Armin van Buuren showed the universe once again that he is one of the most talented, innovative and creative musicians on the planet, with five blockbusting “This Is Me” shows staged at Amsterdam’s Ziggo Dome. Equally amazing lighting was designed by his long-term LD Marc Heinz who included over 300 Robe moving lights on the rig.
Postponed twice due to Covid, the shows unleashed all the energy and imagination you would expect from an Armin show, complete with a vibrant and talented line up of dancers, guest vocalists and musicians, the show was every bit the visual and sonic extravaganza for which Armin is known, from A State of Trance to Armin Only … he rocks the world in his unique and individual way. Marc put these serious quantities of Robe – 161 x Pointes, 84 x MegaPointes, 90 x Spiiders and 9 BMFL WashBeams with a RoboSpot system on his spec – because he knew they would deliver “all the essential features needed – brightness, great colours and effects” to make impact for these important shows.
He and assistant LD Jordy Veenstra worked closely with the Twofiftyk/Eyesupply team led by creative director Sander Reneman and show director Sophie Reneman who presented the dramatic set and visual concepts that defined the performance space. At the heart of this was a dynamic 20 x 14 metre box centrepiece that framed an elegant A-shaped DJ booth containing Armin’s decks and performance tech.
Central to the scenic design, above the box were four large moving LED screens that flew in and out. This ‘Pandora’s Box’ – as the crew dubbed it – transformed the space architecturally throughout the show, revealing many surprises in the process! It drew the visual focus to Armin’s workspace from where he unfolded his story with the screen content assisting in content and context, and live camera feeds which were directed by JW Schram.
This powerful idea was also Marc’s starting point. He knew immediately with four individually flying screens … that his lighting design would have to consider which lights could or could not be used in relation to which specific sections of the screen were in or out during the 50 plus motion cues that were developed for the set! “The challenge was to establish what we could use, where, when and how on the rig to do our part of making sure the show was memorable for the audience,” he explained.
Marc, well known for his work in theatre and opera, has developed a special crossover lighting aesthetic that fuses the drama and intensity of these two disciplines with the unbridled energy of electronic dance vibes. The core of the lighting was positioned on nine automated lighting trusses rigged in between the four moving screens. The screens flew in and out and also pitched as the three and a half hours show evolved.
These 9 trusses were loaded with 4 x Pointes together with some other fixtures. Pointes were chosen for their small size, light weight and adaptability which was ideal for these positions, and because “they are an ultimately versatile effects light,” stated Marc. They enabled him to create striking colour and beam effects around the box area directly above the artists.
The balance of the Pointes was deployed all around the front and sides of the stage with some underneath it. The 80 x Spiiders were in 10 rows of 8 fixtures on ladders upstage of the box along with the 72 x MegaPointes, spaced out in a rectangular shape in similar positions. All these fixtures delivered a battery of mind-blowing effects as well as for blasting through the semi-transparent screens at times for completely different looks.
The winning combination of these two fixtures provided numerous dramatic power looks and luminescent energy onto the stage and artists and beyond, shooting into the crowds right to the back of the arena and bringing “endless additional possibilities to the Pandora’s Box,” noted Marc. The BMFLs were on one of the downstage static trusses, and their main function was to provide key light for guest performers, a line up which was fluid in the run up to these shows as the live music industry – and people’s commitments – returned with a massive post-covid bang! The two BMFL WashBeams on the front (most downstage) motion truss were controlled via the RoboSpot remote follow system.
Also on the rig were loads of strobes and LED battens, some LED wash and profile moving lights, all controlled via two grandMA3 consoles programmed by Michael Severeens, a long time Armin lighting collaborator who was back on the FOH team running and programming the main show console. The second console which took care of all the broadcast lighting, follow spots and side and rear specials, was operated by Jeroen van Geffen. Marc and his FOH team WYG’d the show for two weeks at Twofiftyk’s studio in Eindhoven and then moved to a suite in the Ziggo Dime during the show get in and build where they visualised in Depence2, programmed and finessed.
Some parts of the lightshow were timecoded and others were improvised, although you’d be pushed to tell between! Marc commented that he is “always delighted” to be working with all of these “incredibly talented individuals.” He particularly likes Twofiftyk’s approach to creating live art: “They think out-of-the-box every time and present us all with the chance to also think independently and produce some very creative and inventive solutions.”
He enjoys working on Armin’s shows generally, which blend elements from multiple visual and sonic genres and are constantly interesting and thought-provoking. “He’s very intelligent and very grounded,” offered Marc when asked what it’s like working with one of the number one DJs in the world. There is always a great atmosphere around the production and that is great for encouraging the levels of achievement involved in these performances!” Armin’s “This Is Me” technical production package was delivered by Alda Events (Joey Wijnen) and Twofiftyk (Jordy van Straten), and Margus Spekkers was the stage manager ensuring that everything was smooth and well co-ordinated on and off stage.
The lighting equipment was sourced from several different rental companies during an exceedingly busy period. Flashlight Ampco Rental supplied the motion control system and lasers were supplied by Laser Image and operated by Stefan Ünal.
Like actors without a stage to perform on, during Covid many lighting companies were forced to stay in their “dressing room” or their”shop”. After many exceptional years, with the move to full-led, they innovated with new fixtures nonstop, and sales were skyrocketing, the Emperors of lighting were sent back home without much help from the government nor possible permanent installations.
However, they weren’t all going to surrender, some (many, in fact) got back up, dared to innovate, put up a good fight, and had transformed. As rightful heirs of Julius Caesar, Claypaky did just that. Despite the conquering of Osram by the Austrians AMS, and not knowing if their empire will be hit like ADB was, their f.lag of arms is still waving. Innovative on all counts, the company from Lombardie has shown an impressive amount of new fixtures at each of the recent events.
Marcus Graser, CEO of ClayPaky, rallies the troops at Prolight+Sound 2022.
Surrounded by his new team, the CEO, Marcus Graser, speaks of a new era. Calling the last two years a Magical Moment, it layed the foundations of a new Claypaky, concentrating investment in their production means and the renewal of their Portfolio (inspired by the Kanban method in real-time organization) invested in an eco-friendly strategy with the CP Green.
Innovation is the new Italian weapon. Their range of luminaires has gained strength, are waterproof, and linked… They evolved and grew in the utmost silence before unleashing their lasers. This season is the lift-off for Claypaky, heading into the post-Covid years that are unpredictable but promising.
The Autumn winds
Panify
Panify
Panify, Claypaky renews a lost tradition, the motorized mounting bracket. A solid 13 kg base, this big rotor blade gives the possibility of having an infinite pan rotation with a conventional lighting fixture, part of a stage element, a screen, and many accessories, be it floor standing or rigged. It has 9 Omega compatible inserts, a wide rigging platform, and a DMX and electrical supply integrated into the rotary section. Claypaky can Panify almost anything under 30kg and at a top rotation speed of 50 rpm
Although it can supply up to 2300 VA, its own power and control needs are minimal, with 150 W and 5 DMX channels. With its sleek look, the Panify is waterproof up to IP66, has an ethernet port and an optional Wireless DMX module.
Claypaky stand with 20 conventional led bars rigged to their Panify’s.
CloudiO
A linked Plate-form, linked to the clouds and Claypaky fixtures, the CloudiO is a unique maintenance workstation that is the only one of its kind. Easily portable, it can connect to the DMW chain and control the fixtures in the network.
Synchronize your entire lighting kit with the CloudiO.
Once connected and identified the fixtures are analyzed, the user history and problems (or fixes) are listed. Once their data is recorded on the Claypaky Cloud, in the same way the automobile industry connects your car for diagnosis, the online support enables you to do routine maintenance. Providing problem-solving and the necessary updates.
Its menu is user-friendly and has a 7″ touch screen, to measure and calibrate the color temperatures and light flux of the fixtures, synchronizing perfectly the entire lighting kit. In the past it was dedicated to a wide variety of Claypaky luminaires, it is now possible to use it with other brands thanks to the magic of the RDM protocol. The CloudiO is slowly becoming the indispensable all-terrain system-monitoring station.
The winter at sea
Volero Batten Aqua
New for this trade show, the Volero Batten Aqua is based on the Tambora Batten, a one-meter long16 led bar, with either round or square lenses and 40W RGBW sources, divided in two with independent zooms. The Volero has more punch with 80mm lenses, embedded in rectangular fittings. The 10 Osram leds output 60W RGBW, with a virtual CTO range of 2500-8000K.
The square 80 mm lenses on the Volero Batten.
The Volero are built with identical lens spacing width and depth (or pitch) with the assembly in a matrix in mind, the DMX management has been revisited.
There are three different ways to control the leds or a mix of them all, control of the standard color of each led, using the internal effect engine via multiple macros, and topped off with a video pixel mapping. Not to forget it supports DMX, RDM, ArtNet, sACN, Web Serveur et Kling-Net protocols.
A few of the different effects of the Volero Batten Aqua.
The Volero Batten Aqua is built tough, with an IP66 it can be splashed with water or used in a very dusty area. Weighing in at a mere 29 kg, electrical consumption of 800 VA, 2 zooms of 4° to 55°, and adapts to a Panify for that extra fun and games.
