Powersoft Renews Canadian Casino Audio

Posted on 17 May 2021 by admin

The Caesars Windsor – part of the Caesars Entertainment empire – had its original audio system installed in 2008, but with the supplier having sent an end-of-life notice in 2018 and Caesars Corporate changing its minimum standards, it had to act decisively.

“As well as the end-of-life notice, we soon realised that we couldn’t upgrade the Windows portion of the old system without upgrading the hardware to match,” said Brian Drouillard, manager audio visual at Caesars Windsor.
Drouillard had already been working with compatriot company Solotech on upgrading the audio systems in hotel ballrooms and meeting rooms, and so spoke with its on-site technicians first to determine if they had any recommendations for alternate systems.

“We did a cost/functionality analysis to determine what would be best for us, then contacted Solotech as soon as we were ready,” said Drouillard.
“Solotech has been a wonderful working partner already, having completed a number of jobs for us in the past, both on time and on budget, with the design and functionality demanded of a world class venue.”

Drouillard was then tasked with providing senior systems designer / Q-SYS software programmer for Solotech, Peter Lima, with all of the functionality requirements, as well as all of the documentation on the old system and any changes made throughout the years.

Five Ottocanali 4K4. « little » output power but huge flexibility.

“My first job was to confirm the interoperability and functionality of the amplifiers in relation to the Q-SYS ecosystem,” said Lima.
“I knew about Powersoft’s Ottocanali amplifier platforms after seeing them at Infocomm and ISE but I’d never had chance to get my hands on one.
Through our distributor, we requested a demo amplifier, so that we could model and test the feature set and AES67 interoperability between Q-SYS and Powersoft.”
Lima needed to set up the Ottocanali amplifiers to receive the AES67 audio streams, and to fully test the Powersoft Q-SYS plug-ins.

“The challenge was to have the network QoS (Quality of Service) settings to provide reliability of the Audio-over-IP,” he said.
“To overcome these challenges, Solotech set up all the amplifiers and network switches in the shop for a full ‘burn in’ period and monitored the audio streams to see if they would be affected by different end point devices.
We also tested the functionality of the amplifiers’ analogue inputs to the Q-SYS cores, as this was a requirement from the site.”

The main DSP was the QSC Q-SYS system, which was configured and connected through the existing network switches throughout the property to feed groups of amplifiers in five remote locations. Background music supplier, Cloud Cover, also supplied 10 of its Android-based boxes to provide custom music around the property.

“From a design aspect, obviously the ability to be network connected is an upgrade in terms of us providing flexibility for growth and design adjustment if required,” commented Drouillard. “From a user standpoint, the physical size of the amplifiers allowed to remove two thirds of the racks that were used in the old system.
And the front displays indicating dB level for each channel is a wonderful tool for trouble shooting and the diagnostic / configuring access.” Solotech monitored the network for AES67 stream stability during a ‘burn in’ period, and the amplifiers performed flawlessly during this time.

“I think this system is now completely futureproof,” said Drouillard. “If they add a restaurant, for example, we can easily install an amplifier, connect it to the network and incorporate it into the system as if it had always been there.
“It was an absolute pleasure to work with Peter and the group from Solotech who helped support and position Caesars Windsor in a place where we have complete freedom to customise our system as we see fit. This would not have been possible if not for the line of Powersoft products from both a functional and budgetary perspective. Powersoft provided all of the features and output power that we required at a budget level that allowed us to proceed with a complete system replacement.”

Solotech undertook a complete facility setup on all of the Powersoft amplifier platforms prior to shipping, which allowed Lima and his team to work out the configurations and AES67 stream issues with the installed network switches. Powersoft was also on-hand throughout this period to provide any necessary support.

“I feel having the in-house staff as part of the turnover process to be the best hands on training for them,” said Lima. “Each member of the technical team has been going through webinar training, with class training being impossible. The Powersoft team is far superior in support and integrating comments into new firmware releases. I cannot say enough of the support that they provided.”

Mark Radu, senior systems designer at Solotech, concluded: “Solotech has always been at the forefront of technological innovation. Powersoft has been on the leading edge of technology since its inception. Constantly reaching out into the marketplace, staying ahead of the curve, developing innovative product and functionality.
Their level of service and support is second to none. From their Business Development and Sales Management teams through to their R&D and Engineering departments, their commitment is first class. An attitude that carries through to our domestic distribution and sales representation.

“The integration of Powersoft amplifiers and their decentralised DSP in the Caesars Windsor project brought forth by Brian is a great example of the marriage of leading-edge technology and application. Caesars Windsor is a world class casino property and demand world class solutions… And that is exactly what was delivered by Solotech in the Powersoft amplifiers.”

More information on the Powersoft website and on the Solotech website

Meyer Spacemap Go, unlimited creativity

Posted on 14 May 2021 by admin

The studio at Dushow divided into two areas: in the background is a soundstage and, in front, the conference and listening area. It’s a remarkable workspace. You can see the frontal system if you look between the attendees.

The demo was really impressive, conducted by Gaetan Salmon with the help of Matthieu Chenuil and Sébastien Nicolas from Best Audio & Lighting.
The idea? Demonstrate the creative capabilities, sound and objective of Spacemap Go, Meyer Sound’s iPad application that puts the power to bring audio to life at your fingertips with a simple update to Galaxy, the brand’s flagship matrix.

