With Dynamic Music Distribution, Powersoft offers SIs the ability to scale inputs and zones conveniently and efficiently with dynamic routing capabilities embedded on its amplifier platforms. This makes it simple to dynamically route music and other signal sources along with control signals between different zones and across multiple amplifiers all independently of source location and without the need for a centralised DSP.
Two Mezzo 604 ADs – Powersoft’s four-channel, 600W compact amplifier – are powering the entirety of the 250-capacity Matches Sports Bar, Grill & Social, forming the core of a unique hospitality venue incorporating multiple distinct audio zones and spaces. Tucked away behind the counter, a single 4.3” wall-mounted Powersoft WM Touch screen, gives complete control of the entire DMD system, including Mezzo’s embedded dynamic routing capabilities.
Ashley Bond, directeur général de MADE Worldwide, concepteur et installateur de systèmes.
“By using Powersoft’s Dynamic Music Distribution solution, we were able to keep our design simple all the way through, from designing the project to handing it over to the client,” explains Ashley Bond, managing director of system designer and installer MADE Worldwide.
“The client is then left with a powerful start-to-finish solution from a single industry leading manufacturer, providing them with a safe and secure audio system that’s really going to push through.”
Matches Sports Bar – located at Elwick Place in Ashford, around 95km south of London – opened in June and has been doing roaring business ever since.
Le propriétaire de Matches John Shepard.
Jon Shephard, Matches’ owner, says the concept for the venue is to combine “all the best bits of the bars I’ve been to throughout my life, all into one place” to create the “ultimate sports bar experience”.
With a single four-channel Mezzo amplifier now able to drive up to four independent zones of audio, thanks to Powersoft’s new ArmoníaPlus 2.2 software release, the DMD ecosystem was the natural choice to bring to life Shephard’s vision for the venue, with a “tailored sound experience in each individual area” he explains.
“In the main bar area, we wanted a system where customers could really feel like they’re in the stadium watching the match live. However, once that match is finished and we turn the [TV] sound off, we want to get the music pumping – to turn it up loud and have no loss in quality with regards to the audio. And believe me, if you come here on a Friday and Saturday night, you’ll definitely experience that.” The two Powersoft Mezzo amplifiers are responsible for managing the audio throughout Matches, including in the corridor and washrooms.
Steve Barton, responsable de la branche intégration AV de CUK Audio.
Powersoft’s UK distributor, CUK Audio, supplied MADE with the Mezzos and WM Touch, as well as the AUDAC loudspeakers (ATEO wall-mounted speakers, CIRA ceiling speakers, and BASO10 and NOBA8 subwoofers) the amplifiers power.
Its installed AV channel manager, Steve Barton, says multiple output options like those on the Mezzo 604 AD were essential for a venue like Matches, where a single amplifier is able to power both Lo- and Hi-Z loudspeakers.
“The Powersoft amps have up to four channels running 600W, with full Power Sharing across all the channels. And the key here is that they can do low impedance and a 100V line on the same amplifier, all using the integral DSP – in a half RU space – so you can fit a heck of a lot of processing power in a really, really tiny space.”
Deux Mezzo 604 AD, 8 canaux de puissance prête à donner vie à des enceintes à basse ou haute impedance…entre autres possibilités.
“One of the challenges on this project for us was to keep everything nice and tight with a small-rack install,” adds MADE’s Bond. “Because the Mezzos are so small in the rack, we were able to fit three satellite boxes, and an AUX input, so we could come in and throw [sound] around in different zones and make it easy for the client to use.” Despite its high spec, the Powersoft system is so competitively priced that recommending it to MADE for the Matches project was very straightforward”, ends Barton.
Une image du 604 AD.
Le système de commande WM Touch.
Shephard says he is “delighted with the AV system we have in Matches. The WM Touch system is super user-friendly we have a control panel behind the bar, which any of our staff can log on to and be able to change the audio in a couple of clicks. Plus, the training [from MADE] only took a minimal amount of time – no more than half an hour – because it’s so simple to use.”
In fact, so impressed were the MADE team by the system installed at Matches that the company is already speccing an almost identical system for several upcoming projects. “That’s off the back of how strongly it’s performed at Matches,” Bond continues. “It’s definitely become our go-to solution for hospitality projects – so much so that we even hold stock of it just to have it when we need it.”
Une des -match boxes-
Equally important as its equipment’s technical prowess are the people at Powersoft, adds Barton of CUK, which has been distributing the brand in the UK since 2008. “It’s not just about the products, it’s about the relationships, and the guys at Powersoft are fantastic,” he concludes.
3 partenaires et un client heureux.
“They’ve demonstrated time and time again that they’re approachable, personable and flexible, which is exactly what you need in a working relationship. And it’s a rare combination to find a top-level manufacturer that has such fantastic people working for them.”
200 drones took to the skies above Burg Giebichenstein in Halle (Saale) and assembled themselves into symbols and catchwords of German Unity. The exclusive multimedia drone show by Jens Hillenkötter and his company JH Technology Arts was the highlight of the closing celebrations for German Unity Day, which were broadcast live on television. One floor further down – in the inner courtyard of the castle ruins – numerous moving lights from Ayrton set the scene for the multi-layered live setting in parallel.
“The castle ruin is a very special location and combines the historical with the digital, because the whole show is designed to be followed via TV or digital streams,” says Jens Hillenkötter, who has already been responsible for numerous sensational light and drone shows in recent years. “The lighting design plays an elementary role here, because we not only have various camera formations for the broadcast, but also live musicians and orchestras in the show, which all have to be set in perfect light. We want a big look that makes its impact even from a distance.”
In total, the experienced lighting designer relied on 64 Ayrton Perseo Beam, as well as 14 Ayrton Domino-S, IP65 moving lights placed throughout the winding castle ruins as well as along the large bridge at the foot of the castle.
“We needed fixtures that were not only compact, lightweight and weatherproof, but also offered a tremendous amount of flexibility, because with this show and this setting, it was clear from the start that there would always be changes. What is a beam fixture today, I might need for an open white wash tomorrow.”
In the course of a large lighting shoot-out in the run-up to the show planning, Jens Hillenkötter and his team had the opportunity to compare all potential manufacturers. The underlying question was: what is the ideal tool for each specific use?
“The Perseo Beam convinced us above all with its compactness – especially when you consider that this is an outdoor lamp. In addition, it has a nice, defined beam and can also produce a soft fading light when needed.” Hillenkötter used the Perseo Beam again and again for the live musical acts on site – for example for singer/songwriter David Vidano, who switched between two stages during the show.
Jens Hillenkötter was equally impressed by the large zoom range of the Ayrton Perseo Beam. “I immediately noticed that the fixtures have a homogeneous beam without a hotspot, as you often find elsewhere.” Wherever Jens Hillenkötter needed even more light output or wanted to achieve break-up effects, the Ayrton Domino-S were used, which with their large and defined zoom range and precise optics additionally provided structure in the lighting design. “In addition, the shutters were a great help in acute-angled lighting situations to avoid shining out of the castle everywhere.”
The video of the show can be viewed here:
Ayrton is distributed exclusively in Germany by Lightpower GmbH.
For more information on Ayrton Perseo Beam and Domino-S and the full range of LED lighting fixtures, visit www.ayrton.eu
ETC’s Eos Family of lighting controllers is known for providing comprehensive, finely tuned control for lighting rigs of all sizes. Now, with the release of Eos v3.1 the latest major software update for the platform that control becomes even more customizable to suit any programming style or show. Eos v3.1 is all about you, with new tools that help you set up your workspaces programming, 3D-visualized, and physical just the way you want them.