Tambora Flash
Just as new the Tambora Flash is also a led IP 66, a rough and ready waterproof Strobe, Blinder, or wide wash. It can be stacked vertically or assembled horizontally thanks to quick connectors, walls of lightning effect can be assembled in no time.
Tambora Flash, 4 COB with a line of pixels above and below…
4 big reflectors thrust the 100W COB with a 32° beam. The mix between Warm White leds, to give the distinctive look of the earlier Molefays, and the RGB leds provide a complete array of boreal colors Two strips of 96 x 3,7 W white pixels line the top and bottom, and will blast with 120° strobes, and then divided into 16 segments of 12 pixels for those of you who like powerful dotted line effects.
Tambora Flash in a line and also a cluster.
Using “Layer Management”, there are 3 layers of control: Background Color – Internal Shape – Pixel Mapping; and DMX, RDM, Art-Net, sACN, WebServer et Kling-net protocols are supported. Power and weight: 1200 VA, 10,5 kg.
Xtylos Aqua
This is the waterproof version of the Xtylos, the first spot luminaire with the famous laser source, the Xtylos Aqua is IP66 and C5-M. It can be splashed with water, run in a dusty environment, or with a high humidity factor, or one with a seaside salty atmosphere. In short, Aquaman and Cyclopes mixed together.
Xtylos Aqua
At the heart of the fixture there is an extremely tight 15,5 million Candelas laser source and has full-spectrum RGB. The beam shoots out like an archers arrow, strong and sleek, nicely saturated thanks to its Turbo Color mode. The Xtylos is very quick, a pure Beam, and has a crazy beam width of 1° even though it can be pushed up to 7° losing its sharpness slightly. Adding to these great features it has a frost, 7 rotating gobos, another wheel with 12 static gobos, and the last one with 3 prisms (Convex, linear and circular), a rotating 16 facet rotating prism, and an iris.
Its tight beam, pure RBG, and virtual CTO from 2500 to 6500K enable the creation of geometrical effects with full colors from a significant distance. Only one simple 31-channel mode to take quick and efficient control of it and in any protocol DMX, RDM, Art-Net, sACN, integrated Wireless DMX, and Web Server. The waterproof
The serenity of spring
Sinfonya Profile 600
Claypaky has written a hymn, to its mother country, its name is the Sinfonya Profile 600, their first moving head dedicated entirely to theater. Being known as the Symbole of Opera, the Latin boot-shaped country must be true to its reputation. This isn’t Showbiz, rethink every little detail, start from scratch, the requirement specifications are Diabolico. The three main constraints: noise, color, and beam. They all must be exemplary.
For the detailed presentation, the Sinfonya is moved from the Claypaky stand to the auditorium at Prolight+Sound.
Back to the drawing board, the whole cooling system had to be redesigned. “Tchao” (bye) having fans in the base. “Arrivederci” (Farewell) to the bouncing of the sound waves through the air vents. The Tonedown concept is all about dampening high frequencies by making acoustically designed parts.
The motors were also studied, the same for heat dissipation. Resulting in an incredible score on the sound level meter, only 27 dB fully running. Like a little whisper. Still too loud? There is even a mode that cuts all the ventilation, almost a complete silence, and it still keeps 70% of its punch.
Osram created the 600W source, a clever blend of red, green, blue, amber, and lime with its own specific proprietary algorithm. The red led is reduced to 620mm, giving it a very warm spectrum, as dense as the sun. Its 12000 lumens is more than sufficient for theater, especially with an IRC greater than 95 and a very good TLCi.
Being able to independently control the CRI, CTC, and hue is almost a must nowadays, the way of dealing with color transition chosen by Claypaky shows their experience in this field. Two channels allow you to choose between a wide variety of different tints, and a smooth 24-bit transition between the first one and the second, and back to the first. Incredibly simple. Synchronization of the color temperature between the fixtures, using the CloudiO interface, is their strong point. If our dreams come true, we should soon see the creation of a new job in lighting called system-engineer, matching the IRC, flux, color temperature, and monitoring of fixtures.
The Accuframe framing system.
The Accuframe is a framing shutter system on 2 focal planes of rare precision, it is said to be 40 times more precise than the old 4 focal plane system. The tilt angle of each shutter has been reduced, to keep the shutters facing each other, however they can be tilted +/- 45°, triangular shapes are possible, and each one can close off the light entirely. Halleluja, the parallel shutter lines of profiles are focused at the same time.
`The new optical system ranges from 5° to 60° using this beam precision to its advantage. The Frost uses two sets of blades, for more even distribution, without it having the phenomena of reflecting in the beam. It is patent as LineGuard, the Sinfonya uses it for its soft frost and heavy frost at 5° and can be swapped. Behind the 160mm lens, 6 HD gobos, an animation wheel, a 4 facet prism, an iris, and a 24-bit dimmer uses 39 control channels via DMX, Art-Net, sACN, and RDM. There is also a Wireless Lumen Radio module available.
If the lighting plot requires for some to be placed in difficult positions, under a balcony or in a small alcove in the theater, the problem could be when they reset, with the head doing a pan of 360° and hitting the walls or other equipment. The Pan/Tilt sensors in the Sinfonya use absolute values and do not need mechanical stops. The fixture can be restarted without having to move, and still keeps the same precision. This allows for a very precise installation within the decor of a classified theater. The Sinfonya Profile 600 weighs 34 kg and has a power consumption of 770 VA.
Mini Xtylos HPE
The younger brother of the Xtylos, even quicker, the Mini Xtylos finally profits from a European presentation. This pocket-sized fixture, a slight 9 kg, and 80 VA power needs, uses the same laser RGB diode technology. In this case, it is limited to 20 Watts, with 2,4 Mcd in the center, it can be used without any restriction in most countries. In the USA, with its drastic regulations concerning lighting fixtures, it exists in an FDA (CDRH) version, authorized by the laser federal security regulations.
The Mini Xtylos HPE.
The enthusiasts of colored brush strokes of light in mid-air will be happy to see the same advantages as the first Xtylos. A homogenous and constant source, a trichromic RGB Color Turbo, a virtual CTO 2500 to 6500K. Using the HPE denomination, reminiscent of the famous range of Claypaky in the early 2000s, the mini-Xtylos has a mini focal length of 1-4°, an interchangeable frost, two interchangeable prisms (pyramid x 16 and linear x 6), and especially an infinite Pan, ideal for this type of spot. Only one 27-channel mode, using DMX, RDM, Art-Net, sACN, Wireless DMX, and Web Server.
Summer Festival
The complete video of the Claypaky Stand at Prolight+Sound. The kit is made up of 48 x Mini Xtylos HPE, 34 x Tambora Batten Square, 24 x Sharpy X Frame, 16 x Tambora Flash, 14 x Tambora Linear, 10 x Panify (equipped with Tambora Batten Squares), 8 x Arolla MP Profile, 8 x Arolla MP Spot and 4 x ReflectXion.
Tambora Linear
Another new fixture hot-off-the-press, the Tambora Linear is a mix between a led bar and a strobe. This thin 400-pixel RGB led bar of 120°, is split into 25 groups of 16 leds, will enhance the lighting scenography, and is matrixable thanks to its many different mechanical coupling possibilities.
Tambora Linear: 400 RGB led pixels divided above and below a line of strobes of 200 white leds.
Assembled in a line or as a cluster the Tambora Linear will blast the eyes thanks to the central line of 200 white leds, divided into 26 groups and devoted to the strobe. To counter the potentially impressing amount of DMX channels, with 3 instances possible, Claypaky has included more than 100 internal effects.
Admittedly with the main unit using between 9 and 31 channels, a 25-channel strobe, and a Pixel Engine of 75 channels, the math starts to get complex. No worries, 3 layers of control allow for great flexibility: Background Color, Internal Shape, and Pixel Mapping, using DMX, RDM, WebServer, Art-Net, sACN, or Kling-net.
The Tambora Linear at the Claypaky stand.
Available in either 60cm or 1m in length, its array of visible leds has many accessories to fulfill a range of requests. A frost filter of 20° or 30°, with a slit along where the strobe is, to diffuse the colors or a complete ND cover for use in television, to not overload the sensors dropping the flux by 30%. The Tambora Linear of 1m in length has a power consumption of 700 VA and weighs 8 kg.
Sharpy XFrame
Its Festival season, the last survivor of discharge lamps is the Sharpy, in its final version. Short arc 550W lamp, the Sharpy XFrame puts out 18 800 lumens, through its 160mm lens, with an IRC above 80. But what the LDs are looking for in this segment of lighting, is a hybrid fixture, able to do everything and tough. That is exactly what it is capable of. Multi-functional, its zoom adapts to the different modes: Beam from 2° to 29°, Spot from3° to 52°, Wash when the linear frost is added. A nice collection of effects, 8 rotating gobos, a wheel with 18 static gobos including 6 beam reducing ones, two prisms with 4 and 8 facets, and a 16-blade iris.