Matthieu Chenuil, product manager for Best Audio and Lighting, who had just removed his mask, with Gaetan Salmon, accounts manager for Dushow.

Decidedly creative, Meyer’s solution for spatialized sound is very complete, in terms of the range of possibilities available frontal, surround, immersive (360° with elevation) with all kinds of movement possible but also demanding in terms of the creation of the mapping that brings the magic to life, as well as in terms of defining the roles of the artist, the sound engineer, and the system/immersive engineer in charge of creating the soundscape. Keep reading, we’ll be expanding on all of this!

Unlike other object-based mixing systems, which are mostly used to exploit a wide frontal diffusion with precise source localization and the benefits of left/right non-interference, Spacemap Go works differently. You don’t create a sonic image within a larger system, you freely construct all the shapes and paths of the audio and find yourself within that image.

Gaetan explains Virtual Nodes.

Spacemap at 35

Steve Ellison, Mister Spatial Sound at Meyer.

Is spatialization new at Meyer? If 35 years old counts as new for you, then yes, because it was Steve Ellison – to this day in charge of Spatial Sound at Meyer – who conducted the first tests in 1986 under a canvas dome in Sydney. Sixteen diffusion points, two subs, a few screens for images, and synthesizers as sources.

Under the dome in Sydney. The black dots are the speakers.

As early as 1993, a paper presented at AES mentions a Spacemap and, two years later, the first Cirque du Soleil show with Spacemap spatialization was performed. A few years later, Matrix 3 was born, a kind of big show controller that was not very practical but was able to run the Spacemaps and drive the speakers.

D-Mitri arrived in 2009 and with this extremely powerful multimedia platform which is still the brain behind Meyer’s active acoustics system, Constellation Spacemap is used as a working language for huge shows, especially in Las Vegas. Any movement can be modeled, programmed and then easily reproduced. But all this still requires a lab coat to be put into practice.

1986. As Steve quips, he has more power today in his smartwatch than his vintage Macintosh. On the right are the Yamaha TX816 synthesizers which were the audio sources…

Spacemap becomes Go

The transition occurred the day Spacemap became accessible to everyone without the need for a Show Control, simply by harnessing the enormous DSP resources of the two Galaxy platforms, the 816 and the 408, that are quite remarkable for a distribution matrix, as each of them can support and process 32 incoming streams in AVB/Milan…

You know the rest: the app migrated to iPad and, since 2019 when it was introduced, updates have made it ever more powerful and user-friendly. Today the app, renamed Spacemap Go, is fully operational and can be installed free of charge. The same goes for the Spacemap update for the Galaxy.

A modern Spacemap with up to 32 objects, as displayed on an iPad, here using a front+side and rear surround mode.

Spacemap is now 32 channels matrixed in real time through a VBAP algorithm with constant energy to the Galaxy outputs. Depending on your requirements, you can link as many AVB/Milan processors as you need to support your diffusion points, and to control them with as many iPads as you want.
Because the link is bidirectional, what is done on one iPad is seen on all the others… and also heard through your system! Spacemap Go has been designed by a group of young, somewhat nerdy developers. Once you understand the logic of its interface, you can start to have fun.

The maps

But who created these maps? Well, Steve Ellison of course, and that’s why we have to go back to Sydney in 1986 – with the fabulous Flintstone’s computer configuration and Yamaha TX816 modular synths as sources (and without playing “Le Grand Bleu”!) – to find the first map with its 16 points of diffusion, the future speaker nodes plus two subs, and if you look at it carefully, everything works with triangulation. The principle of the Triset was born.

The first Spacemap in Sydney: no virtual points, only Speaker Nodes, but already using triangulation.

Let’s take three diffusion points: 1, 2 and 3. If the sound is played at the same level by the three points, it will be materialized at the center of the three, but if I want to bring it nearer to point 2, I just have to lower the levels of 1 and 3 and raise the level of point 2, and so on. Of course these adjustments are completely transparent.

For the user, it is enough to move the Spacemap Panner to hear the effect of movement in the Triset. If I go outside of the Triset… no more sound. This is where you have to start building your map with the other tools provided and not just multiply the diffusion points ad infinitum, by creating virtual points, called Virtual Nodes, in order to complete the mesh of sound all around you by making the available speakers work by triangulation.
To simplify your life, maps already exist and are even provided with Spacemap Go – which can be a time saver – but it’s better to create your own, your own movements, your own automations and, to say the least, your own fantasies!

The QL5 handled the sources, including the notorious buzzing fly, which was used to demonstrate the fluidity of its passes over our heads. Notice the involvement of the participants, each one playing with his iPad on the same musical program. Poor things!

To do this, it’s best to have an iPad with a large screen and high resolution, like an iPad Pro. The regular model is great for viewing during a performance, and the Mini for tweaking on the fly, because it’s fast and you can put it down anywhere.
Of course, you can have all of them not only in front of you, but active, each controlling or displaying a particular function. Just for fun, the developers have achieved a possible maximum of 999 connected iPads, the limit being due to WiFi technology…

Two active Spacemaps, the one on the right representing the diffusion points named “ceiling”, because they are placed over the audience and not in front of or around it. These form a system that envelopes the audience in 3D.