In a fast-paced show environment, you need quick access to all your content. In Eos v3.1, Custom Direct Selects now support thousands of custom target lists, which you can populate with channels, groups, palettes, scenes, and more – along with new navigation tools to help you page quickly between them.
A new icon library lets you add images to both Direct Selects and Magic Sheets so that you can identify targets at a glance. The addition of user-defined Encoder Maps also allows you to create custom encoder layouts for all your fixture types using a dedicated and intuitive editor.
Show control triggers are now easier to monitor as well a new Timecode dropdown in the top bar of each display allows you to see your console’s interactions with other devices.
Eos v3.0 introduced Augment3d, a revolutionary workspace that lets you program and visualize your rig in three dimensions. The v3.1 release adds new tools that let you bring your virtual programming environment closer to reality. You can now enhance your model surfaces with Materials, which can be applied from an included library or imported from custom sources. Sketchup imports have been dramatically improved, and Vectorworks imports now include shutter cuts for conventional fixtures. When you want to break away from beams and shutters, new generic fixture options for sconces and chandeliers provide new options for omnidirectional light sources.
The improvements in the new software aren’t limited to the virtual realm; Eos v3.1 provides new options for customizing your physical workspace as well. Some shows require a lot of handles, and Fader Wing Groups now give you the option of paging all your internal playbacks and Fader Wing accessories as a single bank.
Eos v3.1 also gives you granular control over the light levels of your workstation. A new dialog box allows you to adjust the Brightness settings of your desk components and compatible external displays from anywhere in your system and play them back as presets or macros. When you need to focus on the stage to hone that perfect moment, you can also trigger the Extinguish mode to temporarily turn off all lit surfaces.
This new release is just the latest advancement for the Eos platform, which has 15 years of growth and evolution under its belt. As always, the software is free to download and use on any Eos Family console or controller or on your Mac or PC, which can be unlocked to network to your rig with the addition of an ETCnomad USB key. No matter which Eos Family device you use on this gig or the next, this latest suite of features will let you truly make it your own.
Ayrton is thrilled to be part of The Doobie Brothers new tour in celebration of their 50th anniversary, which will play to around 50 venues across the USA and Canada throughout 2021 and 2022. Solotech of Nashville supplied 17 Ayrton Khamsin LED profile fixtures for this iconic tour which were chosen by the production design team at Darkroom Creative, Seth Jackson and Nathan Alves. The team wanted the Khamsin fixtures as part of their unique, retro design which they use to summon up a 1980s vibe.
“In celebration of the Doobie Brothers’ 50th Anniversary, Darkroom Creative did a little celebration of our own,” explains Jackson. ““We figured since the band was celebrating 50 years, and the concert lighting business is roughly the same age, we would give a nod to the guys that inspired us when we were getting started.
The lighting rig, though completely LED, is reminiscent of the par can rigs of the 1970s and ‘80s. What would have been ‘14 movers and 120 par cans’ became 17 Khamsins amid a raft of other moving lights. “Hidden in the cueing are hat tips and homages to the greats from that era. Lighting nerds with a keen eye will see bits of Marc Brickman, Steve Cohen, Peter Morse, Jeff Ravitz, Marilyn Lowey, Alan Owen, Howard Ungerleider, and a host of other greats. The show has no IMAG, no cameras.
The video is a scenic enhancement using album covers and archival artwork to craft new animations amidst rows of constructivist scenic panels. All of this is under the direction of Steve Owens, a legend himself, who has been with the Doobies since the mid ‘90s. He fits perfectly into our little tongue-in-cheek history lesson!”
Ayrton Khamsin
Jackson and Alves were keen to use the Khamsins, and Jackson explains how they fit with the design. “The Khamsins are THE hard edged fixture in the rig. They handle the key light on the four principles, the backlight, and we use five units on the deck (they are the only floor lights, actually) to light the set. We also utilise them for air graphics and effects.
“We often leave the key light clean on the guys; however, we do make use of Khamsin’s animation wheel as key light for Blackwater. The opening of the song has such a mood about it, and the Khamsins have plenty of intensity that still allow you to see everyone, but you get this great subtle water ripple across them.”
The Khamsin profiles were chosen because they were the best fit for a list of requirements, as Jackson explains: “Nate was the cheerleader for these fixtures after a demo from Lee Moro at Solotech. We had been bidding the show with a COVID mentality – ‘we need a spot that does this, a wash that does that, and what do you already own?’ But when Lee came back with some suggestions, Nate immediately chose the Khamsin. The field and colour rendering were excellent. The amount of flexibility in the effects was remarkable. With both animation and framing shutters in addition to the gobos, we had a lot to work with. This flexibility turned out even more essential than we knew as the show clocks in at 2.5 hours! We use everything that light has in it!”
Touring so many venues, cities and rehearsals can take a toll on the gear as Jackson points out: “The tour is doing arenas and sheds and is divided into roughly two six week runs. We had quite a few weeks of rehearsal and a healthy thunderstorm right out of the gate but the Khamsins have been flawless.”
“The Khamsins have been very solid the entire tour so far,” agrees David Carr, the tour’s lighting crew chief. “Performance-wise they have a great zoom range without losing any punch. Even limiting their intensity to better match the other fixtures (we run them at about half intensity), they still pack a punch and are very crisp.”
John Flynn, Solotech’s director of global projects adds: “From Solotech’s point of view, we love the Khamsin as it is the leader in LED technology. Many of our clients are requesting “greener” usage, so to have an LED solution with such a flat field compared to most discharge fixtures makes Khamsin top of many a lighting designer’s wish list. Clients love it and it’s getting requested more and more. The added bonus for the road guys is having a fixture that just doesn’t break and never requires any lamp changes.”
The first leg of the Doobie Brothers 50th Anniversary Tour started in Des Moines in August and continues until 29 October 2021. The second leg kicks off on 2 June 2022 in West Palm Beach and runs until 30 June 2022.
Doobie Brothers 50th Anniversary Tour Creative Team:
Production Design: Nathan Alves & Seth Jackson (Darkroom Creative) Additional Video content creation: Brent Sandrock (Creative Lumens) Lighting Director: Steve Owens Lighting & Video: Solotech, Lee Moro Tour Manager: Scoby Ross Production Manager: Bryan “Froggy” Cross Rigger: Dave Schnitker Lighting Crew Chief: David Carr Lighting Techs: Steve Schwenke, Adrean McDonald Video Tech: Bryan Keyes Video Crew Chief: Ian Bertrand Management: Full Stop Management, Karim Karmi & Vector Management, Joel Hoffner
For more information on Ayrton Khamsin and the full range of LED lighting fixtures, visit www.ayrton.eu
Denmark’s thriving live music scene re-energised in style after the country’s post pandemic ‘Freedom Day’ with several prominent shows and events including a landmark performance at Parken Stadium in Copenhagen by The Minds of 99 who smashed it as only the second ever Danish act to play there, in front of 50,000 ecstatic fans, complete with a high impact show design from Jannik Kenneth Skov Jensen.
Lighting included over 300 Robe fixtures – a megamix of Tarrantulas, BMFL WashBeams, MegaPointes, Spiiders, BMFL FollowSpot LTs and RoboSpots. Everyone in Denmark is talking about the Minds of 99, the hugely popular multi award winning post-punk rock band known for their cerebral lyrics and subjects as well as for their infectious beats.
