETC APEX 5 and 10 consoles are connected in an sACN network to 4 ETC Sensor3 dimmer cabinets. The venue thus offers the versatility necessary to meet the very diverse demands of the visiting crew. The new owner, the Accor group, having also signed an agreement certifying the transition from filament lamps to LEDs in the equipment in its portfolio of activities, the Lido opted for direct power from ETC with the sensor3 system. Exit the dimmers.

Eddy adds : ” This is an interesting system because it allows you to control the switching on or off of each fixture, which is much simpler for lighting engineers if they need to do a hard reset independently from the control room. ”


sACN is a multicast protocol that allows the network architecture to benefit from IGMP Snooping, and multicast flows only to equipment that has subscribed to flows, so we do not “spray” (send info to) equipment that does not need it. This is what we call on-demand networking. Furthermore, the theater might host grandMA consoles for events for example, and therefore would not be able to use ETC-Net.


The brand new ETC SENSOR3 system at the Lido is used for the entire new lighting kit.

The network diagram at the Lido 2 Paris.

Luminex GigaCore 16XT switches make the connection between the control room and the lighting node. Then nodes and patches recover the network to reach the light kit. They are placed everywhere depending on the needs for DMX outputs such as the water fountain for example.


The network backbone here is in the process of changing the show from “Forum” to “Rocky Horror”.

Eddy Couloigner : For the lighting network, fiber and RJ45 had already been installed in the walls but we ultimately only used network cable with RJ45 for cost reasons because we only cover small distances. New points have also been added at the stage level and the lighting grid to, in the future, be able to connect the fixtures to the network.

SLU : Which protocol are you using?

Eddy Couloigner : We have a bit of ETC-net dedicated to the remote control to send channels or cues from phones. Otherwise, we chose to switch to sACN because it is an ideal protocol for tracking, which is the case for sound.

The Paradigm system allows you to manage the main room lighting system with two universes. In addition, each spot has a DMX address for ultimate precision.

The 2nd reason is that the main room lighting is controlled via a Paradigm ETC system with switches that have a lower priority than the lighting console.

As soon as the lighting console turns on, this neutralizes these network switches. No one could turn them on during a show but conversely, when you turn off the lighting console, the switches take over for the cleaning crew, for example.


The ETC Paradigm system offers sophisticated lighting control from small installations to complex systems. With its advanced applications, it allows energy savings thanks to automatic presence detection or management of natural light (for certain cases). It also integrates energy management tools, such as consumption monitoring, and can produce regular reports.


The lighting kit

With a very low height under the lighting grill of 5.5 meters, none of the pipes can descend and it is impossible to go upwards because the upper floor is occupied by a cinema. But if there is no real height, the depth under the stage is relatively significant and extends over 6 meters with the possibility of traps (trap doors) in different places linked to the “Comète system”. At the front of the stage, 2 black risers can be interchanged and, if necessary, reveal a fountain or an ice rink.

For the rigging, rails support the kit for impeccable lighting of the stage, but which should not blind the spectators. “The ceiling being low, we selected fixtures that were small enough not to disturb the human eye and which did not make too much fan noise to avoid a permanent hum. Ultimately the Elation Fuze range seemed the most suitable to us and fit within our budget. Three-quarters of our kit is made up of Fuze Max Profile, Fuze Profile, and Fuze Wash FR.”


The lighting plot from our latest show.

On the musical “A Funny Thing Happened On The Way To The Forum”, on the front and side, we have 14 Elation Fuze Max Profiles. These fixtures are equipped with an 800-watt RGBMA LED engine which operates in additive synthesis and is capable of delivering 21,000 lumens. Their zoom range extends from 7° to 53°. To ensure color fidelity, Elation guarantees a CRI of 92.