The strong point of Spacemap is its capability to emulate movement, and this is done via menus in the software or through external commands. It is thus possible to create various movement presets that you can design with your fingertips, and switch from one to another manually.
Or you can do it automatically, by linking maps so that these movements can be reproduced identically, or in reverse in mirror mode on any other map.

The freedom is absolute and the creative possibilities are endless, especially since we are now talking about defined movements that are clocked, but it is possible to link our 32 sources to just as many external interfaces that can be used to generate 2D movements, such as a guitarist walking across the room on a thrust stage, or in 3D with the same guitarist, but this time attached to a zip line or any other prop that makes him fly above the audience. During this flight, the reverberation of the guitar can circle to the tempo of the song… The Americans have a nice way of saying that anything is possible: “you name it!”

The least we can say is that Spacemap is open to third-party connectivity.

Spacemap Go communicates through OSC with QLab but also with Ableton Live, Pro Tools, Performer, Logic and Reaper, not to mention RTTrPM, which opens the door to tracking.

It is thus possible to facilitate the movement of a singer with a microphone in hand through the audience, by programming a Map that lowers the levels of the bottom speaker boxes by a few dB as he enters or exits the coverage if each one. The same thing goes for the front fills. Why not also have fun like Steve Allison does, playing with the speakers in an array and making a sound go up and down from one module to the next.

Some of the 900-LFC subs in a cardioid configuration and, of course, realigned with the 1100-LFC subs, which are even further back from the frontal system; this configuration was necessary to accommodate two events at the same time in the Dushow studio.

This capacity of Galaxy to serve as a creative matrix does not in any way detract from its primary purpose, which is to be able to time-align the system and add various powerful corrections, both at the input and at the output.
However, we cannot ignore the number of input channels, a maximum of 32 via AVB, which is fewer than those of the competition, even though Galaxy works natively at 96 kHz/24 bits, but this is likely to improve, and it is already possible to link two separate Galaxy systems to increase the number of matrixed streams to 64.

Officially, there are 64 outputs but, by connecting multiple Galaxies together in AV, we gain outputs. As there are 4,000 Galaxy units in the world, there are plenty available!
We should also soon see Spacemap Go making its way into the systems of mixing consoles that seem so limited with their native left/right capabilities.
Finally, Meyer’s active acoustic system, Constellation, comes to mind. Wouldn’t it make sense to create interfaces with Spacemap Go?

What about the sound of all this?

The prediction map of the system installed in Dushow’s studio, implemented by Gaetan Salmon. You can see the two sub rows (thanks to the delays) and the swarm of heads deployed in the frontal, surround and ceiling positions.

So, what about the sound of all this? First of all, hats off to Gaetan for setting up this system in the studio at Dushow, which was divided in half.
Secondly, I would like to thank Meyer for the seamlessness of the movements and the total absence of any noise, glitch, bug or similar. When it happens, it’s fast, precise and natural and it really makes you want to play with it.

We also listened to a few recordings of rock, classical and electronic music concerts, with frontal sound and frontal sound plus effects. Although we didn’t have enough time or perspective to be able to form a more precise opinion, we found all the benefits of a frontal system, but with a more sophisticated management of the front fills, and therefore of the very important front rows, than with other systems. We will listen to it again as soon as possible, but in other rooms and with other mixes.

The lower frontal system, a sort of 5-point front fill, composed of a left/right of 2 x UX20s mounted on their USW-112P subs, plus 3 x UPJuniors. You can see at the top a small part of the upper frontal system, consisting of 5 x UX40s.

We should point out that, although Spacemap allows the speaker enclosures to be positioned at any distance from each other, this distance must be greater than the distance to the first pair of ears. The management of the bass is no different, either. The bass resources must be concentrated as much as possible within a half-wavelength. Finally, each enclosure must be able to cover the entire audience.

A synoptic diagram of the whole IT and DSP setup of the listening system.

With an iPad, a Galaxy, or a Compass, anything is possible: frontal sound, immersive sound, spatialization effects, and even matrixing support.
It’s even possible mind you, this could be controversial to spatialize with this simple Meyer configuration and to drive any other brand of audio system that accepts AVB/Milan streams through its amplified controllers or active speakers.
And a Galaxy 408, small in physical size but huge in terms of DSP resources, is enough to have some fun with 32 ins and 16 outs via AVB. By the end of April 2021, a new version of Spacemap Go will be available on the AppStore.

As with all new products, you will have to be sensible and start, for example, with a left-right and a pair of rear surrounds to learn how to create spaces and then, little by little, build more complex systems and deliver truly creative sounds. Freedom allows everything, including mistakes, but when you do things right, you can go much further.

An Ultra X20 coupled with a USW-112P sub, a combo that is a pleasure to listen to even if, when the 900 and 1100 come into play, the bass has more room to breathe.

Gaetan points out: “we are always here to provide assistance and training to users, and Meyer is thinking of offering ready-to-use basic configurations plug-and-play templates.”
How do you get productions up and running with Spacemap? “By taking it slow and inviting the artist here for half a day with a tablet. He may or may not love it, but it’s up to him to signal the desire to push things further, or even develop a different show, but it’s wise not to abandon the left/right, because in many venues or festivals, you’ll have to return to it.”