Jannik Kenneth has worked with the band since 2017 and he curates all the visual elements of their stage performances – including staging / scenic and video – in close collaboration with their manager, Ole Nørup Peteresen. Parken was the biggest show that Jannik Kenneth has designed and operated to date. The rising star LD studied to be an actor and director before turning his talents to the more technical disciplines of lighting and visuals in 2016. The event was originally planned for 2020, as the band’s only show, but that was foiled by the pandemic, and it was a massive deal for the band!
Jannik Kenneth’s starting point for the design was looking into other band performances at the venue, to get inspired and about how they used the space. As this show was going to be a one-off, he set out to create something that used the full potential of the venue, and that would hopefully exceed anyone’s stadium show expectations. “I wanted a design that felt as if it had been almost squeezed inside Parken!” he elucidated. The standard production design area was dramatically extended with the creation of wings on both sides of the stage, covering an 80-metre span going way beyond the portrait format left-and-right IMAG video screens, effectively filling the whole width of the stadium.
This epic look was complemented by a B stage just in front of the FOH platform and a C stage at the far end of the stadium, plus two catwalks coming off the mains stage which served for the set’s more intimate moments allowing the artists to get close up to their fans. To get the coverage, and range of bold and vivid colours that Jannik Kenneth wanted, he chose 132 x Robe Tarrantulas as the main wash lights, all rigged in trusses above the stage and wing areas.
The Tarrantulas were essentially THE fixture carrying his design. Jannik Kenneth’s favourite LED wash light is Robe’s Spiider, but for this show he needed the extra oomph and intensity of the Tarrantulas!
It was the first time he’d used these fixtures for a show, although he’s seen them in action, and due to his great experiences with Spiiders, he knew the larger fixture would be perfect.
In addition to washing the stage beautifully, when zoomed right in, the Tarrantulas made exceedingly powerful beam effects that filled the stage and reached out across the stadium into the audience drawing them into the action.
One hundred and fourteen Robe BMFL WashBeams were the main hard-edged fixture of the show, 36 on the floor lined up along the upstage edge of the stage and wings, and the remainder dispersed across the trusses. “I simply needed the output and LOTS of it,” he explained, saying that he thinks these fixtures are still among the very best high-powered luminaires on the market.
He had used BMFL Blades and Spots extensively before, but it was the first time for WashBeams, selecting these BMFLs for their additional brightness, enhanced optics and zoom range as well as all the features and effects like gobos and the animation wheel. He also ensured there was some space on this ambitious rig for 20 x Spiiders, which were used as up lights and side lights across the drum and keyboard risers and also for general side stage lighting. The set was a network of integrated risers that resembled one large sculptural piece, especially in combination with the lighting – one of the big advantages of designing multiple visual elements of a show rather than just one department.
Twelve MegaPointes were used as specials beaming onto a 2-metre diameter mirror ball that descended from the ceiling above the B-stage during the highly symbolic song, “En Stemme” (One Voice), the first number of the encore. Six fixtures were on the floor and six hung from the (fully covered) stadium roof. The lights and the mirror ball had been cleverly concealed beforehand to ensure maximum surprise!
Jannik Kenneth specified four RoboSpot remote follow spot systems for the show. The BaseStations were positioned behind the stage and three were linked to a total of 12 x BMFL FollowSpot LTs and BMFL Spot follow spots. Four spot lights in total – one positioned in each corner of the above stage rig – were allocated to each of the five band members, 20 in total of 20 spots, including the 12 x controlled by RoboSpot. The fourth complete RoboSpot BaseStation and associated lights were set up as a spare … but not needed!
The BMFL FollowSpot LTs were on the advanced truss throwing around 50 metres to the front of stage, and the BMFL Spots were on the upstage trusses. Being able to work with multiple follow spots gave Jannik Kenneth enormous flexibility. The front ones were absolutely crucial to the show as primary front and key lighting. He loves being able to control all the parameters – colour, intensity, iris, etc – from his console, in this case a grandMA2 full size, so he did all the colour bumps and other effects, keeping everything in perfect unison with the other cues and leaving the RoboSpot operators free to concentrate on accurate pointing-and-shooting!
Jannik Kenneth enjoys working with Robe products and comments that the brand – certainly in the last 5 years – is now among the ‘most encountered’ anywhere in Denmark. “I really like the products – BMFLs, Spiiders, MegaPointes – I have toured with all of them, and they are well made and reliable,” he stated.
Having worked with The Minds of 99 for some time and being familiar with the music, Jannik Kenneth is constantly buzzing with ideas for how the songs can be interpreted with lighting. While he works very closely with band manager Ole, he’s given the time, space and trust to shape and nuance his own lighting ideas.
The major challenge on this one was the sheer scale – and anticipation – of the occasion! Expectations were exceptionally high, and with the whole country having been starved of live performances for so long … all eyes were watching! Three weeks pre-vizzing in WYSIWYG preceded two nights on site with the full rig, as the start of the get in schedule was dictated by a national team football match on the Tuesday evening of that week.
It was an evening replete with multiple magical and emotional moments, and for Jannik Kenneth personally standing at FOH about to operate lighting for the biggest gig to date of his ascending career, amidst 50,000 screaming fans, the feeling was almost overwhelmingly off the “goosebumps scale”. Everyone stepped up to deliver an outstanding and hugely memorable show. The light and screen production was co-ordinated and managed by 4K Projects. The light and video equipment was provided by Victory Tour Productions, and audio was delivered by AllRound – Lyd & Lys.
Jazzopen Stuttgart has been one of the highlights in the event calendar of the Baden-Württemberg state capital since 1994. The recipe for success: Renowned jazz musicians and top international acts from the worlds of rock, pop, soul and blues performing on six stages spread across the city. With the help of 250 GLP moving heads, LD Jerry Appelt created optimum conditions for another glamorous show again this year.
Appelt has been working for the festival on behalf of the organiser, Opus Festival-, Veranstaltungsungs- und Management GmbH, for several years. In 2021 he was responsible for the lighting design for the two largest stages: on Schlossplatz, and in the splendid Renaissance arcade courtyard of the Old Palace. Between 10th and 19th September, artists such as Katie Melua, Element of Crime, Chilly Gonzales, Liam Gallagher, Parov Stelar and Amy Macdonald performed.
122 Fusion Stick FS20, 46 JDC1 and 58 Highlander Wash on main stage Stuttgart’s Schlossplatz, one of the most beautiful squares in Europe, offers an impressive backdrop for Jazzopen’s main stage. This first-class festival, therefore, requires an equally elegant stage look, as Jerry Appelt explains: “The Jazzopen is an absolutely top-class event, which can be seen by the impressive locations. The challenge for me as a designer is to create an independent, elegant look that can correspond with the requirements of the artists and their individual festival setups.”
The designer, who is a big fan of the Fusion Stick FS20, took the opportunity to combine 100 of the IP65 LED bars into a central perspective light architecture. Eight Fusion Stick FS20 were installed in three horizontal rows on six pyramid-like angled trusses. In addition to the central LED wall, three vertical lines, each consisting of four FS20, were placed on the left and right, while the front truss on the stage roof took another 16 pieces of the versatile LED bars. Above the large LED walls, situated on the left and right of the stage, six Fusion FS20 bars each formed the end pieces.