The multi-function Sharpy XFrame.
The Sharpy Xframe has a traditional subtractive CMY mix, a progressive CTO, and a 14-color Color Wheel with saturated colors or color correction. It wouldn’t be complete without 4 shutter framing system with a rotation of +/- 60°. It is controlled by a single mode of 43 channels, in DMX, RDM, ArtNet, or sACN. This is all packed into a relatively compact package, 28 kg on the scales and a consumption of 750 VA.
Toute la gamme Claypaky est disponible auprès de Dimatec, fidèle distributeur français de la marque italienne.
DiGiCo is delighted to announce the release of its latest Version 3.0 software update, dramatically increasing the processing power of its small footprint, cost-effective S-Series consoles. Version 3.0 offers an optional software expansion that significantly increases the channel count from 48 to 60 flexi channels and 24 flexi busses, turning S-Series consoles into an S21+ or an S31+.
V3.0 includes two new Master Buss configurations: LCR (Left Centre Right) or LRM (Left Right Mono), providing additional control on the channels over the LCR blend or the LRM Mono Gain. LCR or LRM are ideal for running an expanded speaker setup or sending out a mono mix alongside your stereo mix. And increasing the Master Buss size doesn’t introduce any compromises: you still have access to all your busses and channels.
Software version 2.2 introduced OSC Control of Snapshots. Version 3.0 extends the OSC control capabilities to channel processing controls. With the ability to control many aspects of channel and buss processing including EQ and dynamics, this update adds a huge amount of flexibility when integrating your S series console with external remote control systems.
Version 3.0 now adds compatibility for MADI Sample Rate Conversion on the DMI-MADI-B and DMI-MADI-C. SRC allows the S21 or S31 to run at a different sample rate to connected MADI devices, providing useful flexibility when connecting to external MADI devices. This is commonly used for recording and virtual soundchecks, and for maximum compatibility, both Hi-Speed and SMUX 96k MADI modes are supported.
The DiGiCo DQ Rack.
Compatibility for DiGiCo’s Dante based DQ Rack, a compact 48 in, 24 out high-performance Stage Rack, is also included. When connected to your S Series console via a Dante64@96 DMI Card, this provides cost effective expansion, which is perfect for both touring and installation applications. Dante is commonly used for fixed installation and conference AV solutions, so the support of the expanding Dante Rack range with the S21 and S31 consoles is an important step and opens the consoles up to more markets and opportunities.
The S-Series now makes use of GPIO (General Purpose Inputs and Outputs), with both the S21 and S31 featuring a ¼” GPI and ¼” GPO on the back for connection to external devices. GPI can be used to fire a specific Snapshot, or to trigger the previous or next Snapshot. GPOs are commonly used to trigger external devices with a simple contact closure. Adding a GPO message to your S-Series Snapshots provides simple integration options as the contacts can be programmed to either open or close with each Snapshot. With a Snapshot being fired you could use GPO to trigger a projector being lowered, or dim or brighten the house lights.
The S21.
Dynamic EQ is a powerful processing feature built right into the channels and provides the ability to control the amount of EQ being applied to a signal, based on the level of the signal. This is often used to solve audio problems like the proximity effect, or to de-ess a signal. Version 3.0 software adds ganging of this function across multiple channels, a useful time saver when mixing a lot of similar inputs that all need a similar treatment.
When mixing, it is useful to have a single tap control that sets the delay time across all your delays. With version 3.0, the Ten Tap Delay effect can now be added to the Global Tap Delay, so no matter which internal delay effect you are using, you always have access to the control you need. Finally, since all channels on the S21 and S31 are flexi channels (meaning they can be either mono or stereo), the optional software expansion allows up to 120 inputs to be processed across the 60 stereo channels, and 48 output processing paths across the 24 stereo groups or auxes. It also includes the previously mentioned Master buss (including the new LCR and LRM configurations) and standard 10 x 8 Matrix.
DiGiCo Managing Director, Austin Freshwater.
“Our aim is to always give our consoles a long lifespan and maximise return on investment,” says DiGiCo Managing Director, Austin Freshwater. “Our software upgrades allow our consoles to not only keep pace with what engineers need now, but anticipate what will be needed in the future, meaning your DiGiCo consoles are always a step ahead. This is exactly what we’ve done with Version 3.0 for the S-Series, which not only seriously expands the channel count of the S21 and S31, but adds some really useful features that will take S-Series into new markets.”
Version 3.0 is free to all S-Series owners and is available at www.digiconsoles.biz
Lighting designer and founding partner of Woodroffe Bassett Designs, Adam Bassett, specified a wealth of IP65-rated Ayrton fixtures for the entertainment lighting rig for EXPO 2020 Dubai’s central venue, the Al Wasl dome. The rig included 182 Ayrton Perseo S profiles, 116 Ayrton Domino S profiles and 16 Ayrton Huracán LT long throw profiles.
Postponed for over a year due to Covid, EXPO 2020 Dubai finally ran for six months between 1 October 2021 and 31 March 2022, and was the largest event ever to be held in the Arab world. The indisputable centrepiece was the Al Wasl dome, a spectacular 130m-diameter by 67m-tall arching steel trellis that also became the world’s largest 360° projection surface.
Its translucent dome crowned the central Al Wasl Plaza which, as the ‘beating heart’ of EXPO 2020 Dubai, encompassed gardens and restaurants during the day and transformed into the main staging area during the evening and night. Over the course of the festival it hosted the Opening and Closing ceremonies and over 40 performances, concerts and events. It is destined to become a lasting legacy long into the future.
Due to the inhospitable conditions of summer in the desert, fixture selection for the iconic venue was a subject of careful consideration. “Choosing fixtures that were both capable of withstanding the harsh environment that they would be required to operate in as well as delivering the high output and extensive feature set was our goal when examining the fixture options available,” says Bassett.
“Among others, we chose a range of Ayrton products (Domino-S & Perseo-S) which confidently matched up to these demands. Additionally, we selected the Huracán LT fixture as one of the automated follow-spot sources working in conjunction with the Follow-Me system. The Ayrton fixtures proved a reliable and effective workhorse throughout.”
The busy show schedule ran from sundown to midnight during the weekdays and 2am at weekends, plus rehearsals, which left very little time for maintenance. All the Ayrton fixtures specified by WBD are IP65 rated and have a reputation for reliability which was invaluable, given the limited amount of time and access for maintenance. “Despite these conditions, there were hardly any failings in the Ayrton fixtures,” said Senior Lighting Programmer, Chris Lose. “The Perseo in particular was rock solid.”
The Ayrton fixtures were rigged in all of the major lighting positions. Beneath each of the forty-two projection pods located around the circumference of the dome’s trellis were 4 Ayrton Perseo S profile fixtures (total 168) and 2 Ayrton Domino S (total 84), all in sand coloured skins. These were used to light the central stage, garden areas and the wider concourse. Four masts and four RMU positions within the garden were each hung with 4 Domino S profile fixtures (32 in total) which were used for stage and area washes from within the garden area. These also carried a total of 16 Ayrton Huracán LT long throw profile fixtures which acted as follow spots in conjunction with a Follow-Me tracking system. The mast and RMU Domino S and Huracán LT were also coated in sand coloured skins. The only black Ayrton fixtures were 14 Perseo S profile units, located on the central audio truss 10m above the main stage, and the only fixtures to provide overhead stage lighting.
The sand-coloured skins served a dual purpose as both protection for the fixtures and as an extension of the projection surface around the dome. The lighting system was designed to blend seamlessly into the dome’s architecture, the translucence of which meant the imagery and lighting was visible from both inside and outside the dome. The sand coloured skins helped maintain the clean lines and provided a neutral surface on which to project video content when not acting as a source of illumination for the performance space.
The open architecture left the lighting very vulnerable to the elements, so the IP65 rating was essential. “One of the reasons Ayrton was specified was because of the IP65 rating,” says Senior Lighting Programmer, Chris Lose. “Its place was secured by the reputation of Perseo; Domino was unproven at this point so its specification was based on Perseo’s reliability and durability and Ayrton’s attention to detail. WBD knew a bigger, brighter version – Domino – was coming out which would cover the throw distances, and that Huracán-LT was on its way to fill in as followspots.”
All the Ayrton fixtures (Perseo S, Domino S, Huracán LT) were supplied by Agora, the lighting supplier for Al Wasl Plaza. Ayrton Khamsin fixtures were also employed by WBD for the Jubilee Stage, an external modern large music festival stage and one of eight other entertainment spaces at EXPO 2020 Dubai, supplied by Neumann and Muller.