In conclusion let’s applaud the resurgence of Meyer Sound, who – after having extensively played the indestructibility card and thus demonstrated the durability of their speakers – is finally starting to bring out new products that are necessarily smaller, lighter and more practical, but also more powerful, less power-hungry and sound even better.

This is exemplified by the very recent Ultra X20 (the little brother of the X40 that sent the UPA 1 to the museum after 40 years of service, sorry) and the USW-112P subwoofer, even if the volume of Dushow’s studio and the power of the Ultra X20 made its limiter hot. The performance of this combo sounds like nothing short of a live PA and the output is precise, clean and very dry ready to use. The only thing missing is an AVB/Milan input on each enclosure. That would make one less AD>DA conversion in the chain and provide even more detail and sound. It’s all ready – Especially our ears.

Dulcis in fundo. If these few lines have made you want to try Spacemap Go, there will be new introductory/training sessions at Dushow on April 19, 20, 21, 26, 27 and 28, 2021. Contact Gaetan for more information at gaetan.s(at)dushow.com

Demo system

– Upper front: 5 x UX40
– Lower front: 2 x UX20 + USW-112P and 3 x UPJunior
– Surround: 11 x UPAP
– Ceiling: 9 x UPAP
– Subwoofers: 3 x 1100-LFC center rear and 2 x 3 x 900-LFC left / right
– Spacemap system: 3 x Galaxy
– Subwoofer driver: 1 x Galaxy

Glossary

– A Spacemap is the plot of where the speakers are installed within the Spacemap Go iPad application.
– The Spacemap System is the set of Galaxy units (from 1 to 12) running in SPACEMAP mode.
– The Spacemap Panner is the cursor.
– The Triset: the triangle on which we move the Spacemap Panner to move our “object” between three sources.
– Speaker Node: an output from the Spacemap system (a physical output from a Galaxy)
– Silent Node: a node on the Spacemap that allows for progressive level control, fades and muting
– Virtual Node: a node that links to 1, 2 or more Node Speakers
– Derived Node: 1, 2 or x Node Speakers that link to a Derived Node, which is a physical output

For further information, visit :

– The Best Audio website
– The Dushow website
– The meyer Sound website

Version 2 chooses MDG ATMe haze for television

Posted on 13 May 2021 by admin

Version 2, which specialises in lighting hire specifically for the television industry, has expanded its stock of MDG products with the addition of two ATMe haze generators. “Our clients trust us to specify the right products and we know that MDG produces the best haze for the television market,” says Nick Edwards, managing director of Version 2.

Edwards has 25 years of dedicated television lighting experience, having held technical, commercial and management positions at PRG, Panalux and Aurora, after his training at the flagship training facility in BBC Wood Norton, prior to founding Version 2 in 2016.
This experience puts him in a strong position when it comes to choosing the best products for his clients, many of whom have worked with him for years and trust his technical know-how.

MDG ATMe’s beautiful televisual haze on the BBC’s Strictly Come Dancing © Strictly Come Dancing, BBC Studios. Lighting director, David Bishop.

“All our equipment investments have been rigorously researched and tested, plus we have had years of experience with many manufacturers’ products, so we have a good idea of what works and what doesn’t,” he says. “This allows us to make better decisions on our capital expenditure and only invest in the best products for our market. In effect we are testing and processing on behalf of the client so they can be confident in our recommendations.”

Good haze is one of the most critical ingredients to a show, particularly for television. “Primetime television programmes are broadcast to millions of viewers and demand a highly polished result.
A fine balance is needed between deploying enough haze to achieve the desired beam read on camera, yet not so much as to cause ‘noise’ or graininess in the image. To get this wrong can really spoil a good show and ultimately lead to complaints from the broadcaster!

“This can be difficult to achieve in live broadcast, and you cannot rely on guesswork. But MDG ATMe hazers give an extremely high level of control over the haze output allowing levels to be adjusted easily and accurately from the lighting desk. This amount of control gives lighting directors a lot of confidence in MDG and we find they are the only manufacturer whose hazers are specified by name!”

Precise control is not the only quality for which MDG was selected however: “There are many features which make the ATMe ideal for film and television studios,” continues Edwards. “They are whisper-quiet so we can leave them on during filming and broadcast and no-one – least of all the sound guys – will know. The haze has a decent hang time but a quick dissipation too.
They are renowned for their lack of residue which keeps the venues, the rental companies, and the lighting directors happy. We are happy because it means less maintenance for the inside of the moving lights and other technology, and the lighting directors are happy because there is no residue on the lens to affect the output of the lighting rig, which is an especially important consideration on long-running shows.”

Strictly Lighting Team: Tom Young, Darren Lovell, David Bishop, Matt Lee. Photo by John O Brien

Studio technicians also like the new ATMe as they are easy to use and, like all MDG machines, reliable. “The last thing a technician wants is the stress of a haze machine breaking down just before or during a show! We’ve also found the use of CO2 can cause a little mystique and anxiety for some, but not now.
The ATMe dispels any perceived complexity by handling all the CO2 processing inside the machine in a failsafe process. Any technician just has to connect power and DMX for a dependable, plug-and-play system, made even more convenient by the bespoke rolling flightcase which is ideal in the fast turnaround studios for productions like The Jonathan Ross Show.”