“On the one hand, the bars in this large display are used to create spatial lighting architecture,” explains the designer. “On the other hand, they can also be used very nicely as a light matrix and for blinder effects. The fact that the devices are weatherproof makes it easier to work outdoors, so that we didn’t have to worry about the unprotected hanging bars on the front truss. I really like the FS20 – thanks to the very good price-to-performance ratio, the devices can easily be specified in large numbers without breaking the budget.” Appelt uses 46 GLP JDC1 for additional room design and effects, while the Highlander Washes are the workhorses on stage, creating saturated colours and stage washes.
“At the Jazzopen there are always pop and rock acts who want to put on a powerful light show. In this respect, an ultra-bright hybrid strobe like the JDC1 is never out of place,” says Appelt. “The great thing about the lamp, however, is that you don’t have to extend it to the limit to make an impression. Thanks to the RGB surfaces, they can be used very atmospherically, slowly and discreetly at low intensity. “It’s similar with the Highlander Wash: On the one hand, we were already operating in twilight and needed a lamp that would assert itself well in the remaining daylight. On the other hand, the more intensity that is available, the better I can use saturated colours to generate really dense, saturated looks on stage.”
24 Fusion Stick FS16 Z on stage at the Old Palace The designer also turned to GLP solutions to light another spectacular venue, equipping the stage at the Old Palace with 24 of the brand-new Fusion Stick FS16 Z. This further development of the Fusion Stick FS20 is an LED batten in a robust IP65 design, which can be connected seamlessly to Fusion lines in the true GLP fashion. A new addition, however, is the motorized 8°–40° zoom integrated into the compact housing. And with the halo diffuser ring around each pixel, GLP has unleashed a genuine innovation that reveals a new optical effect and significantly improves camera suitability.
“The Fusion Stick FS16 Z had a similar role to the FS20 on the main stage, except that it gave us even more opportunities to play with the zoom and the halo ring. Incidentally, the latter is really a nice added value,” he notes.
GLP founder Udo Künzler is also delighted with the latest release from the Fusion series: “This proves once again that our development team has gone the extra mile in integrating customer requests into new products.” Matthias Kreiner from [werkPlan] created the technical planning. Session pro GmbH was responsible for the Jazzopen as a technical service provider. The operations crew consisted of Manfred Nikitser, Sebastian Huwig, Frank Bungarz and Markus Buck.
Integration company Sound Principles Pro of Georgia has installed dynamic-white TVL Softlight DW luminaires by Elation Professional in a new professional studio in Atlanta, Anthony Murray Studios. The temperature controllable luminaires provide variable shade projections of high-quality white light for two broadcast spaces, working together with color-changing fixtures and a large video backdrop from Elation sister company ADJ.
Conceived by Anthony Murray – founder of the Oasis Church in Greater Atlanta – the multipurpose studio provides local businesses and creatives a turnkey solution for producing high-quality video content. The facility will also be utilized by Anthony’s church, and others in the area, as a resource for recording video sermons and other faith-based media.
Sound Principles Sound Principles designed, specified and installed the lighting rig along with the high-resolution ADJ LED video wall and an adjacent green screen. Sound Principles company manager Matthew Russom served as designer on the project, handling the front end before handing it off to project managers Steven Shelton, Paul Shelton and Micah Willis who sorted out patching, assembling and installation. “They handled the whole process well and did a beautiful job,” Russom states.
4K video filming The team at Sound Principles designed a cube-shaped truss structure, which fills the room, providing a ground support structure for the video wall and full lighting rig, as well as rigging points for the green screen backdrop on the opposite side of the room. A line of truss down the middle of the space can cover both the LED video wall and green screen areas. “I was looking for a fixture that would be appropriate to light up the area in a nice warm wash for 4K video filming and the TVL Softlight DW was our best option,” Russom states. “The level of even coverage, the brightness, the ability to change color temperature, and how well it translates into high res video, when you look at other products at that price point I was just not confident that they would do the job and be dependable.”
Some 27 TVL Softlight DW are used in the space, some mounted back to back on the middle truss to cover each side while others are mounted at utility locations to create a rear or side wash. “We can bring up a scene on either side for a green screen wash or LED wall wash and not a single fixture has to be moved,” Russom says of the setup, adding that occasionally they will pull a fixture to do a quick social media video.
TVL Softlight The TVL Softlight DW houses both cool white and warm white LEDs for linear color temperature control (3,200K – 5,600K). Its uniform flat-field output combines with conveniences like dimmer and color temperature rotary control dials for simple projections of variable white light. White color reproduction is of the highest quality with a CRI over 95 and each fixture includes removable 8-leaf barn doors.
“They wanted to nail the design and let us get the studio what was needed to execute all the different things they want to do in the space without having to use a lot of extra people,” says Russom. The TVL white light projection is facilitated by ADJ 12PX Hex LED pars spread throughout the space with ADJ COB Cannon Wash ST fixtures used for house lighting between shoots. ADJ Vizi Wash Z19 moving head LED washes are mounted to upright trusses in each corner of the room.
Keeping it nondramatic Sound Principles works with manufacturers rep firm Freed Sales, who Russom says help them consider options and then select the best products for each particular application. When it comes to specifying, he says he likes to keep the quoting process nondramatic. “Therefore, I tend to gravitate toward brands that don’t end up having problems later.
When it comes to lighting, we have specified Elation and ADJ for a number of years. It’s a dependability factor. I’ve had great success using those two brands of fixtures on hundreds of installations.” He says that in addition to Anthony Murray Studios, Sound Principles is using the TVL fixtures and installing them regularly. “We’ve put them in churches and small businesses who want to do commercial videos and they’ve worked out wonderfully.”
With a comprehensive lighting system, large LED video wall, green screen setup and complete package of cameras and other equipment, the new Anthony Murray Studios complex truly lives up to its founder’s vision of providing a full turnkey solution to its users.
Gear List:
– 27 x Elation TVL Softlight DW – 126 x ADJ VS2 – 18 x ADJ VSRB1 – 22 x ADJ 12PX HEX – 6 x ADJ COB Cannon Wash ST – 4 x ADJ Vizi Wash Z19 – NovaPro UHD Jr – ArKaos Studio Server – ArKaos Media Master Pro
This spring, the brand of the yellow triangle launched two new LED moving heads: a framing spotlight and a wash, both of which are super-powered and equipped with an exclusive 1,700 W LED engine that promises exceptional luminous flux. We put the Mac Ultra Performance motorized framing spot to the test. Follow along with us.
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Martin has chosen to follow a very specific path, a unique approach to manufacturing that is philosophically opposed to the one taken by its competitors, who go to great lengths to produce the most compact and lightest fixtures possible. Mac Ultra is still very reasonable in terms of size and weight relative to its power level, but it quickly becomes apparent that the manufacturer has made clear choices in terms of construction and optics that entail a need for space.
It weighs 44 kg and stands 87 cm high. Its large and stocky head allows it to accommodate impressive optical elements and the result is a fixture that stands out from other units on the market, with several assets like the animation wheel that can be positioned in the beam on three different axes. Though this mechanism requires a lot of space, it provides remarkable results.
The tightest setting of the iris on the left, followed by the zoom range, from its tightest to its widest sharp-focus settings.
Flux and light…
The 1700 W module, made up of 84 white LEDs, operates at only 1150 W to guarantee a stable output of the sources over time and a long life with maximum flux. The native white has a color temperature of 5800 K with a CRI of 65. An internal filter can raise this CRI to 86, and brings the color temperature down to 5000 K.
Derating
We start our tests by turning on the fixture at full power and measuring the illuminance at the center of our target every five minutes. The illuminance stabilizes after 15 minutes of heating with an attenuation of 7.3%, which is quite good. Now we can start our photometric measurements.