Then there are two rows of Fuze Max Profiles along with 4 rows of Fuze Profile (two overhead and two on the sides). The smaller version of the Max Profile displays the same RGBMA engine specifications and the same CRI level for good homogeneity and a flow of 10,000 lumens for 305 watts.
Its zoom range extends from 7° to 42°. More focused on versatility than on breaking flow records, this fixture inaugurates a new stage in the Fuze series. With its hyper-competitive price, it is designed to adapt to all types of use.

Next come two lines of Fuze Wash FR with their Fresnel lens which does not blind the spectators, unlike multi-source washes, as requested by Eddy, who is concerned about this major point. Its zoom range extends from 9° to 60° and it delivers 15,000 lumens for 480 W of LEDs with the same specifications as RGBMA LED engines from the Fuze family.

The Elation Fuze Max Profile.

The Elation Fuze Wash FR.


Sixteen Elation Chorus Line 16 allows you to animate the decor in-depth and create effects. These motorized bars are also installed on the track. With their zoom of 4 to 40° they reinforce the light produced by 20 Ayrton NandoBeam S3s already present before the renovation of the Lido, as evidence of their durability. With a very small footprint, this small automated Wash with 19 sources of RGBW LEDs fits anywhere and is capable of 4,000 lumens with an opening of 8° to 40° which gives it great versatility.


Elation fixtures create superb front lighting with high color fidelity in additive synthesis while having a small footprint and very quiet operation. A necessary point for Music Hall shows. ©Julien Benhamou

These two types of fixtures are reinforced with the backlighting by the Dalis 860 fixtures, excellent cyc lights for beautiful cyclorama covering. With a consumption of 300 Watts, each Dalis ramp has eight shades of LEDs: RGB, royal blue, amber, cyan, warm white, and cold white. Patented asymmetrical microreflectors provide homogeneous light distribution in addition to controlling each color on 8 or 16 bits in four independent sections. Its fanless cooling system makes it the “must-have” of theater lighting designers.


The Robert Juliat Dalis 860 produces a sumptuous cyclorama that highlights the intensity of the scene on stage. ©Julien Benhamou

SLU : Who did you work with on this project?

Eddy Couloigner : We went with Best Audio & Lighting for the purchasing part and through Dushow for the rental. They are people that I like and with whom it is easy to work. It’s Boris Jacob, who I find very cool, who took care of this project. Half of the lighting kit is therefore under long-term rental and the other half was purchased by Lido.

SLU : Could you give me your opinion on this lamp to LED transition?

Eddy Couloigner : We manage to find the shades of a lamp to such an extent that spectators do not see the difference between the Conventional and the LED. It’s a lot of work on the CTO and it works very well. For our part, we therefore do not feel the impact of the LED and have never had any complaints from the actors, which is very positive.
There is also a practical side because no pipe can be lowered and changing the lamp would be very complicated for the technical team on site. LED requires much less after-sales service.


The Elation kit is stocked in trolleys ready for the next show.


Eddy Couloigner, general technical manager and associate at Global Technique Concept.

Eddy Couloigner

After a BAC+2 in lighting management enhanced by a year of Bachelor’s degree in network administration at the CFPTS, he began his professional career as a technician and then lighting manager. Coming out of Covid, he joined Frederic Hamonou who had already set up his company and became associated with GTC (Global Technique Concept).

Eddy adds : “He has already worked on quite a few projects, and I am learning a lot with him. Today, I know how to manage a lighting project from A to Z and technical management fascinates me. It’s a very good experience.”
Building on a good collaboration with Jean-Luc Choplin on a previous project, he responded to a call for tenders and won over the Lido lighting contract, which he added to his portfolio of projects including festivals as head of lighting onsite or technical direction (Printemps de Bourges, Main Square, Lollapalooza).

SLU : How would you define your work at GTC?

Eddy Couloigner : “We intervene at the project study level. We do not provide equipment or technicians but we offer our know-how to assist venues like here at the Lido or festivals. I am very attached to everything that involves project management and support for the renovation of premises, that is to say: responding to consulting missions throughout the duration of the work right up until the opening.