Version 2 has also employed its ATMe generators on shows across the BBC, Sky and ITV networks, including blockbusters like Family Fortunes, Sky Arts Late Show, Don’t Hate the Playaz and BBC’s top-rating show, Strictly Come Dancing, (lighting director David Bishop), where ATMe generators are sited in a permanent ‘set standing’ install on the George Lucas Stage at Elstree Studios.
“MDG has always produced the leading machines and sets a really high benchmark,” concludes Edwards. “The ATMe is right at the high end of performance and undoubtedly provides the finest haze on the market, with all the added advantages of control and reliability. This is why we have invested in it and why technicians and designers love them.”

For more information on MDG ATMe haze generators and all MDG fog, low fog and haze products, visit the MDG website

More information on Version 2 can be found at www.v2lights.co.uk/

Adamson introduces IS-Series Weatherized loudspeakers

Posted on 12 May 2021 by admin

Adamson Systems Engineering officially announces a range of new products available immediately for the installation market, including an extension to its renowned IS-Series of installation loudspeakers and a suite of improved and updated design tools for architects, integrators, and sound designers.

With the introduction of the IS-Series Weatherized line, Adamson offers AV professionals a loudspeaker family purpose-built to withstand the most extreme climates in the world.
Weatherized enclosures are ideal for marine and coastal venues, outdoor stadiums, open-air performance spaces, and other permanent outdoor installations.

“Adamson loudspeakers have always been known for their durability and sonic performance, both on the road and in permanent installations,” says Adamson’s Head of Product and Technology Brian Fraser. “With the Weatherized line, we’ve added corrosion resistance and environmental sealing features that are going to ensure long-term durability in harsh environments without impeding performance.”

Brian Fraser, Head of Product and Technology d’Adamson.

IS-Series Weatherized models achieve an IP55 rating without sacrificing performance or aesthetics. All structural steel elements of the IS-Series Weatherized cabinets are made of a high yield strength stainless alloy that offers 100% corrosion resistance.

The new models also feature an interior and exterior coating with a distinctive smooth finish that provides a water-resistant seal and allows for easy cleaning and removal of dirt, grime, salt water or sand.

Explains Fraser: “Whether you’re dealing with sea water, intense heat or cold, or endless rain, these cabinets are built to deliver uncompromising audio and a venue-friendly form factor. Even after extreme environmental testing, they look and sound incredible.”
Weatherized versions are available now for the entire family of IS-Series loudspeakers.

To supplement the product release, Adamson is also releasing an update to its suite of design tools for integrators, including new Autodesk Revit and SketchUp libraries for the IS-Series, and updated EASE and CAD files for the complete Adamson loudspeaker line.

The design tools are available now for download on the Adamson website at www.adamsonsystems.com

Jochen Sommer, Adamson’s Director of Operations, EMEA.

“Working closely with our customers means we have a chance to hear exactly what they need to make it easier to design solutions that win them business,” explains Jochen Sommer, Adamson’s Director of Operations, EMEA.

“When we looked at expanding our toolkit for architects, integrators and sound designers, we spoke directly to our partners in the field to make sure that we built a best-in-class offering.”

Marc Bertrand, le PDG de Adamson.

To Adamson’s CEO Marc Bertrand, the new product release demonstrates the company’s continuing commitment to innovation. “Adamson has always been relentless in our pursuit of performance,” offers Bertrand.
“With Brock Adamson leading the charge, our product and engineering teams have been pushing hard to develop new products and technologies to lead the professional audio market. We’re excited about what our partners will be able accomplish with these new products and tools,” he adds. “And there’s plenty more to come.”

https://adamsonsystems.com/product/is-series

Avolites controls the timelines with Titan v15

Posted on 11 May 2021 by admin

Avolites has announced the release of the latest version of its lighting software Titan, v15 which includes the Timeline feature set. Timeline essentially allows timecoded shows to be programmed and edited using visually-led tools, increasing the speed with which users can set up the full range of Avolites lighting and video effects for a project.

Timelines allow you to create a precisely timed sequence which you can either run from the console’s internal timer or synchronise to an external timecode source. This is useful in a complex song in a show where the song is pre-recorded or run to a click track or timecode, a multimedia event run to a playback track or in an opening sequence for a corporate event.
Using Titan v15, individual actions, called ‘triggers’, can be either captured manually via the Titan UI, or live record can be used to capture an entire performance. The software then plays back all the trigger actions including Set Level, Go to cue, Flash, Timed Flash, Timed Flash and Go, Swop, Preload, Wait for go in sync with the performance.

It also features powerful editing features to finesse a performance. Users can merge multiple live records to build up complex effects over a whole song; triggers can be converted into linear fades, a ‘smooth’ feature allows for selected triggers to be grouped together into a continuous fade, while Timecode Offset allows for either the entire program to be shifted to a new base time without changing the trigger times or smaller offsets of a few frames to be deployed to line up video, audio, and fixtures.

An overview bar is designed to give users a view of the whole timeline from start to finish, allowing for speedy navigation as well as the ability to quickly zoom in and out of different sequences, making Titan v15 an ideal fit from the simplest to the largest and most complex live shows.
Other useful features like Markers can also be created or imported from external editors to mark points in the song, or busking ability by using the fader raised and lowered actions, means you can create complicated one-shot effects, are also included in this release.