More information on Ayrton Diablo and Ayrton’s full range of LED lighting can be found at www.ayrton.eu
Principal Consultant and Lighting Designer : Adam Bassett Senior Technical Consultant / Head of Lighting : Simon Fraser Lighting Designer / Deputy Head of Lighting : John Coman Systems Consultant : Greg Pittams Cover Deputy Head of Lighting : Ben Pitts
Lighting Director : Eneas Mackintosh Lighting Director : Alex Marshall
Senior Lighting Programmer : Chris Lose Lighting Programmer for New Year’s Eve show : Daniel Gündner Resident Programmer / Systems Supervisor : Brendan Albrey Resident Programmer : Matthew Jones Resident Programmer : Aaron Russ
Lighting Designer for Daily Productions + Special Events : Terry Cook Lighting Programmer for Daily Productions + Special Events : Fraser Walker
Assistant Lighting Designer for Daily Productions : Max Weir Assistant Lighting Designer for Daily Productions : Aiden Bromley
D3 Programmer : Lucy Ockenden D3 Specialist Show Creator : Stephan Hambusch
Design / Studio Manager : Miriam Bull
Project Administration : Liz Sinclair Logistics Support : Sophie Croft
On May 12, the historic Palais-Royal in the heart of Paris was the site of an EDM dance fest “Monumental Tour Europe” with a crowd of 2,000 raving to pulsating beats and bass drops beneath a canopy of powerful beam effects from Elation Proteus Excalibur moving heads.
Technical solutions provider Magnum provided all of the lighting, sound, power and truss for the event, including the Excalibur fixtures. Elation French distribution is by Best Audio & Lighting. Needing an outdoor-rated beam light that could project far into the night sky, six Excalibur fixtures worked from the top of the building in a powerful and unmistakable fan of luminosity.
The 20,000-lumen Excalibur features an extremely narrow 0.8° beam that widens to 3.5° when needed using an expander lens. Powered by a long-life Philips Platinum 500 FLEX lamp (550W), its long-throw beam acts as a brilliant searchlight and is visible at great distances. The EDM event highlighted artists and young talent by combining heritage with electronic music, video, scenography and lighting.
The Palais-Royal façade came alive with a dazzling array of lighting effects and video projection as Excalibur beams radiated out from the top of the Palais-Royal, heightening the atmosphere and announcing for kilometers around that a significant event was taking place.
The event supported the EU’s declaration of 2022 as the European Year of Youth and was part of a cultural program to celebrate the French Presidency of the Council of the European Union, which runs through June 30. The show will be broadcast on June 30 on France TV’s Culturebox.
Stage Electrics recently installed a pair of Robert Juliat Arthur 800W LED followspots at The Lowry, Salford Manchester. The Arthur 5°-15° followspots were supplied to Stage Electrics by Ambersphere Solutions, Robert Juliat’s exclusive UK distributor.
The 1700+ seat Lowry is an important theatre for the north-west of England and runs a varied programme of plays, musical theatre, ballet, opera, stand-up comedy, and rock and roll gigs, and has also hosted ITV television’s Britain’s Got Talent and The Royal Variety Performance.
The RJ Arthur followspots were selected for their impressive output which is capable of matching the lumen output of an HMI 2500W Aramis followspot at similar angles. “The Lowry has been operating with RJ Aramis followspots since we opened in April 2000,” says Dave Wimpenny, one of the Technical Managers at The Lowry.
“One of them finally gave up the ghost in late 2021 so we took the decision to upgrade to two new spots after 22 years! We looked for LED alternatives to the Aramis and the Arthur looked very good on paper. I spoke to Jayney Bell (Technical Sales Consultant at Stage Electrics) who assured me that these would be the best option and managed to bring them in within our budget.”
The RJ Arthur units were installed in The Lowry’s front-of-house followspot box which is 15m above the auditorium floor with a throw distance of 28m at 37° from the edge of the stage. Their first mission was on a run of Les Miserables in April. “They proved themselves to be good units which were plenty bright enough,” says Wimpenny. “Mark Eastwood, one of our experienced operators, reported using them for the song Bring Him Home at around just 25%-30%!”
Now the technicians have had a chance to use the new Arthur spots, what do they think of their performance? “They are of a very high spec and have a similar punch and colour temperature to the Aramis,” confirms Wimpenny.
“I compared the two Arthurs and one remaining Aramis together and the difference is very slight. The spot ops found them comfortable and easy to use. I like the placement and smoothness of the dimmer and it’s right next to where your hand sits while operating.”
If past experience is anything to go by, the Arthur followspots are looking forward to a long career at The Lowry: “Our remaining, original RJ Aramis followspot is still in service as a backup or a third spot if needed,” says Wimpenny.
For more information on Robert Juliat Arthur and any of its wide range of followspots and other lighting solutions, you can visit www.robertjuliat.com
The Cheetah in Atlanta, Georgia, is one of the most prestigious clubs in the southeastern United States, and was recently equipped with a completely new audiovisual setup. For this, the integrator responsible for the job, idesign from Miami, Florida, used a total of 60 Cameo moving lights and spotlights.
The new lighting design setup in The Cheetah includes 22 Cameo OPUS S5 Spot Moving Heads, installed on each side of the main room. idesign were impressed not only with the light output and colour blending of the Opus S5, but also with its range of flexible installation options. In addition, idesign placed 22 Cameo Azor B1 LED Beam Moving Heads inside the transparent LED cubes that dominate the room, while 16 Cameo Q-Spot 40 RGBW spots round off the installation and deliver the room’s basic lighting.
Complex Challenges
One of the specific challenges of this demanding installation was the combination of flat and focused lighting in the main area with the visualisation of the suspended transparent cubes, which can be used by the club’s lighting designers to create extraordinary effects. The custom hardware solution had to be designed so that the moving AZOR B1 units inside the cube architecture were easily accessible, and all of the cabling between the modules and the spotlights could be integrated.
“When I first saw Cameo at Live Design International in Las Vegas a few years ago, I knew immediately that it was a fantastic lighting manufacturer,” says Michael Meacham, owner and lighting and video designer at idesign. “I was impressed by the quality of the spotlights right from the outset.”
Optimal Support
In addition to the quality of the Cameo spotlights, Meacham and project manager Holmes Ives also highlight working with William Brieva, Adam Hall Business Development, Cameo Americas: “William supports us at all levels. It is also thanks to him that, time and again, we are able to raise awareness with groundbreaking projects like The Cheetah.”
The following Cameo products are in use in The Cheetah Nightclub: 22 x Cameo OPUS S5 Spot Moving Heads 22 x Cameo AZOR B1 LED Beam Moving Heads 16 x Cameo Q-SPOT 40 RGBW LED Spotlights
How do you step up and release a new product to supersede a very successful fixture? This is a question that some brands have had both the satisfaction and the anxiety of pondering. SGM’s Q.7 was a success, and designing a replacement must have been no small task. As the folks at SGM say, “We can’t reinvent what already works, but we can take it to the next level”. This is the perfect summary of this project and if you liked Q.7, you will love Q.8..
Des chiffres et des leds
[private]
A good place to go for IP66 LED fixtures and more is SGM. Today, the Danish brand offers a fixture that combines the properties of a flood source, a blinder, a strobe and – the icing on the cake – it’s optimized for pixel mapping. But it doesn’t end there – SGM also boasts two separate sources of over 50,000 lumens each, using 1,760 LEDs in one and 52 in the other. The development team seems to have outdone themselves in terms of performance, programming and simply making the Q.8 indispensable in a maximum number of applications. That’s all it took to pique our curiosity.
Keeping the Q.8 discreet
In terms of design, the Q.8 retains the discreet look typical of this Danish brand. Though far from being minimalist, SGM has chosen to keep only what was essential. The fixture consists of three elements: the base, where most of the electronics are located, the head, and the yoke. Most of the lines are straight but the combination with the two curves gives it a very modern look. On the back of the base there are four IP67 connectors: a power supply input and a link output for other fixtures, as well as two XLR5 sockets for the DMX signal.
Vue arrière du Q.8 avec les ventilateurs et les connecteurs classés IP 67.
Since SGM usually spoils us with luxuries, I would have liked to see an RJ45 connector for an Art-Net or sACN input and then redistribution of the signal in DMX, but a solution exists for that using the SGM’s A.4 Art-Net/DMX converters (with an Art-Net input and output and four DMX outputs).
Still on the back, but this time on the head, we can see the three fans that allow for air circulation and cooling of the LEDs and electronics. A large handle makes it easy to grip the 13.6 kg Q.8. The glass front panel reveals the two LED arrays.
Simple, facile et efficace (j’ai failli dire comme moi, mais je me suis aperçu qu’il manquait beau et modeste…)
At the top of the yoke there are two indexed knobs for precise adjustment of the head angle. The references are few, yet very practical.
Many accessories can be mounted to it: magnetic diffusers, 4- or 8-leaf barn doors, a snap-bag and a snap-grid. These latter accessories are mostly intended for video, photo, TV and cinema use.
Un snapgrid DoP Choice optionnel permet de contrôler la diffusion et la direction de la lumière.
Le snapbag DoP Choice diffuse uniformément la lumière.
The display is located on the top of the head. This lets you view all the options of the Q.8 that can be modified using the keys or via RDM.
1 écran, 4 boutons et au moins un doigt (en tout bien tout honneur).
The POI version of the Q.8, designed for permanent installations, has the connectors replaced by fixed cables and the display removed. This version, which does not include the two lines of strobe sources, has a “Marine” C5M finish and a 5-year warranty.