This concerns support for consulting companies, architects, and technicians on site who are not necessarily used to this type of project. I offer them the most suitable technical solutions. Based in Bréal-Sous-Montfort near Rennes, Eddy and Frédéric operate mainly in France but also internationally.


Public spaces completely redesigned to immerse the public in the dream and artistry of the Lido

Indeed, due to the lack of ability to recover space upwards, the entire technical philosophy consists of playing on the appearances and disappearances of scenery from…the basement thanks to the “Comète” freight elevator (platform) system installed in the 2000s.


Since there is no possibility of flying the set or scenery, the “Comète system” moves them downwards.

This freight elevator with “drawers” traditionally used on aircraft carriers, was designed here by the scenographer Jean Gotlibovicz.


Eddy Couloigner : “Thanks to the freight elevator which can support up to 6 tonnes, the Lido compensates for a stage that is not very deep. It allows you to evacuate stage sets, open a trapdoor on the ground, or bring out elements to create appearance and disappearance effects. It also manages the fountain and also has an ice rink which is not in use at the moment. It is a system developed for aircraft carriers with storage drawers on which you can place the sets to store them under the stage. In total, three electromechanics are employed for its maintenance.

SLU : The Lido was well known for its fountain, is it still in use?

Eddy Couloigner : This is the heart of the system and will soon be improved to produce other water effects. The idea would be to have fountains all around the main basin which accommodates it by multiplying the current module by four. This would result in a larger fountain with larger volumes of water. We worked with Aquatic Show, based in Alsace, a service provider specializing in this field which works, on other shows such as, “Water Madness” at the Grand Rex.


The traditional fountain at the Lido. We love it! ©Julien Benhamou

SLU : Are the water effects controlled via a Time Code?

Eddy Couloigner : Basically, it’s the usual process but with a live orchestra of 19 musicians led by a conductor, we have the constraint of live music. The idea is therefore to work in a series of cues to be able to adapt as best as possible. I enjoyed our collaboration and I find their creations very pretty.

The main room welcomes a new balcony space that takes the place of the classic follow spots, themselves replaced by two Robe RoboSpots set up in the control room.

Eddy Couloigner : The problem with these old follow spots is that they could only hit the proscenium, due to the low ceiling height. The RoboSpot therefore provided greater working latitude. It is associated with two Robe Esprite installed in the room.

Two small cameras integrated into two Robe Esprite fixtures hung over the stage allow the live broadcast to be transmitted via the network. This installation responds to the constraint of too low a ceiling space for traditional followspots.

SLU : The follow spots are they pre-programmed or cued by the lighting desk or do you have technicians operating them entirely?

Eddy Couloigner : This is an important question for us. If for certain artistic reasons, a lighting designer prefers to keep control of the dimmer to have blackouts and light-ups in sync for example, we can always reorganize ourselves but personally, even if it means working with real dimmers, I find it more interesting to give the technicians complete control. Otherwise, you might as well use completely automated systems.

SLU : Is that something you are looking into?

Eddy Couloigner : We thought about it but as things currently stand, the flexibility that these systems could give us is not yet optimal. Gateways like the PSN with the grandMA for the EOS are missing to avoid “shaking” problems.

Furthermore, there is a need for real programming time in creation, that is to say, we cannot consider these systems as plug-and-play which would not make it possible to meet the demand for a lighting designer to switch from one projector to another instantly because it takes time to calibrate. But, in the end, at the Lido, the sound is tracked and the idea would ultimately be to have a common system.”

Two lounges serve as a waiting area between the entrance and the performance hall on the balcony and the ground floor. Here is access to the room at the stage area…

…and access to the balcony. We recognize the famous feathers of the revue dancers on the carpet, a reminder of an ever-present history.


The wall and ceiling of the 35 meters of the entrance are now completely covered with LED panels.