Tightest sharp-focus beam
One of the characteristics of the Mac Ultra promoted by the manufacturer is the fact that the beam maintains a high luminous flux at its tightest zoom angle. Martin states that it uses a process of “light recycling”, minimizing losses by means of a specific machining of the lenses. The ratio of its flux at 20° to its flux at the narrowest sharply-focused zoom setting is among the best in this class, taking into account the beam angle of 7.3°, which is achieved by tightening the zoom to the maximum. The luminous intensity curve shows a pronounced hot spot in the center with a sharp beam.
20° beam
We measured a flux of 39,500 lumens (42,540 lm when cold), which makes it the most powerful fixture in this category at 20°, our benchmark divergence angle.
Widest sharp-focus beam
The zoom allows the beam to be opened to about 51° while maintaining sharp focus (measurements made at 5 m), with a flux after derating of 39,830 lm (42,900 lm when cold) and if we break the focus a little, we can get it to 54°.
Colors
The CMY mixing produces beautiful, saturated colors and clean pastels. The transitions are transparent and precise. Though with projections the uniformity is perfect, when certain mixtures are introduced into a tight beam, it exhibits a phenomenon that causes the first tens of centimeters of the beam to have a little saturated color at the edge. This happens on some fixtures and sometimes to an even greater extent. With a wider beam (and even a very wide one) this phenomenon disappears completely.
The primary colors of the CMY system, and the CTO.
The colors of the color wheel.
The combination of magenta and yellow yields a useful and bright red; those fans of an ultimate deep red will be pleased with the red filter on the supplementary color wheel. The filters on this wheel are cut into trapezoids and glued edge-to-edge, producing two-tone beams without the interruption of a black metal strip separating them. On the other hand, the color wheel is not really focusable and we can only expect two-tone beams with a somewhat blurred border, or even a fading transition, which is very nice. This wheel has five straightforward hues, including a deep red, a congo, and an orange that really “kicks”… as well as the CRI filter.
The color section is completed by a progressive CTO filter that takes the white beam to a nice amber 2760 K, close to a “tungsten” hue. Importantly, the CTO also corrects the CRI proportionally, pushing it to 86 at full.
Gobos and effects
The MAC Ultra Performance has two gobo wheels, each with five indexable rotating glass gobos, plus an animation wheel. The designs of the gobos are quite appealing. Except for the “Limbo”, a type of glass for creating water textures, a fine colander, and a series of crosshatchings, all of which have already appeared on several fixtures, the package provides a nice selection of very original and effective gobos. It delivers some very unusual beams, which will probably become favorites for many lighting designers.
The gobos of the first gobo wheel.
The gobos of the second gobo wheel.
We are keeping a close eye on the “Yellow Shift” phenomenon generated by the gobos of LED fixtures. Just to remind you what this is, it’s when a glass gobo is positioned with its shiny surface facing the LED engine, generating a parasitic reflection linked to the optical treatment of the surface of the LEDs. When present in the beam, it turns a little yellow with a more or less pronounced drop in color temperature.
To compensate for this phenomenon, the CMY system automatically corrects the color, at the cost of a slight drop in flux. This system can be switched off either via the fixture’s menu, using RDM, or via the DMX control channel. The result is quite satisfactory and eliminates the need to install a correction filter. On the other hand, when using a prism with a gobo, a slight bluish halo appears and interferes with the center of the multiplied image. The addition of a small percentage of cyan in the CMY system is responsible for this. It is not a serious problem but it can be noticeable. The indexed animation wheel provides infinite scrolling of a striated disc. This has been redesigned with respect to the pattern of striations found on other Martin units, and is in the form of well-spaced wavy lines that give the beam a very jagged appearance.
The animation wheel can scroll on three axes.
The key feature of this animation wheel is that it can move vertically, horizontally or even diagonally through the beam. It produces an effective and usable effect that fully exploits the possibilities of this system, without compromises. This is an animation wheel that we would like to find in most movers.
The framing system also reflects a clear technical choice. The shutter blades that move on only two planes ensure a sharper focus on all the shutters. On the other hand, although it is possible for each blade to cross the entire width of the beam, when a blade comes into contact with its counterpart, it pushes it away. Therefore, it is difficult to create a triangle or other contorted shapes. However, there is substantial range of inclination and it has no effect on the traversal range. A shutter, tilted at 30° or more, can go completely through the field without any problem. And if we add the possibility to rotate the frame through 83° (very precisely), the framing module is still practical to use.
The framing module in action.
Mac Ultra Performance features a progressive frost. Because of its location, it can be used over about 80% of the zoom range, that is, from about 10° up. It is fairly intense but its progressiveness is somewhat relative. It gradually enters, producing a halo around the beam but does not really soften the edges. The blur effect only works when it is fully engaged. A second (even more intense) frost is available in place of the prism, if needed.
The frost.
The 4-facet prism is really effective. It produces a very wide dispersion of the beam and provides nice projection quality. Here again, using it will reduce the range of the zoom by a few degrees.
The prism.
The iris closes down to a sharp beam with a negative angle. At 5 m, you can obtain a clear projection with a diameter of 10 cm. The speed of the fixture is satisfactory. Despite its size, it is snappy and responsive. Slow movements are also precise and ultra-smooth.
The focus is accurate and quick. By the way, here’s a little tip: the second gobo wheel is at the same focal point as the open beam, which will allow certain shortcuts for console programmers when managing presets (we’ll just have to imagine this for the iris, and it would be just perfect!).
Video presentation
Dimmer
The dimmer is excellent. The plot of the curve in “Square law” mode (the most commonly used) shows its linearity and the smoothness of the dimming. The “S-Curve” mode further refines the dimming, especially at the higher values.
A plot of the dimming curve in Square Law mode, from 0 to 10%.
A plot of the dimming curve in Square Law mode, from 0 to 100%.
A big beast that knows how to be discreet!
Cette machine est vraiment très silencieuse. Nous mesurons 33 dB à 1 m pour le bruit de la ventilation et 44 dB en fonctionnement le plus bruyant impliquant les mouvements pan tilt et paramètres internes.
Multi langage
This fixture is really very quiet. We measure 33 dB at 1 m, the fan noise, and 44 dB at its noisiest operation, involving pan and tilt movements and internal effects.
Disassembly of the MAC Ultra Performance
The inside of the fixture.
Martin reports that they have made a choice regarding the materials used for some of the plastic parts covering their fixtures. If the cowling and cover elements may seem a bit more “cheap” than those used on some previous generations of their products, they don’t look any less solid, but this allows the replacement of parts that have been damaged by a bump or mishandling at a lower cost. A new half-arm cover costs 25 €, which is at least five times less than before! I say “bravo”!
Catches are provided to lock the head in both pan AND tilt. For disassembly, you will need Torx screwdrivers of several sizes (25, 20, and 10). Martin wants to limit access to technical parts to qualified technicians in the shop…
I never condone hindering the user’s work. It’s rarely for fun that a technician puts his hands in a fixture using a Leatherman and lit by his headlamp behind the stage, but out of necessity… anyway, I digress…
The back of the unit, with its handles.
The head has a slightly odd shape to match the space needed for all the features. It terminates at the front with a large lens, while at the rear two handles allow for manual control (like a followspot, but from the rear…) by disengaging the pan and tilt of the unit. The ventilation of the source section relies on a few grills located around the rear and a small hatch with a dust filter.
The covers are held in place by two captive screws and then two safety cables clipped to a small removable pin, which is much more practical to remove than a carabiner. Inside the head, two modules can be removed, the one for the color system, and the one for the gobos, effects, and framing shutters. Everything that is frost/prism/zoom remains in the front of the head.