Titan v15 is available now for download from Avolites website

Visit Avolites Titan Official Manual for the Avolites Titan software for more information

480 xtylos on the eurovision stage

Posted on 10 May 2021 by admin

OSRAM, parent company of Claypaky, will be the official lighting partner of the ESC 2021, held this year at the Ahoy Arena in Rotterdam on 18-20 and 22 May 2021 and organized by the EBU the world’s leading alliance of public service media Osram will contribute to the event by illuminating a key building in the city of Rotterdam.

©Nathan-Reinds NPO-NOS-AVROTROS

Claypaky will be represented by an outstanding complement of 481 Xtylos, innovative luminaires equipped with a tailor-made laser source and boasting super-concentrated beams of colored light. They will be essential to the exceptional light shows at the Ahoy Arena and are being provided by the shows’ rental and production companies, including Ampco Flashlight, that is the ESC’s Official Technical Supplier for lighting. ESC 2021 is produced by the host broadcaster NPO, NOS and AVROTROS with Erwin Rintjema as ESC’s Head of Production.

“Xtylos was launched by Claypaky about 18 months ago and has already been used in a number of major world events and specified for others, which unfortunately were cancelled or postponed due to the COVID-19 pandemic,” says Claypaky Sales Director Alberico D’Amato. “All the Xtylos that will be used at the ESC 2021 are already available on the market and used by major rental companies across the globe”.

Although the stage has been redesigned, the ESC 2021 organizers have decided to maintain last year’s technical set up, as the event was cancelled due to the pandemic.
The Claypaky Xtylos were also part of that project and have been confirmed among the key lights of the event.

Henk Jan van Beek of Light-H-Art, this years’ ESC lighting designer, in fact called Claypaky’s Xtylos “irreplaceable” fixtures, with their particular light beams a key part of the project.

Denton Bible Church Network with Optocore AutoRouter

Posted on 8 May 2021 by admin

The Denton Bible Church (DBC) in Dallas, TX recently underwent a large redesign of its audio capabilities and added a new DiGiCo Quantum338 console for both front-of-house and monitor mixing as well as a new DiGiCo SD12 console as its new broadcast audio console. The 3,500-seat sanctuary is tied together on an Optocore Digital Fiber network, at the heart of which is one of Optocore’s new AutoRouters.

The audio network was installed and set up by Digital Resources, who are based close by in Southlake.
Lance Eddleman, Audio Sales Manager, implemented the Optocore AutoRouter solution for the church when he was presented with its ease of use and flexibility.

Lance worked closely with Optocore North America’s Brandon Coons and Group1 Ltd to ensure the AutoRouter would be a good fit for the church.

The AutoRouter works as a central patch bay and replaces the typical redundant ring topology of an Optocore network and turns it into a redundant star network. AutoRouter’s advanced transceiver ports detect when devices are connected at remote patch points and reconfigures the active connections to maintain redundant fiber tunnels to each location.

L’AutoRouter

AutoRouter automatically adds devices to the network loop as it is powered up. When a mobile device is disconnected or powered down, AutoRouter closes the loop to the remaining devices to keep a redundant architecture without any user action.

“The church relies on volunteers to run their system, and having Auto as the virtual tech to maintain the network is fantastic for them,” says Eddlemen. “No one has to go to the equipment room, struggle with jumper cables or patch panels or remember which connections are in use or which ports go to what remote locations.

La DiGiCo Quantum338

“Installation of the Router was easy. We just connected the fiber runs to the corresponding sockets and it discovered the network,” Eddleman continues. “In the future as the Church grows its audio system we can expand the ports to allow for additional remote points and equipment.”

The transceivers in the unit allow for a signal refresh to achieve longer cabling runs; in addition, the unit can act as a media converter and can be mixed with Multimode and Singlemode TRX to support different fiber runs within the facility or between multiple buildings.

Brandon Coons d’Optocore North America

AutoRouter is completely interoperable with new and existing Optocore and DiGiCo fiber networks. Also, because the routers’ capabilities are format independent, it can also be used for Yamaha TwinLANe and AVID AVB networks.”

“Since its release, many of the industry’s top integrators and cutting-edge facilities have put in place AutoRouters,” says Brandon Coons, Optocore North America.
“We are seeing them put into performing arts centres, sports arenas and especially churches because of the power and flexibility they give the system.”

For further information visit the Optocore website

Meyer Sound Continues Excellence at Calgary Theatre

Posted on 7 May 2021 by admin

The Jack Singer Concert Hall, the largest venue in Calgary, Alberta’s Arts Commons complex, has installed a new and highly flexible “hybrid” Meyer Sound reinforcement system. It replaces a venerable Meyer Sound system based on the same concept that had contributed to the success of the 2,000-capacity venue for more than 16 years.
Both the new replacement system and the prior system were designed by GerrAudio, Meyer Sound’s Canadian distributor, in consultation with the venue technical staff.

Brian Beaulieu, directeur associé opérations sur site à Arts Commons.

“Meyer Sound and Gerr had worked together back in 2004 on what proved to be a wonderful solution for this venue,” says Brian Beaulieu, Associate Director, Venue Operations at Arts Commons. “Everyone was very consultative and worked closely with our team to again come up with the best solution.”

As before, the theatre’s system is anchored by a flown center cluster, this time configured using Meyer Sound’s latest generation of point source and low-frequency loudspeakers, including UPQ-D2™, ULTRA-X40™ and ULTRA-X42™ loudspeakers and 900-LFC™ low-frequency control elements.