Eddy Couloigner : Alabama (provider company) provided us with the LED wall. The panels are Absen NX1.8 on 220 m2 which has a very tight pitch to the eye of 1.87mm, which is perfectly suited for this type of use, and Absen AW2.5 with a pitch of 2.5mm on 5 m2. The overall installation is controlled by a Novastar MX40 processor.


The LED walls of the entrance hallway take the spectator to a new “universe”.

The Lido 2 Paris with its new installation has given a new life to a historic place on the Parisian scene with a fabulous entrance made entirely of a LED wall that takes spectators into another universe. Creations and hosting of Music Hall shows from all over the world will be able to follow one another under the spectators’ enthusiastic gaze.
To be up to the task, the Accor group and the new director of the Lido Jean-Luc Choplin have not compromised on the technical aspect. Two APEX 5 and 10 consoles will host and create superb shows performed by Londonien, New Yorker, and Parisian artists.

They will be lit by a remarkable Elation and Ayrton kit that is both powerful and compact, to be installed in the historically restricted space of the Lido. An sACN network also allows extreme flexibility and is associated with the ETC Sensor3 system and the ETC Paradigm system, precise, secure, and communicating light control.
Congratulations to Eddy Couloigner and Frederic Hamonou of Global Technique Concept for managing this large-scale renovation project with a skillful and virtuoso hand!


For further information on:

– La gamme de consoles APEX
– Le système Paradigm
– Le système Sensor3
– La gamme de projecteur Elation Professional

You might like to read Unisson Design spatialise le Lido 2 Paris

 

ETC Announces Major Update to Hog 4 Operating System with v4.0

ETC announces the release of Hog 4 version 4.0 software. Enhancements include significant improvements to color handling and Hog 4’s Color Picker, a new ‘Record Defaults’ function, and Fixture Builder upgrades.

Senior Product Manager Sarah Clausen commented, “Ultimately, the new color system relieves programmers and designers from the challenges in controlling rigs with multiple color engines. By providing multiple color input languages through the color pickers, virtual color functions and the gels library, and full ‘physical’ function controls linked to the virtual controls at all times, color control becomes seamless.”


For color handling, v4.0. represents a major overhaul of the color mixing system used in Hog 4 OS. Substantial changes have been made to the fixture library, color picker, gels, palettes, effects, plots, pixel mapping, and the playback of color. All color mixing systems including native HS, xyY, CMY, and all additive color engines are now fully integrated and supported by the color system.
Additionally, Hog 4 OS v4.0 features a new Color Picker window with a tabbed interface that features a wide variety of controls for quickly and seamlessly mixing color across all fixture types. A new “Color Mix” preview column has been added to the output window and editor windows, indicating the color being output by color mixing fixtures.

In addition to the color system rework, v4.0 includes a number of other improvements. Record Defaults provides operators with a quick and simple way to establish default function values for fixtures by using modified values in the programmer.
The Fixture builder has a few minor upgrades in v4.0, including additional basic mode templates for modeling additive color modeling fixtures, automatic application of virtual intensity to fixtures with color mixing systems, and the inclusion of more user editable fields such as mode and product.

Version 4.0 is compatible with all generations of Hog 4 hardware. This major release introduces significant improvements to the OS, resulting in a show file compatibility break. Users should update to v4.0 only when they are ready to start a fresh show file and become familiar with the new workflows. In a future release, the capability to export data from a v3.x show file and import it into a v4.x show file will be available.


Watch the Hog 4.0 OS introduction video below:


“Version 4.0 software is a major step forward for the Hog 4 OS, bringing best in class color controls to the platform and including optimizations that give us a solid base for our future development,” remarked Market Manager Tania Lesage.

Version 4.0 is a major release with a lot of changes to your workflow where color is concerned. Please update only when you have some time to become familiar with the new features. Also, v3.x show files and archives will not open directly into v4.0, there will be a pair of releases (v3.21/v4.1) that will add export/import capability to bring v3.x show files including fixture data into v4.1 and beyond.