Belts and braces
To control the fixture you have two options. The first one is standard DMX512. The other option eliminates the physical connection between the console and the fixture, as it is a wireless connection. For this, you can be certain of having a suitable transmitter, as the Q.8 is compatible with CRMX and W-DMX protocols. Whether wired or wireless, it is always RDM compatible. There are no half-measures when it comes to control modes, the operator has nine different configuration options ranging from 6 to 52 channels.
Cheese and Dessert
One of the major new features with respect to the Q.7 is that the fixture is equipped with two LED arrays. There is a primary array composed of 880 RGB LEDs and 880 white LEDs (5700 K) for a total power of 568 watts.
La matrice principale.
The color control is really precise. The white range varies from 2000 K to 10,000 K with high CRI and the color palette is quite extensive. Even without a diffusing filter, the light is uniform with very nice shades. Whether you’re working with saturated hues or very light pastels, the color is excellent.
Le Q.8 offre une large gamme de blancs…
…ainsi qu’une palette de couleurs complète.
The color table below also includes the CRI and color temperature values of the whites pre-programmed in the fixture.
The other array, mainly dedicated to strobe and blinder effects, has two rows of 26 white (7000 K) LEDs each, for a power of 515 W. Unlike the other array, this one isn’t particularly sophisticated or subtle. But, whether it is in strobe or blinder mode, it packs a punch! The combination of the two LED arrays is really a bonus in comparison to the Q.7. For the programming it is, of course, an advantage to be able to create effects without having to touch the ambience section that is already set up, but it also expands the possibilities. For example, you can create combined strobe effects, either by superimposing them or by linking them, using identical or different values.
La combinaison des deux matrices apporte une autre dimension au Q.8.
The strobe is a very minor portion of the possibilities. It is possible to create static moods with colors highlighted in white. It is also possible to add soft or punchy pulses to flat colors or, of course, to animate colored pixels between the lines. There are already a lot of possibilities here, but of course the R&D team wasn’t going to stop there. In order to bring even more dynamics to the effects, each array is divisible into four parts. The Q.8 has a full library of pre-programmed effects that are very useful when programming time is limited. I still prefer to create my own effects, on the one hand to avoid repeating myself, and on the other hand to adapt as much as possible to the mood of the show or event.
But the most interesting thing about programming your own effects is that you can expand the matrix to the entire stage. Whether you’re looking for a simple, static or animated atmosphere or a one-off, dynamic or static effect, the Q.8 comes into its own when multiple units are deployed across the entire scene. In the era of new generations of consoles that integrate pixel mapping and video, this fixture is without a doubt perfectly adapted to these new approaches. It is also very interesting to go off the beaten track and, for example, add an aerial effect to a bump or emphasize a scenographic idea by giving a direction to an effect.
All these qualities make this luminaire highly versatile. It is naturally in its element on a stage for a pop or rock concert, but it will also find its place in an opera or a theater to create ambience, because in addition to the effects, the Q.8 is also a very effective light source. With its large aperture, it is also suitable for set lighting or cycloramas. With its numerous accessories, it can accentuate the collection of a famous fashion designer or serve many purposes in a video production studio. All these qualities make this fixture very adaptable.
Super flux with no fuss
The Q.8 incorporates an innovation developed and patented by SGM. It is the system that allows the elimination of humidity from the projector. Being IP66-rated, moisture does not enter, but it can occur inside. The engineers of the Danish brand have therefore developed a technology called DRYTECH to dehumidify the interior of the unit. The system consists of passing humid air through an electrolytic membrane positioned between an anode and a cathode. Moisture can develop when the device is not powered, but the air is treated once the system is powered on again.
Le système Drytech.
Naturally, we performed some photometric measurements, mainly on the central array. In order to be able to measure the entire useful light of this wide source, up to one tenth of the center illuminance value, we have bring the fixture up to 1.5 meters from our target.
Derating
As always, we start by measuring the derating, to find the moment when the light output stabilizes. We obtain an excellent result, with less than 3% of attenuation of the flux after three minutes of heating at full power.
Photometric measurements
Now we start measuring illuminance every 10 cm from the center. We read 7,230 lux in the center at 1.5 m after derating, 7,450 lux when cold, and 670 lux and 690 lux respectively at 5 m, the distance at which we traditionally measure fixtures. After entering all our data in our Excel spreadsheet, we obtain a luminous flux of 43,060 lm after derating and 44,350 lm when cold. This is a very positive result. We do not obtain the same flux results as SGM, which is quite understandable because we do not use the same methodologies. The measurements at the factory were made in an integrating sphere, with the ventilation in boost mode and before derating. The divergence angle at I/10 is 110°.
We also performed a measurement by turning on all the LEDs simultaneously. The results are essentially the same because, in order to safeguard the power supply of the Q.8, when all the LEDs (matrix+strobe) are switched on at full, the power of the central strobe module is automatically limited. As soon as the LEDs of the top and bottom modules are switched off, the strobe module recovers its full power.
Finally, we checked the dimmer and the curves from 0 to 10% and from 1 to 100% are perfectly managed.
Courbe de dimmer de 0 à 10 %.
Courbe de dimmer de 0 à 100 %.
Avec le Q.8, SGM a de belles perspectives…
The IP66-rated Q.8 is internally evacuated, so after disassembly, the vacuum must be restored. So we avoided opening this fixture, but some pictures were taken for us at the factory. It is nevertheless possible to perform maintenance without having to send the fixture back to the factory. SGM has developed a kit called the “Vacuum Test Kit” that allows you to test the pressure in the fixture and to restore the vacuum.
To be consumed without moderation
With the Q.8, SGM has truly designed a worthy successor to the Q.7, which already exhibits great power and color qualities from the primary source. The addition of the second array, mainly dedicated to strobe and blinder effects, is a big plus. The Q.8 offers a full range of possibilities as powerful as if they were each in a dedicated fixture.
The R&D team also managed to limit the size and weight of the Q.8 so that it can be installed easily and, above all, remain discreet (until it is turned on!). The good times are coming, and there is no doubt that we will very soon see the Q.8 shining on festival stages and highlighting monuments, not to mention on concert stages, and in television and other studios. It’s a very versatile investment.
GLP has announced that it will be launching an active recruitment drive, geared at further expansion, following the decision by GLP US Inc. president Mark Ravenhill to take on a reduced role. In a letter to the industry, Ravenhill says he intends to step away from the day-to-day running of GLP’s US operation in order to focus on guiding future global strategy in a more consultative role.
He states that “after more than 13 years with the GLP and having taken the North American subsidiary of the company from an idea on a piece of paper to where it is today, I have decided that it is time for a change, and I will be moving from an operational role in favour of a more reduced role.”
Meanwhile, the tried-and-trusted GLP Inc. management staff remains, headed by long-term operations director AnnaLise Laundrup and Carl Wake, technical director. Furthermore, to harness and nurture the enormous success GLP has experienced in North America – including Cosmic Truss and Scenex Lighting – the company is actively recruiting at all levels.
GLP founder and CEO Udo Künzler is confident that the momentum will be retained: “Mark has been a great influence at GLP, and has built our US business from the ground up, while at the same time retaining his associations with production designers at the top level across the globe.
“This decision gives us the opportunity to open a new chapter for GLP and move onto the next part of the journey. All things evolve, and to preserve his legacy and ensure all his great work is not wasted, we will be actively recruiting.” “Most gratifying is that we are not losing Mark’s services entirely,” Künzler continues, “and we are delighted that he will continue to help guide our strategy in order to maintain the good relationships that we have built up with lighting professionals.”
The final word of assurance comes from Ravenhill himself: “You will still see me at key events across the world, where I will be waving the GLP flag – and I can still be contacted via the same email and cell number!”
For more information about GLP, you can visit www.glp.de/en/
An entirely new development in object-based mixing, the Adamson Fletcher Machine utilizes amplitude and time localization, so objects are clearly perceived at their intended position, offering the listener a more direct connection with the music. The rendered signals that are sent to the loudspeakers are calculated from the objects point of view, ensuring the best spatial coherence for most listening positions.
AVB/MADI or Dante, double PSU and up to 128 I/O.
The Stage Unit is a 3U 19” rack-mount, capable of controlling either 64 or 128 inputs and outputs with the compact Traveller Model being able to handle either 32 or 64 inputs, paired with 32 outputs.
The first public release at ISE Barcelona 2022 of the Fletcher Machine in a movie theater.
Each of these are available with hardware configurations operating in AVB/MADI or Dante audio at 48 or 96 kHz. All configurations keep latency at an amazingly low 1.33 ms.
The easy-to-use user interface is based on the digital mixing desk approach and includes a complete set of mixing tools including EQ and compression for each object, up to 4 auxiliary sends and up to 8 VCAs, loudspeaker positioning in 3 dimensions, as well as a unique, high-quality integrated reverb with a vast amount of control.
A picture we’ll quickly get used to, a 5 hangs arrangement that match the width of the scene, driven by the brand new Adamson Fletcher Machine rendering processor
The Traveler version of the Fletcher Machine.