The CMY system. You can make out the slanted stripes of the dichroic flags.
Once removed, the color module opens in two quite easily to access the mechanism that drives the dichroic glass flags. You can see all the work that goes into obtaining beautiful colors. The slides have colored edges organized in “combs”, for the gradual introduction of color mixtures.
These stripes are angled in different directions, depending on the colors, to optimize the mixing and the quality of fine blends. This technique, derived from the requirements for the use with mechanical dimmers, has been optimized here for an LED source fixture, and produces very nice results.
The color wheel side of the effects module.
The second module, the one with the effects (but also the color wheel), can be easily disassembled into two smaller modules to separate the part with framing shutters and iris from the other effects. This module is in fact a kind of “two-in-one”. You can separate these two elements by removing a few screws that join them together through little pillars.
As for the gobo section, the two wheels are very close to each other and are closely followed by the animation wheel.
The animation wheel and one of the two wheels of rotating gobos.
The gobos are mounted rather conventionally in a small cylinder with a toothed rim. And this snaps onto the gobo wheel with a simple motion.
A gobo holder. You can see the small mechanical indexing notch.
An original feature is that each gobo has a little reference notch that acts as an indexing point, and each gobo holder is equipped with a little magnet. This means that even before mentioning indexing, the gobos are positioned correctly and all the gobos are indexed in the same way. The wheels are mounted in reversed directions, so you can work as easily on the gobos on one wheel as on the other.
The dichroic filters of the color wheel are held in place by a clip located near the axis of the wheel. Replacing them should be easy. This wheel is positioned as close as possible to the CMY module.
The framing module.
The framing module displays its unique design. The system is big, like everything else in this fixture. When handling it, one can see that the range of the movements is quite extensive.
The two lens carriages that make up the zoom and the focus system are located in the front part of the head. They travel on cylindrical rails, propelled by belts stretched over pulleys.
The focus carriage and the bracket that holds the frost.
On either side of its carriage, the focus lens holds the frost and prism brackets, allowing them to be inserted into the beam. Once we’ve stripped the head bare, we can see the LED circuit at the back, which is connected to the cooling system: a heat sink and fans.
The rear of the Mac Ultra with the cooling system of the LEDs.
In front of the source module, a group of lenses is used to collimate the output from the LEDs, followed by an optic that condenses the flux. The LED module can be easily disassembled in a few minutes. A few screws and six connectors (three large and three small) are enough to free it. However, it is not necessarily tomorrow that we will have to remove it, considering the life expectancy of this kind of source.
The back of the head, with the output lens of the LED module.
The construction of the arms and of the whole frame of the yoke, in aluminum alloy, appears very solid (“almost too solid”, would say a conspiratorial-minded technician). The removal of the two arm covers also frees the two carrying handles (How convenient is that?!! This is an innovation first seen on the Mac-III, and brought back on the Viper; it’s a real pleasure to handle the unit). These are just clipped on and held firmly by tightening the covers. On Martin’s previous models, these handles were integrated into the frame of the arms, but sometimes ended up being destroyed by the rough handling and knocks that fixtures sometimes take in intensive use. Here, you’ll just have to replace these handles for a few euros, and that will avoid having half-bent lights in your rig!
Inside the yoke arms, one side houses the pulley and transmission for the tilt motor (with the belt tensioning system), and on the other side runs the two wiring harnesses coming from the base. The motor for the pan and another one for the tilt are located in the base of the yoke.
The base of the fixture can be accessed easily by removing two half-covers that slide around it and reveal the whole interior in seconds. In the base, the PCB that controls the display acts as the motherboard. Then, on one side, there is the switch mode power supply that feeds all the electronics and motors; on the other side, there is the power supply for the LED source.
The connection panel and the display.
The control panel with its screen is on the same side as the connectors, which allows you to present towards the audience a unit without any visible technical elements: not a bad idea! As far as connectors are concerned, there is a True1 input for the power supply, XLR5 input and output for the DMX link, and two RJ45 ports for the network and P3 connections. The opposite side is completely featureless and, on the narrower sides, two large handles allow you to move the fixture. The menu is simple, straightforward and precise, allowing the user to set the parameters of the fixture with the help of four keys, without having to ask any questions. All the usual functions are included: address assignment, network configuration, fixture personality options, calibration, dimmer curves, everything!
Just next to the menu display, there is a small removable hatch behind which two very useful elements are hidden. The first of these is the battery that allows you to use the menu and, therefore, to set up the fixture without a mains connection. The second is a USB port that allows you to update the fixture’s software. Note that you can also update the software via P3, or via the XLR connector. On the bottom of the base there are the attachment points for the omega brackets. They can be arranged in three directions: parallel or perpendicular to the base, but also at a 45° angle. Omegas with an offset are available as an option. A lug for a safety cable is also provided.
Conclusion
Martin is back in the lead with a fixture that is particularly well done, original, and the brightest on the market. Its many qualities will establish it in many applications, whether it be live, events, television or theater. In use, its gobos, optical effects and colors, combined with its power, let you diversify your effects and work with the light in an extremely complex way. I was lucky enough to get the chance to use it in an advance preview and I must admit that I was really impressed by its light and its capabilities. Mac Ultra, see you soon on the road!
Every member of Rosco’s Cube Family of LED fixtures has proven to be a fantastic choice for theatrical footlights. So far, we have shared how Braq Cubes are the footlights of Hadestown and how the Miro Cube 4CA fixtures were used as footlights for a new opera.
To wrap up the series, we’re sharing how Lighting Designer and Rosco Ambassador Trey Brazeal used Rosco Pica Cubes as tiny footlights for a recent production of Little Shop Horrors.
Trey is a Chicago-based lighting designer who, like many designers and technicians around the world, is finally getting back to work after the COVID 19 pandemic. His first job back was lighting Little Shop of Horrors at Metropolis Performing Arts Center in Arlington Heights, Illinois. It was one of their first live productions too, and they staged it inside a large tent that they had erected nearby.
Due to the size of the stage, Trey knew he would only have room for tiny footlights.
Because this show has some dark undertones to it, Trey felt that creating those uplit “footlight shadows” would be essential. He also knew that the stage area inside the tent would be incredibly limited, so whatever footlights he chose would need to have a very small footprint. Trey had seen how Rosco Cubes were popular as footlights, so he visited the website and discovered the 2.5” x 2.5” Pica Cubes.
Testing out the footlight shadow effects of the Pica Cubes in rehearsal.
Trey installed a mix of the variable color temperature Pica Cube WNC and the RGBW Pica Cube 4C fixtures on the front of his stage. Each Pica Cube ships with a 20°, 40°, and 60° lens. He was pleased to discover that, despite their size, the tiny footlights packed some punch! The bright output allowed Trey to install the 60° lens on the footlights, which provided him with a large enough beam-spread to cover the entire stage area.
Once they were installed, Trey noted how the Pica Cube footlights “mixed wonderfully together to give a rich and well-rounded look to the action on stage.” In particular, he noted how well they worked during the moments where the voice of Audrey II was ringing through the mind of Seymour. “They created this haunting glow for me that brought out the idea of the plant controlling all situations, even when it was not present onstage.”
After closing night, Trey reported back to us that “the Pica Cubes were the right kind of lights to emphasize the dark underbelly that is this show.” He shared how they were plenty bright enough to provide him with the lighting effect he needed, but tiny enough not to obstruct the performers or the aesthetic of the set design. “I would absolutely recommend this product to any designer, whether they be used as footlights or a hidden window light.”