For more information on Hog 4 and to download v4.0 software, visit the ETC Connect website

 

Astera Launches ProjectionLens for its PlutoFresnel

Building upon the success of the recently introduced PlutoFresnel, Astera today announces the launch of ProjectionLens that will add capabilities to its battery-powered, LED-based light, allowing to convert quickly into a powerful Profile Spotlight.

The lightweight, portable PlutoFresnel, which operates on a completely wireless basis with built-in battery pack, can be transformed in less than a minute simply by slipping on the ProjectionLens, which then allows the light to become a Profile Spotlight with a range of 16° to 36°. Projection zoom can be controlled manually by twisting the lens barrel or two Focus Wheels.

An E-size Gobo holder also enables custom logo projection. Built with the precision and durability that Astera applies across its entire range, the Profile Lens allows for close control of the light over any distance, with crystal clear optics and a four-leaf shutter design to facilitate trimming of the beam as needed.

Jesper Sørensen, Product Specialist at Astera, presents us how the new Astera ProjectionLens is quickly and efficiently installed by sliding it in and out of the luminaire.



This builds upon the already substantial applications of the PlutoFresnel itself, which harnesses the benefits of LED technology in order to deliver a lighting style that previously could only be achieved with cumbersome and expensive Tungstens.
Crucially, it achieves the very specific aesthetic of a Fresnel light with lower power draw, higher output strength, precise colour control, lightweight profile, wireless installation and full creative flexibility. In its Fresnel setup, it maintains a beam angle of 15° to 60°, with an equivalent output of 300W using only 80W.


With its LED core and concentric circle lens design, and weighing just 4.6 Kg, with in-built battery and a multitude of mounting setups, as a Frensel the Pluto focuses light output perfectly, producing a sharp yet soft beam that is perfect for a variety of applications across film, TV and events.
Then, a quick and simple lens transition facilitated by this new projection addition provides even more scope for the lighting base, providing a Profile Spotlight that gives definition and focus to any production.

Both lights and indeed the full Astera range, are founded upon the remarkable Titan LED engine, which powers the lights and ensures absolute colour fidelity and lighting consistency, across a 1,750 to 20,000 Kelvin range and with Full Spectrum RGB+Mint+Amber colour.

It allows for full coordination of lighting groups, with quick setup and versatile control options, including Wireless DMX, CRMX or BluetoothBridge connectivity to the intuitive Astera App, alongside the addition of new ‘WhiteRemote’ and ‘FXRemote.
This new ‘Fresnel to Profile’ technology furthers Astera’s commitment to creating lighting that is versatile and efficient in terms of workflow, energy draw and space/weight concerns.

Using Astera equipment, a lighting engineer can achieve far more creative potential in a significantly more efficient way, using a much more compact equipment setup, due to the act that the Astera lighting ecosystem as a whole is designed to increase the versatility of each core light, whilst at the same time reducing the need for auxiliary equipment and wiring.

Speaking of the new ProjectionLens, Sales and Marketing Director Sebastian Bückle said: “The new ProjectionLens combined with PlutoFresnel, provides gaffers and event technicians with a two-in-one solution in their kit bag: facilitating two different but highly specific lighting types at once; Fresnel and Projection. That would be remarkable enough in itself, but even as just single-function lights, Astera lights are more compact, lightweight, energy efficient and creatively flexible than just about anything else on the market”.

He continued: “The range of applications for the new PlutoFresnel hybrid lens is truly remarkable; be it key, fill or backlighting, interview setups, special effects, documentary filmmaking, location shots or any application that calls for the development of a particular and unique kind of mood and atmosphere. To be able to deliver such a versatile creative portfolio in such a compact and efficient system makes us very proud”.

More information about Astera and its products is available at astera-led.com