The Adamson Fletcher Machine can receive OSC and MIDI messages so it can also be controlled using external devices. As well, it can be easily interfaced with tracking systems to accurately track object movements.
The remote operation software is available for either Mac or Windows operating systems.
Hard rock band Shinedown has just wrapped its biggest stage show to date on, “The Revolution’s Live Tour,” already their second headlining North American trek of the year. Lighting design was by Mitchell Schellenger with Carter Fulghum out on the tour directing a rig that included effects from Elation Professional Seven Batten 72 linear LED lights. Lighting supply was by Bandit Lites.
“Revolutions” kicked off April 1 in Spokane, Washington and travelled throughout the U.S. before wrapping in Knoxville, Tennessee on May 7. The acclaimed quartet, hailed for their high-octane live shows, are touring in support of their new album “Planet Zero” to be released July 1.
Seven Batten shapes
The six-foot-long Seven Batten 72 strip lights lined 20-ft sections of automated truss that moved into various configurations throughout the show. As the truss angled into different positions, kinetic lines of light moved to form varying shapes and different looks, which Fulghum says made for a great effect.
“One of my favorite looks was something we called X Wing,” he explains, “where some of the trusses angled up while others angled down. The effect was to create a look that mimicked the form of an X-Wing Starfighter from Star Wars. It was a great look and one of many.”
Custom effects
The Seven Battens were used to help set the mood throughout the entire show, including interludes between songs when they were used as audience lights. Although known for their hard driving numbers, the band achieves a variety of sounds and plays a number of slower ballads as well.
“It runs the gambit and therefore we needed a flexible light that could adapt,” Fulghum says, explaining that they used the color-changing linear effects for strobe looks, chases and hits, glow looks and accents. They even accessed the fixture’s 10 zones to create big or small squares of ever-changing light. “We got a lot of use out of them for sure. We custom made all the effects and with the RGBAW+Lime+UV engine there was lots of color choice.”
Other Seven Batten fixtures were used from a vertical truss position behind a video wall to light band members from the back while a pair of units placed under grated staging on the downstage shined up to light the band from below.
Fulghum, who has been touring with Shinedown since 2012, says he had several people come up to him after the show to comment on the strip lights. “It’s one of the major lights in the rig and although there is a lot of ambient lighting, they cut through in a big way and really got noticed. In fact, there were times when I had to dim them down they were so bright.”
Bandit
Bandit has counted Shinedown as part of the Bandit family ever since Bandit owner Michael Strickland heard the album “Leave a Whisper” in 2003. Fulghum has been working with Bandit for years and says the advice and support he gets is first rate. “Over the years, Client Rep Brent Barrett, Jake Tickle (tour support) and owner Michael Strickland have been very active with advice and have always been very supportive.”
The Shinedown rig is now heading back to the Bandit facility in Nashville where it will be revamped – still with Seven Battens – before heading to Daytona Beach later in May for Welcome To Rockville 2022 where the band headlines May 21 alongside Guns N’ Roses and Rise Against. Shinedown then head to Europe for a string of festival shows in June before returning to the States for more shows in July.
Lighting and Production Designer, Mark Cunniffe, has chosen to light Ed Sheeran’s current Mathematics world tour, with a lighting rig composed almost entirely of Ayrton IP65-rated fixtures. The design incorporates 138 Ayrton Domino LT, 48 Perseo Profile and 22 of the new Ayrton Cobra laser-sourced fixture. This is Cunniffe’s first specified use of Ayrton fixtures, and the first tour for Ayrton’s new Cobra.
The show design is a huge, in-the-round, stadium setup with an unprecedented open design, with no roof, a large circular video screen over the revolving stage and 6 mammoth masts held in place by a cable net system. This major feat of production design was the brain-child of Cunniffe and engineered by Jeremy Lloyd of Wonderworks and Rasti Bartek of Cundall.
“This kind of set up has never been toured before on such a scale,” says Cunniffe. “With such an open design it is important not to create a barrier between the artist and audience with the show infrastructure. I therefore wanted to maintain the clean lines, with no visible crew on stage, and most importantly, no ugly waterproofing in view, so IP65 rating was imperative for all the fixtures we chose.” Cunniffe’s fixture requirements were also very precise and put out to tender with plenty of lead time.
“My wish list was clear and detailed,” he says. “I wanted a long throw LED unit that was IP rated, with a specific zoom, beam quality and flat field, and really crisp and subtle colours with full range of CTO, CTB, minus green, etc.”
It was at this point, in 2019, that Glyn O’Donoghue at Ambersphere Solutions, Ayrton’s exclusive distributor for the UK, took Cunniffe to meet Chris Ferrante, CEO at Ayrton, and the team at Ayrton HQ. “Ayrton jumped at the challenge and designed a product based on Huracán LT but IP-rated and with a great long throw capability,” says Cunniffe. “That product became Domino LT which answered all my wishes. It has been a fantastic success on the show.”
Cunniffe has 138 Domino LT fixtures rigged on the 6 masts where they are used as the main source of illumination. Six of them are used as Sheeran’s followspots: “The Ayrton products work really well with the FollowMe system so there are no visible crew members on or over the stage, which helps maintain the clean lines,” says Cunniffe. “It all works in quite a surreal fashion!” The remainder of the Domino LT units provide the creative lighting background: “With no back wall or back trusses in-the-round, the masts become the key and back lighting and side fill, plus all the creative elements – it’s a complete 360° treat!
“The show is designed to appear different from every angle it is viewed from, but brilliant from any angle. I’m really pleased with the way it turned out. And that clean design means there are no seat losses at all – the promoters are over the moon!
“Domino LT is a complete game changer from my point of view as a designer,” confirms Cunniffe. “IP rated, (so no waterproofing to disrupt the aesthetics), a very bright LED engine, great graphics, lovely clean, flat optics and excellent rendering and colour quality. I can get really great skin tones out of it – it’s a really great creative tool, not just a powerful light. It’s basically given me a rig of 140 followspots! And it works very well with the overall, largely video-driven design. I’m incredibly pleased with it”
Cunniffe chose 48 Perseo Profile fixtures for over stage positions. “I wanted a smaller unit overhead, something a little more subtle that I could hide and build into the chandeliers, and around the circumference of the halo (the central circular video wall). They worked really well in conjunction with the Domino.”
Le Cobra.
To complete the trio of Ayrton IP65 fixture types, Cunniffe embedded 22 of the new Ayrton Cobra laser-sourced fixtures around the outer perimeter of the stage. “We tend to use these in the latter part of the show after twilight following the video-heavy first half of the show when the atmosphere ramps up!
“We gave ourselves plenty of time to programme because we have a very energetic artist on stage, but I’m very impressed with how well the Perseo, Domino and Cobra complement each other.
“The Cobra was the icing on the cake! I knew nothing about this fixture but Chris showed it to me when I went to Ayrton HQ to test the Domino. We tried it outside the warehouse and I couldn’t believe how far its throw was. I knew it would look great around the edge of the stage. The product was still on the R&D bench at that stage but Ayrton pulled out all the stops and got me the number of units I needed in time. I don’t think I’ve ever met a lighting company that literally delivers everything it says it would.
“Our brief for these three fixtures was exactly the same to all the lighting manufacturers invited to tender, but Ayrton was the only one who delivered everything I asked for in each product. It’s the first time I have used Ayrton and I am completely sold on the company’s work ethic. They were really happy to collaborate. I have a working relationship with them now that I didn’t have four years ago, and they will be my first point of call for future shows.”
All the Ayrton fixtures were supplied for the tour by LCR with Ryan Hopkins and Mike Oates as account handlers, working in close conjunction with Glyn O’Donoghue at Ambersphere Solutions. “It is always great working with Mark, his creativity knows no bounds,” says Hopkins. “He knows exactly what he wants to achieve out of a fixture, and it has been a pleasure working alongside Ayrton and Ambersphere to realise this for him. Having a support network in place like Ambersphere and Ayrton on a show of this scale is equally as vital as the amazing products they produce and why we have, and will continue, to work with them for many years to come.
“Once we had nailed down the fixture choices for the Tour, we actually decided to increase our order of them to make the same products available in large quantities for other shows. We have ended up with 3 great units which I’m happy to say are proving very popular!”
Ed Sheeran’s much-anticipated Mathematics tour is selling out around the world and will visit mainland Europe this summer and Australasia at the start of 2023. Regardless of weather, these lights are destined to travel!
Jaques Coriton, lighting Director of Theatre des Bergeries, chose Alterlite, their advice and ability to supply the new house lighting system, using led sources Anolis and its ETC control system. Good to go for at least another 15 years!
The renewal of the house lights was already on Jacques mind, back in 2018, and he had started doing his own research on the subject. After several product demonstrations and price quotes, he is interested in the Alterlite proposal his Technical Director Vincent Criulanscy submits to him. A simple solution is to have a double command system that is connected to the lighting desk.
The strength of Alterlite is combining solutions for stage lighting, house lighting, and special events, providing top-of-the-line equipment and their 25-year expertise in lighting, control systems, and data networks. We met with Jacques at the Théatre des Bergeries, and Vincent Criulauscy from Alterlite brought the latest software update.