Trey Brazeal is a recent graduate from Illinois State University’s School of Theatre and Dance with an MFA in Lighting Design. If you’d like to see some examples of his work, you can visit his website: tbrazealdesigns.com, or follow @treybrazealdesigns on Instagram.
Watch this video to learn more about Lighting Designer Trey Brazeal and his design for Little Shop of Horrors at Metropolis Performing Arts Center :
If you’d like to learn more about the Pica Cubes that Trey used in this production of Little Shop of Horrors, please explore our Cube Family Product Page. There you can learn about ALL of our Rosco Cube LED lights and find the right fixture for your project.
Highly respected Russian sound engineer, Aleksey ‘Midas’ Korolev, has recently moved to an immersive audio environment, expanding his work with d&b’s Soundscape system by adding KLANG’s immersive in ear system to his workflow. The move to KLANG also prompted him to switch from his long-term choice of console to DiGiCo, taking advantage of the SD-Range’s native integration with the KLANG system.
Aleksey Korolev with his new toys.
Aleksey Korolev first came across KLANG at few years ago at the ProLight + Sound trade show. “I was heading somewhere else when, out of the corner of my eye, I noticed a booth with something to do with IEMs. Or maybe it was just the brand’s colour that attracted me,” he laughs. “I took a brochure, but at that time I thought the technology was an interesting start-up amongst many others and I didn’t think I would be a user one day.”
When Korolev first joined his current band, a few of them used IEMs in mono. He switched them to stereo and a little later the entire band, except one guitar player, were using stereo IEMs. Still he felt he could achieve a better result. Despite developing a show file that provided consistent results from show to show, there were still occasional signal masking issues on certain arrangements and in particular acoustic environments when combined with the PA.
A lovely and immersive mix of DiGiCo, KLANG and d&b.
“When I found that our local distributor had a KLANG demo unit, of course I contacted them to ask if I could try it,” he says. “When I heard the results, I knew it would be really hard to go back to stereo. It’s very addictive. The sound environment created by the system feels so natural that in a few seconds you forget you’re wearing IEMs. Placing sources along the vertical axis makes it possible to get a ‘straight in the face’ sound without changing levels; it’s so natural that it feels like the system is playing a joke with you.
This is because our brains have adapted to stereo mixes, so if you have a conversation with a musician, you know where they are and look at them even if their voice is panned left or right in the mix you’re working on. But with KLANG, when they start speaking you turn your head to where their voice is coming from as it creates a natural acoustic environment and your brain believes what you’re hearing.
“The first time I tried a KLANG:fabrik was with another console brand. I had 48 input channels and seven stereo mixes which you can’t operate with a single KLANG:fabrik unit. So, I decided to use KLANG for just four artists and the rest got their mixes from the console.
The KLANG:fabrik face and rear.
The results I heard with KLANG were amazing, but controlling some mixes via the KLANG:app and some from the console was quite different from my usual workflow. Then I heard the DMI-KLANG had been released and offers more processing power. It also has a compact format factor and can be inserted directly into DiGiCo SD consoles. That triggered me to think about switching to DiGiCo.”
Whilst the change to DiGiCo necessitated a different approach, Korolev has found Macros, in combination with smart keys, to be “an amazing feature”, making show control and preparation extremely flexible. He also appreciates the 12 faders per bank, the clarity of the mix, and the line check option in the audio I/O tab.
Hidden behind the DMI face, some massive FPGA processing power brought by the collaboration initiated with DiGiCo’s R&D with this very product.
“In general, using DiGiCo has driven me to re-think my typical approach to mixing, simply because I had a very different tool in my hands, but I found it became much easier to control monitor mixes for the band,” he says.
Korolev also works for d&b’s Russian subsidiary which has recently launched a Soundscape demo room in Moscow. “Soon we’ll have a DiGiCo console in there from our Russian DiGiCo and KLANG distributor, Aris Pro, then I’ll have a space to experiment,” he says. “One thing I have in mind is to use KLANG as a monitor for preparing a show for Soundscape without using any loudspeakers.”
Although it may seem that Korolev needs a little more time during preproduction to insert the DMI-KLANG into his workflow, he found that by using Macros he has optimized the setup process. “I have a couple pages of smart keys which I use during setup and another couple of pages with smart keys for show control.
An SD12 with on the top right an iPad showing the spatial distribution of the objects, individual instrument tracks or stems, as placed “around” the central listening head.
And KLANG has made our life easier because my technicians on stage now use iPads and help me to control the stage mixes for certain musicians without any limitation on the control units you can use. It’s very helpful in a setup where we use just one console for FOH and monitors. Control integration is done very well, so I’m using my iPad just for overall system and signals visual control while I do any position changes with the console rotaries.”
Midas’s final advice for anyone thinking of using KLANG and DiGiCo is don’t be afraid to try something new: “As someone once said, ‘you can’t quit until you try’. Some might think an additional piece of gear will make your setup more complicated, will cost you money…
But we’re living in the world of fast-growing technologies and if we’re not following, one day we may find ourselves in the backyard. But the more important is what we can get. It’s definitely a very new listening experience, so try it. If you like it, you will always find a way to implement it into your workflow.”
The powerful output and rich colors of the VLZ range of luminaires from Vari-Lite, a Signify entertainment lighting brand, were harnessed to light up Egypt’s treasured historic landmarks for a procession of 22 ancient Pharaohs through the streets of Cairo.
The ‘Golden Parade’ event, which showcased the mummified pharaohs as they were transported from the Egyptian Museum in Cairo to the National Museum of Egyptian Civilizations four miles away in al-Fustat, Old Cairo, was organized by The Ministry of Tourism and Antiques.
The event’s technical production team approached Hamed Arafa of rental house Hi-Lights Group – a Vari-Lite and Strand distributor in Egypt – who proposed Vari-Lite VLZ PROFILE and VLZ WASH luminaries to bring light and color to the visual spectacle.
“Using Vari-Lite products for this culturally significant task was our only recommendation,” says Hamed Arafa. “For the huge productions that we helped to deliver, we knew that Vari-Lite produces the quality of light we wanted.
The VLZ PROFILE and VLZ WASH offer high output LED sources and use advancements in quality, zoom lenses and shutter technology.” The Hi-Lite’s team collaborated with Lighting Director Maria Younan of Siraj Lighting – a design studio in the heart of Egypt – to design and deliver the event.
Younan specialises in exterior architectural lighting design and took up the challenge of truly shining a light on Egypt’s magical past by using the lighting technology of the future.
The team used the high-output VLZ range to light the Hatshepsut Temple, The Sphinx and The Great Pyramids for the promo shots of the Pharaohs’ Golden Parade. At Tahrir Square and along the entire length of the procession, more VLZ Profile, VLZ Wash and VL10 luminaires were deployed.
In the same square, Vari-Lite SL Bar 640, SL Wash 350 and SL Punchlite 220 luminaires were used to light the passage of the mummies. SL Punchlite 220 luminaires were also used indoors for the elegant interior, lighting towering walls, prominent statues and the focal stage area.
The entire procession was broadcast live on Egyptian television to a huge viewing audience, as the 40-minute journey escorted the Pharaohs in individual chariots through crowds of onlookers to their new resting place. Leading the parade was Seqenenre Tao, a ruler of the Theban region of Egypt in the Seventeenth Dynasty, some 1,600 years ago.