The primary system also includes additional 900-LFC elements on the floor as well as UPQ-D1™ loudspeakers for side fills. More compact ULTRA-X40 loudspeakers are installed throughout the auditorium and will be principally used for surround sound.

Le nouveau point de diffusion point source central.

New ULTRA-X20™ loudspeakers are deployed as fill systems, and 11 new MM 4XP™ miniature self-powered loudspeakers supplement 11 MM-4 loudspeakers remaining from the prior system as front fill. Meyer Sound’s new MAPP 3D™ prediction software was used throughout the design process to ensure uniform, pinpoint coverage.

Jack Jamieson, technicien du son en chef du Jack Singer Concert Hall.

“After I started talking to Gerr about a new system for the concert hall in the spring of 2019, we carried out an extensive demo process through the end of that summer,” says Jack Jamieson, head sound technician for the Jack Singer Concert Hall.
“We compared products from other manufacturers as well as the newest Meyer Sound products. In the end, we found the Meyer Sound solution to be what was needed for the variability required for this room.”

Because the theatre hosts a wide variety of programming, from symphony concerts to rock shows, the solution is required to accommodate a range of levels and audience seating configurations.
“We needed a system that had no sightline impact as well as ample volume,” continues Jamieson, “and there was no way we could come up with one design that would allow both simultaneously.

La classique ligne de 16 Leopard avec une courbure très étudiée et bénéficiant de la technologie Low-Mid Beam Control pour en parfaire l’uniformité de rendu.

We could not permanently hang a line array without sightline impacts in a room that wraps all the way around the stage. So, we ended up doing a double system employing a Meyer Sound point source center cluster, with the option to fly the LEOPARD® line arrays to get the level needed for rock shows.”

La Jack Singer Concert Hall avec les deux différents systèmes éclairés en bleu. Le cluster central se confond avec l’orgue de la salle.

Each line array comprises 16 LEOPARD loudspeakers which can be quickly brought on stage and flown as needed. Meyer Sound’s new Low-Mid Beam Control technology was implemented during commissioning to ensure uniform response throughout the room with minimal excitation of reflective surfaces.

The complete system, installed by Sapphire Sound under the supervision of Head of Alberta Operations Ben Burrell, also includes five GALAXY™ 816 and one GALAXY 816-AES3 Network Platforms, three RMServer™ and two MPS-488HP™ signal distribution and power supply units.

“The system is exactly what we had hoped for,” summarizes Jamieson. “We’re pleased that we will be growing with this system into the future, and we know that both Meyer Sound and GerrAudio will continue the high level of support we’ve experienced in the past.”

David Vincent

Leading the GerrAudio team throughout the process including design, specification, installation and final tuning were Shawn Hines, sales manager for Western Canada, and Ian Robertson, who serves as design, education and technical support specialist.

Assisting in final system calibration on behalf of Meyer Sound was David Vincent, Montréal-based senior technical support specialist.

De gauche à droite Shawn Hines et Ian Robertson.

Considered one of the most beautiful and acoustically acclaimed venues in North America, the Jack Singer Concert Hall is home to the Calgary Philharmonic Orchestra, recurring jazz and world music concert series, and touring concerts by international pop and rock artists.

Spoken word events include TED Talks and National Geographic Live presentations. The Arts Commons, located in downtown Calgary, is a six-story, 400,000 square foot complex that also encompasses four smaller theatres, offices and rehearsal spaces.

Ayrton at Eurovision Song Contest 2021

Posted on 6 May 2021 by admin

Ayrton is delighted! Huracán-X, Karif, and MiniPanel-FX will form a major part of the Henk-Jan van Beek’s lighting design this year which takes place at the Ahoy Arena, Rotterdam in the Netherlands.

You can bank on Ayrton Minipanel-FX to create beautiful effects at Eurovision Song Contest. © Nathan Reinds

Lighting designer Henk-Jan van Beek of Light-H-Art design has chosen significant numbers of each fixture for the main ambient and effects lighting for this annual music extravaganza. The full requirement of Ayrton fixtures – 386 in total – will be supplied by Eurovision 2021’s lighting, audio and rigging supplier, Ampco Flashlight.

The stage design for Eurovision 2021 by Florian Wieder is being kept under wraps for now, but those in the know at Ampco Flashlight have hinted at a wall of MiniPanel-FX which they describe on their Eurovision blog (www.ampco-flashlight.com/nl/esc) as ‘a cute little fixture that is fierce and powerful” – and that’s just for starters.

“The reputation of Eurovision is unquestionable as one of the best global productions there is,” says Ayrton’s Michael Althaus. “To have Ayrton fixtures showcased on it is testament to the regard in which lighting designers hold our products.
We are very excited to be involved once again and I can’t wait to see Henk-Jan’s design and the fantastic plans he has for our Huracán-X, Karif and MiniPanel-FX. This is a ‘first’ at Eurovision for Huracán-X and Karif, and as for MiniPanel-FX, I say ‘watch your backs!’”

The load-in at the Ahoy started on 10 April under the supervision of Erwin Rintjema, Eurovision Song Contest’s Head of Production for Netherlands’ host broadcaster NPO, NOS and AVROTROS, on behalf of the European Broadcasting Union EBU.