Vincent Criulanscy, directeur technique d’Alterlite (à gauche) et Jacques Coriton, régisseur lumière du théâtre des Bergeries en pleine réflexion.
Jacques Coriton : “I was able to obtain the budget necessary in 2018 to change the house lights to leds, with help from the ecological program: converting old lighting to all led sources. I wanted a simple user-friendly button system near the stage, easily accessible, to be used mainly by the cleaning crew with the lighting desk switched off.
This simple command box should be connected to a more sophisticated system, if possible to our ADB lighting console. I also wanted to use the existing cabling already in place as much as possible, to avoid having to do new runs of DMX cabling every which way. Then came COVID, and everything ended up being stretched out from the beginning in 2018 to the final decision in 2020 to the complete installation delivered in July 2021. We were up and ready for the beginning of the season in September 2021.
La salle sous son nouvel éclairage blanc chaud à l’arrivée des spectateurs.
L’éclairage de la salle avant le renouvellement des sources.
Vincent brought me the solution an EchoTouch ETC. It’s linked via the sACN network to the lighting desk and to a simple remote button system from the Echo range. Enabling me to use the cabling already present in the building to run info between the EcoTouch and its remote, only two cables are needed”
Le pupitre EchoTouch ETC …
… et son panneau à boutons, accessible au plateau.
Vincent Criulanscy : “The Echotouch and its remote use a proprietary protocol, with “Topology Free”, used by architectural automation systems. It’s an Echo Net bus carrying 24V power and control signal on just one pair of cables, no specific polarity is needed which makes it easier for electricians and system integrators. This range from ETC offers many possibilities and peripherals retrieving a 0-10V signal, a volt free contact signal, or signal from a temperature sensor, a movement sensor or a twilight sensor…”
SLU : “How are the lighting fixtures connected to the system ?”
Jacques Coriton : “By DMX. The EchoTouch desk is connected to the sACN network via a Netgear Gigabit GS 108 switch and I use a Luminex node to output a DMX universe reserved only for the house lights.
Le node Luminex Luminode 4 : 4 sorties DMX/RDM et un switch 2 ports EtherCON.
I send 3 DMX lines and 4 power lines of 10A each up to the fixtures on the catwalks. It’s more than enough, the line with the biggest load is 8 fixtures of 200W each. The fixtures come with their own power supply, needing only a power outlet and DMX. The DMX signal is also sent to a dimmer rack powering the lighting for the hallways leading into the auditorium still using 2700K bulbs.
Les lignes DMX qui alimentent les projecteurs en data.
All of the fixtures are in 4-channel mode RGBW, my ADB lighting desk is not RDM compatible, I asked Vincent, for a DMXCAT to be able to have a 10-channel mode. The 4 Ch mode didn’t suit us, the issue was that the lighting would “jump” to full, and if it was faded you could see “steps ” while going to full intensity. I wanted to compare, using a sequence in a show where the dimming of house lights was a bit of a problem recently, the 4 Ch mode and a 10 Ch mode using fine dimming (16bits).”
In the end, Vincent was able to fix the problem, 12 Ch DMX mode and he developed the necessary templates on the Liberty desk and the EchoTouch.
SLU : So, the button box, EcoTouch, and lighting desk can all control the house lights. Have you given priority to the lighting desk?
Jacques Coriton : “Exactly. When the desk is turned on it takes priority over everybody, this is for security reasons during shows and/or rehearsals, etc…”
Vincent Criulanscy : “The sACN protocol simplifies priorities between the EchoTouch and the desk to control house lights. It’s actually automatic. The notion of priorities is non-existent in Art-Net. The other advantage of using sACN, which is a real Multicast, is it controls IP addressing natively unlike Art-Net. When hosting an event, and the desk operator brings his own lighting console (grandMA or other types) you just give them his RJ45, and they plug it in, and that’s it. No need to change their IP setup, the protocol looks after the addresses. This is the big advantage of sACN.”
SLU : Who did the installation?
Jacques Coriton : “I did it, with help from Hugo Revy a trainee who looked after hanging all of the fixtures. There was a bit of handiwork needed, the EchoTouch is delivered not completely cabled up. You need to drill a few holes in it, put mounting brackets on it, put in our cables, and wire it up inside.”
Le pupitre EchoTouch ouvert.
Vincent Criulanscy : “This product is a module that can be integrated depending on your needs. Jacques wanted it to be mobile, so we needed to do the necessary adaptations. On the EchoTouch there is an RJ45 and a DMX plug, a link to the remote, and a power supply. The front panel is magnetic for easy access to the USB port used to load its internal memories.”
SLU : What type of lighting console do you have?
Jacques Coriton : “It’s the ADB Liberty with the digital tablet Wily ! by Pangolab which is the perfect remote for this desk. The tablet can control everything, colors, moving light fixtures, master faders, sequences, general master as well as the sequence master. Wily! can also control the house lights. We have had the Liberty since 2015, and have recently acquired a second-hand one via Vincent, to have a spare, we are concerned somewhat with the durability of the motherboard. The latter was for 120 channels, we upgraded the licenses to 240 channels.”
SLU : Are you planning on replacing it?
Jacques Coriton : “Probably, but that will be done by the person replacing me when I retire in a few months…”
Choosing the Anolis light sources.
Les Ambiane XP56 Anolis accrochés sur la dernière passerelle ne gênent pas la sortie des projecteurs scéniques.
Changing the house lights Jacques, and following some advice from Alterlite, chose the XP 56 et HP 111 in the Ambiane Anolis RGBW series, the architectural line by Robe.
Détail de l’accroche.
SLU : Why did you like the Anolis?
Jacques Coriton : “As I said before, we had asked for several quotes including one from Asterlite and as it was Vincent who found the solution for our control dilemma, we didn’t look any further and went with the Anolis. As for the moving lights, we are already fully equipped and fully satisfied with Robe fixtures. We have Wash Beam Spiider’s, LEDBeam 150’s, and motorized framing spots the DL4S.
When Jérôme Lambeau, from Robe, came by to optimize the Anolis installation, I asked him to update the software of all of our Robe fixtures, especially the LEDBeam’s that I had just purchased, recalibrating the colors. We have no problem with matching colors.”
SLU : How did you define where to hang the Anolis?
Jacques Coriton : “First, with Bruno François (head of the installation department at Robe) we did a DIALux study to determine the positioning of light sources, depending on the focal angle specified by the manufacturer to have the luminous flux as even as possible throughout. Then, we did a true-to-life trial by hanging a few fixtures to see how many seats were covered, and to determine the number of fixtures needed. We trusted the DIALux study, however, we had to reduce our order slightly. We also compared this with some PC(plano-convex/single lens) 1000W rigged on the catwalk to measure the difference between the two. We decided on 22 Ambiane XP56 (150W of leds) with 60°, 45°, 30°, and 20° lenses, depending on their placement, to be sure to have the same level of light all over the venue. We chose 2 HP111 with an 80° lens (75W) for under the overhang.
Jacques Coriton a finalement opté pour une répartition de 22 projecteurs XP 56 et 2 HP 111. Ils sont dimmés pour un éclairement de 350 lux au niveau des sièges.
Plan de coupe de la salle et les angles de diffusion retenus.
Vincent Criulanscy : “One of the major strong points of the Ambiane series, when working with colors, is that there are 150W of led for each shade. This means that if you want to use a deep red, you get 150 watts of red, and then going from white to red your luminous flux is practically the same. The power supply is curbed to never exceed 150W. Even by putting everything to full, you are using a portion of the leds to not go over 150W.
As an option, you can have a second input so the fixtures work as emergency lights along with the rest of the emergency lighting, which is not the case here. It’s possible that the fire detectors send a signal, via the second input, to turn the fixtures on automatically. They are designed for architectural lighting.”
SLU : Which color temperature do you use for the house lights?
Jacques Coriton : “Warm white 100% white and 35% red, very close to 2700 kelvin.”
SLU : Which presets have you programmed for the EchoTouch?
Jacques Coriton : “On the remote, there are only 8 programs (buttons).
Number 1: Lights at a sort of FULL (good for cleaning crew, work in the auditorium, etc) Number 2: Low level (daily use, ability to see to move freely within) Number 3: Audience walk-in (Full audience capacity) Number 4: Audience walk-in (Half audience capacity) Number 5: Walk-out Full audience Number 7: Walk-out Half audience Numbers 6 and 8: Spare (not used)
Eclairage accueil des spectateurs pleine jauge.
Eclairage demi-jauge.
Eclairage prévu pour le ménage.
Eclairage basse lumière circulation.
SLU : Did you need to have the possibility to change colors?
Jacques Coriton : “Yes it’s been requested a few times since the beginning of the season: dark blue then slowly to a lighter color, or color chases, so the house lights and the colors follow the scenography. The price is the same for either RGBW or just white, so why not go for this possibility? If you are investing and doing the work necessary, might as well go all the way.”
Quelques-unes des infinies possibilités d’éclairage de la salle en couleurs.