“What I find most impressive about Vari-Lite technology is its user-friendly design,” Arafa explains. “Our team is well-versed when it comes to operating massive projects, but with the glorious quality Vari-Lite provides, we know we can achieve optimum results every time. Each of the fixtures we chose enabled us to deliver beyond expectations. Ultimately, Vari-Lite produces the kind of products that help our clients trust us with their vision.”
Learn more about the benefits of Signify’s different entertainment lighting offerings by visiting the pages of Vari-Lite
ERR is the largest media organisation and government-owned radio and television public broadcasting company in Estonia. For its mobile units, ERR relies on the experience of Lithuanian-based TVC Solutions, who have been designing and coachbuilding OB vans for over 20 years, and the fit-out includes specifying the most efficient, state-of-the-art technological infrastructure.
The image areas.
A key feature of the latest 12-metre long 18-camera van called ‘OB-1’ is an efficient use of internal space. They were able to create five working areas, and in total 19 separate workplaces on a chassis-based design.
This includes: Main isolated equipment racks with redundant cooling system; Shading area (four workplaces); Second programme area (three workplaces); Main programme and slow-motion operators’ area (10 workplaces) and an advanced Audio room with improved sound isolation. OB-1 can operate with either one or two expanded sides.
The tiny yet extremely well equipped Audio Room featuring a Lawo mc²56 Mk3 console.
The audio control features advanced, point-to-point signal transport over fibre from a pair of the popular BroaMan Mux22 IVT/IVT devices, which are fast becoming ‘go to’ solutions for complex multi-format transmission such as this. Selected for this purpose by the customer, different formats of video and data can be combined and transported down a single duplex fibre cable. It is possible to control and monitor every channel and transceiver in the device in real time remotely using Optocore Control application.
In this instance Mux22 has been custom-configured as a point-to-point pair as required, to transport multiple signals between any two locations, reflecting the OB van’s widespread use for sports, news coverage and other outside broadcasts.
One Mux 22 IVT / IVT has been configured with 10 x 3G-SDI IN and 6 x 3G-SDI OUT, with 2 x PSU, SM Optocore Link, 2 x SANE/LAN/MADI Cat5, 2 x LAN, 4 x GPIO, 2 x COM, a VSYNC I/O and two 1310nm Aux.
The Mux22.
The second Mux 22 has 6 x 3G-SDI IN and 10 x 3G-SDI OUT, with 2 x PSU, SM Optocore Link, 2 x SANE/LAN/MADI Cat5, 2 x LAN, 4 x GPIO, 2 x COM, a VSYNC I/O and 2 x 1310nm Aux.
The rear of the Mux22 says it all.
According to TVC Head of TV System Design & Integration, Vitalijus Kaunas, the client is more than satisfied with the possibilites afforded by the Mux22 platform.
Vitalijus Kaunas
This is just part of a highly sophisticated construction, that in addition to the expandable sides, includes a quick to deploy and improved, fully electric side expansion and self-levelling system, which takes much less time to deploy than previous versions, as well as power, HVAC, lighting, and control systems—all based on Estonian climatic conditions.
The technical infrastructure comprises broadcast industry standard components, built around the 18 x Grass Valley LDX 3G cameras and Lawo mc²56 Mk3 48-fader console.
Over 400 CLF fixtures were used during the absolute highlight of the year; the Halloween Nights. Illuminating one of the many scare zones or experiences, the fixtures were scattered all over the amusement park. Technical coordinator Thijs Peeters and his crew took care of the enormous transformation.
During the Halloween Nights, each theme zone of the youngest amusement park of the Netherlands is expanded with scare zones or experiences. All of them elaborating on the existing theme. “We chose CLF fixtures, because of their IP rating and light output”, says Peeters. “The fixtures have proven to be reliable during previous editions and the simple and straightforward menu structure enables a quick installation by our technical crew.”
Previous editions featured a large amount of Ares and Yara fixtures. This year the Hera was added. Specifically in the dark and evil Mexican theme zone, the Hera LED par was a good fit explains Peeters: “The powerful UV LEDs eliminate the need for separate UV floodlights. The combination of UV and RGBWA colours in one fixture also gave us new programming possibilities.”
CLF Lighting Hera
CLF Lighting Ares
The CLF Hera features a great output and a smooth RGBWAUV color mixing. Rich colors, subtle pastle tones and an homogenous 30° beam angle are delivered by 12 high power LEDs which can be dimmed precisely by the 16bit dimming control. IP65 rating makes the Hera suitable for both in- and outdoor use. CLF_Lighting_Hera
A unique single bracket design provides both standing and hanging opportunities, all in a touring-ready aluminum housing. The LCD display offers easy access to the menu settings and manual control. Silent operation is ensured thanks to the intelligent cooling system. Data and power can be connected through the IP65 5 pin locking XLR and PowerCON TRUE1 connectors.
To create a dark and ominous effect, Aorun Beams were also added on top of the entrance building.
Ayrton announce the arrival of Huracán LT, the latest in its range of long-throw fixtures designed specifically for stadium and arena use. To create light for such immense venues is a privilege reserved only for the most powerful, feature-rich and advanced luminaires, and Huracán LT delivers like no other. Huracán LT generates an ultra-intense beam with precision and is ideal for creating the kind of choreography that is as graphic as it is breathtaking.
Aim far, aim with precision
Huracán LT can project over extreme distances, targeting a far-off subject with nuance, finesse, power, and true precision. A 225mm front lens forms part of the proprietary optical system of 13 lenses delivering a 15:1 zoom ratio and a zoom range of 3.5 to 53°. A new 1000W LED module delivers a light output of 51,000 lumens at a colour temperature of 6700K, with a CRI greater than 70.
Revolutionary complex colour mixing system
Huracán LT uses the same patent-pending, complex colour mixing system as Huracán Profile (launched in 2019) offering a double saturation level. In addition to a CMY, a triple variable colour temperature corrector (CTB, CTO and CTP) allows subtle white adjustment from 2700K to 15,000K and offers noticeable CRI improvement in excess of 70. There is also a fixed colour wheel with six complementary colours.
Advanced effects and beam shaping for endless creativity
Huracán LT features an advanced framing section, which enables accurate positioning of four shutter blades on a 100% surface area in all positions, for precise framing of any object regardless of the luminaire’s position.
The effects section includes two superimposed rotating gobo wheels each with seven HD glass gobos, a monochromatic multi-position effects wheel for horizontal, vertical or axial scrolling for creating flame, water or radiant effects, and a multi-layer CMY RGB wheel for unique multi-colour effects. Huracán LT has multiple optical tools designed for beam shaping, including two combinable image-multiplying rotating prisms – one linear with four facets, and the other circular with five facets – a 15-blade iris diaphragm and 2 frosts. It also has an electronic dimmer allowing adjustment from 0 to 100%.
Huracán LT is shipping with immediate effect.
And for more information about Ayrton’s Huracan and the full range of LED lighting fixtures www.ayrton.eu or contact your nearest Ayrton distributor.
This new section in SoundLightUp deals with the correct way to maintain your moving light in order to keep its optimum light output, sharp edges (gobos and beam) and ensure that it lasts a long time.
We don’t go into any details about repairing them, in general this should be done by an authorised technician or sent to the dealership. The goal is to show you how to remove the different parts of the fixture to enable access to the optics, filters and gobos which might seem complicated at first glance.
Vincent Bouquet, Technical Director for Robe France, kicks-off this new section by sharing his technical expertise on the subject. His advice and many tips along the way enables you to maintain the Forte clean and in good running order..
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