SLU : How long does it take to pay off this investment?
Jacques Coriton : “I have no idea. That is a part of the accounting that I am unaware of. From my point of view, it has already paid off because the old setup using wide lens PAR 56 was mediocre.
Le plafond du Théâtre. On aperçoit, le long de la passerelle, les XP 56 traversant les abats-son.
Also, they (PAR 56) were hung from a square metal bar and were in the line of sight of the fixtures used for the stage lighting, blocking part of the beam. I kept 2 of the hanging structures for the Ambiane HP used under the overhang on each side.
Détail de l’accroche sur la passerelle.
The new rigging system for the Ambiane XP allows them to stick through the acoustic panel. We drilled oval holes in the wood panels.
On the upstage side of the catwalks, we secured metal bars just above the panels to not get in the way of the stage lights. We drew on the rigging points and had them made by a locksmith.
Jacques Coritons’ professional background
SLU : Jacques, tell us about your professional background…
Jacques Coriton : “My initial training had nothing to do with entertainment. I am an engineer, I obtained my degree at Arts et Metiers in 1980. I rapidly changed my professional orientation when I realized industrial work was not really my thing.
It took me 3 years to get into entertainment, started by doing some volunteer work, then joined the Club Med for my first hands-on experience which enabled me to get a job as an electrician in theaters in the Nantes area. I then followed a course at ISTS in Avignon, then came to Paris with my “intermittent” status (a specific status in France for temporary workers in the entertainment industry).
Jacques Coriton
I found work in theatrical touring and also hosting tours in my theater, many were child-oriented. During my 25 years in the business, I did at least one tour a year. I worked notably for the Centre des bords de Marnes in the Perreux district as an electrician or as lighting director, at the Sartrouville theater with Sylvain Maurice.
I toured with Olivier Py for 3 shows, worked as an electrician and as a lighting director at the Grande Halle from 1995 to 2008, for some new theatrical companies such as Théatre Temps with Yamina Hachemi, Kick Théatre with René Cheneaux, Sambre with Carole Thibaut…In 2012, following the unfortunate passing of Marc Pracca lighting director of the Théatre des Bergeries, I followed in his steps. I have been here ever since.”
The Théâtre des Bergeries
The Théatre des Bergeries, with director Lucie Chataigner, was inaugurated in october 2000. Situated in the heart of Noisy-le-Sec, it has a capacity with fixed tiers of 472. The main auditorium hosts a variety of events, theater, dance, puppet shows, circus arts, classical music, jazz or pop music, and repertoires. All artistic creations have at their disposal a stage with a maximum width of 14m with wings (total 18m from wall to wall) and 13m deep.
The smaller room, which is the same total size as the stage in the main auditorium, is reserved for rehearsals, artistic workshops, smaller shows, and creative residency. It can also host small or more ” intimate” shows with a limited capacity (stand-up, small plays, concerts, shows intended for children…)
Our team consists of 16 full-time employees, with four of them in the technical crew. The entire sound system was entirely updated by Pascal Flamme, with the help from the company Videlio, during the COVID “pause”. The FOH speakers were replaced with Line Source Nexo M10 and MSUB18 and a “kit” of monitor speakers, it’s all powered by NXAMPmk2 by Nexo controlled by the Dante network and the NEMO application, and, as always our FOH sound desk the Yamaha CL5. The stage lighting is made up of PCs (single lens) by ADB and profiles by Robert Juliat, all with tungsten sources, powered by RVE dimmer racks, with some that are moveable. The moving lights are from Robe.
Technical Crew :
Pascal Flamme: Technical Director Nicolas Mermet: Stage Manager Jacques Coriton: Lighting Director Hugo Revy: Lighting Technician Myriam Claret: reception of artists
With more than 16,000 small to large street parties, the people of Great Britain celebrated the 70th anniversary of Queen Elizabeth II’s throne during the first weekend of June. But by far the biggest show took place on this day in front of Buckingham Palace in London.
22,000 spectators gathered in front of the three stages, where Queen & Adam Lambert, Rod Stewart, Alicia Keys and Ed Sheeran played, among many others, and another 13.4 million watched the BBC’s mega-event live on TV.
OTOS H5
For the lighting of the main stages, Buckingham Palace and the Tree of Trees sculpture designed by Heatherwick Studio, Version 2 Lights supplied more than 600 cameo spotlights, including over 60 of the new hybrid outdoor all-rounder Otos H5. In total, the forecourt of the world-famous Buckingham Palace as well as the palace itself was staged by 62 Otos H5, 156 Zenit W600, 392 Flat Pro 7 G2 and 72 Flat Pro 12 G2.
The lighting design was done by Nigel Catmur. Nigel used the Cameo spotlights for the numerous live performances of the biggest British pop stars as well as for the moving speeches of heir to the throne Prince Charles and his son Prince William.
In particular, the new superstars in the Cameo portfolio – the Otos H5 Beam-Spot-Wash Hybrid Moving Heads – played a central role in the visual staging of the globally broadcast anniversary party.
Prominently placed on high truss platforms, the Otos H5 framed the action wonderfully and sent impressive beams into the royal evening sky. The Zenit W600 Led Outdoor Wash Lights also played an important role in the lighting design of the platinum party. With their massive luminous flux of 21,000 lm, the wash lights ensured a strong and uniform illumination of the stage in daylight and in the evening.
In addition, the Cameo Flat Pro 12 G2 RGBWA Led outdoor spotlights have been integrated into the set base via circular cut-outs. The even more compact Flat Pro 7 G2 also set coloured highlights at various positions in the set.
Bristol-based, Enlightened, one of the largest event suppliers in the south west of the UK, has recently invested in a stock of Ayrton Perseo Profile IP65-rated fixtures to service its busy events schedule.
Enlightened specialises in full production services, supported dry hire, design, and delivery of permanent installations, as well as sales, skilled repairs and maintenance to a diverse range of clients and venues.
“Corporate and private parties and events, large outdoor events in winter, festivals in the summer, installation, sales – basically, we do everything for everyone!” says Head of Hire and Production, Dave Thorpe. “Bristol is a good hub for small to medium companies to which, along with many small companies and theatres all over the country, we cross hire equipment. We therefore make a point of only investing in the very latest in top quality entertainment technology.”
photo Steve Tanner
Enlightened’s diverse fields of operation demanded a fixture that could also do ‘everything for everyone’. “When we make new investments we look for a product that will fit into at least two markets,” explains Thorpe, “and that is exactly what happened with Perseo.
On the one hand, it is a waterproof fixture but equally capable of working in a theatre environment; I also know that it will fit into any rock and roll or festival stage that we will do in the summer, and will happily sit outside at one of the large scale events we supply for the winter. We have a regular client in Scotland who will have a consignment of Perseo in operation from mid-October to January and I know the fixture will be fine. The lights are brilliant!”
Photo Steve Tanner
Thorpe was not an immediate convert to Perseo when it first arrived on the market in 2019. “We had a gap in our stock for a decent size workhorse profile, especially since we had a lot of outdoor work, so it was on our radar, but at first we weren’t confident they would also be suitable for indoor work.
“However, as we saw them specified more and more on events, and saw other companies buying them in serious quantities – including those to whom we cross hire – we decided to reconsider. On closer inspection we discovered just how good a fixture Perseo Profile is: the optics are great, the effects all work properly, it does everything, and it does it really well. A final winter of waterproofing our existing non-waterproof stock finally swung the decision for us. We invested in Perseo this March to get ourselves prepped and ready for the mass onslaught of outdoor work we have lined up for this summer.”
Photo Steve Tanner
On receiving the new Perseo Profiles, Enlightened immediately sent eight units to Bristol Old Vic for a 5-week stint on Wonderboy, lit by lighting designer Aideen Malone who was the first to use the new units. “Wonderboy needed both subtle and supersaturated colours which the Perseo units did brilliantly,” says Malone. “And rather than having to specify a choice of light or heavy frost, the Perseos have the flexibility of both. The Ayrton optics helped us achieve many precise awkward framing angles easily.”
Photo Steve Tanner
“They did a storming job,” says Thorpe. “Despite Aideen’s initial request for Ghibli, the specs matched the Perseo Profile in almost all but IP-rating, so they were totally interchangeable, which was perfect from both our perspective as a rental company and the lighting designer’s as an artist.”
photo Steve Tanner
Enlightened purchased the Perseo Profiles from Ayrton’s exclusive UK distributor, Ambersphere Solutions. “We have had a great relationship with Ambersphere for years and they always provide an excellent, reliable and honest service,” says Thorpe. “Perseo may be slightly more expensive, but for a little bit extra you get a whole lot more. The pricing of them is sensible across the country and that, combined with their popularity, means we will have a swift return on our investment.
“We kept coming back to the fact that all the alternative options had their failings and were not suitable for that cross over into indoor applications, but Perseo ticked all the boxes. That’s what pushed us. It really is that light that works in all situations.”
More information on Ayrton Perseo and Ayrton’s full range of LED lighting can be found at www.ayrton.eu
More information on Enlightened can be found at www.enlx.co.uk
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