Thirty-nine countries will battle it out for the top honour of winning Eurovision in front of a live audience of 3,500 people (recently admitted as part of the FieldLab trials) and an anticipated television audience of 180 million viewers. The semi-finals will take place on 18 & 20 May, and the unmissable Grand Final on 22 May.

More information on Ayrton website and on the Ampco Flashlight website

L-ISA Studio, Create Spatial Audio Anytime, Anywhere

Posted on 5 May 2021 by admin

L-Acoustics breaks new boundaries with a revamped, innovative approach to the workflow of spatial audio content creation with the new L-ISA Studio software suite and upgraded L-ISA engine. Built with sound designers and mixing engineers in mind, L-ISA Studio is designed for countless creative, immersive audio experiences.

Immediately available for download, it takes the power and versatility of the concert-proven L ISA technology and puts it into the hands of sound creators, allowing them to formulate multidimensional audio wherever and whenever they are ready to create.

Guillaume Le Nost, Directeur de la branche Creative Technologies de L-Acoustics

“L-ISA Studio grants all sound creators the ability to conceive, create, iterate and experience their work in 3D audio,” explains Guillaume Le Nost, Executive Director, Creative Technologies at L-Acoustics.
“It is the perfect tool to work on the pre-production of an L-ISA live show or the sound design of a newly imagined immersive experience – or even mix an album in 7.1.4.”

L-ISA Studio contains the same spatial audio and room engine algorithms as its hardware counterpart, the L-ISA Processor, yet is redesigned and improved with key features for room enhancement, a fully augmented scale simulation mode, and binaural output capabilities.
The upgraded engine, now deployed in both software and hardware configurations, provides sound designers, content creators, and mixing engineers with the ability to hear content in any virtual space of any given size and shape.

Control strategies, sonic trajectories, and sound system behaviors can all be defined and then demonstrated in real time, streamlining the creative process in its early stages and minimizing the need for last-minute changes.

Through L-ISA Studio’s binaural engine, users can now create and monitor their spatialized audio content anywhere with headphones and optional head tracking. Mixing engineers and creators can deploy the software suite in any multi channel mixing or recording studio with up to 12 loudspeakers for multi channel monitoring.

For a fully portable L-Acoustics powered 3D sound creation tool and listening experience, L-ISA Studio can be paired with Contour XO, the recently launched professional in-ear monitor by L Acoustics and JH Audio.

Developed to improve the workflow and unleash the creative potential of all sound creators, L-ISA Studio seamlessly interfaces with leading digital audio workstations, show control software, and game engines. It also offers compatibility with various 3D audio format outputs, including Dolby Atmos and multi-channel configurations.

Scott Willsallen, Directeur de Auditoria.

Auditoria Director Scott Willsallen and his team are using L-ISA Studio to design the immersive sound experience for the Al Wasl Dome, an immersive space at the center of Expo 2020, beginning in October 2021 in Dubai. “We all know how precious time is on a show and how little of that time is allocated to sound,” he explains.

“L-ISA Studio provides an exceptionally convenient platform for our content creators to audition their content and precisely author object trajectories, giving them confidence in their work.
The creative scope of L-ISA is vast and L-ISA Studio provides a tool that allows us to explore the full potential of the immersive sound technology, without spending additional time on the show systems.”

Monthly and yearly subscriptions for both individual and enterprise use are now offered at estore.l-acoustics.com. Discounts are available to students enrolled in qualified audio engineer programs.

For more information on L-ISA Studio or watch the launch event on YouTube

ETC Rent goes ‘Live in Leith’

Posted on 4 May 2021 by admin

ETC dealer, Black Light, has supplied new High End Systems gear through the ETC Rent program for Leith Theatre’s latest venture in Edinburgh: ‘Live in Leith’. ‘Live in Leith’ will be taking place at the well-known Leith Theatre from the 20th March with musical performances from different artists being broadcast live in a series of digital gigs.

The performances will be lit by 24 TurboRay fixtures which were supplied by Black Light who act as an official rental hub for the ETC Rent program. The automated fixtures are a part of the High End Systems’ Effects family and are designed not only for wash and aerial effects, but as a powerful hard edge beam with special pixel-mapping effects.

Field Project Coordinator at ETC, Matt Cowles comments: “ETC Rent gives local venues, rental companies and creative designers access to some of the latest fixtures from ETC and High End Systems. The program was introduced in the UK with the aim to help the industry get back on its feet following the effects of the pandemic. As Black Light are one of our four partners in the scheme and based in Scotland, it was an easy and efficient fit getting the fixtures over to the Leith Theatre.”

Lighting Designer Grant Anderson has worked on the lighting for performances by Ransom FA and Nova Scotia The Truth for ‘Live in Leith’. Describing his lighting design, Grant says: “As both of my artists are solo performers, I wanted to create a sense of intimacy with the design so that the atmosphere wasn’t lost on what is a large stage.

I decided to have a grid of 4 trusses running upstage to downstage with six TurboRays on each one. The design created big statement looks but always with the intention of providing a solid platform for the artist to perform.”

“The TurboRays do everything from creating a tight grid of beams to washing the stage in color, I particularly enjoyed playing with dropping in and out the diffusion which gives super interesting beam work through the air but the face of the fixture looks excellent on camera. Additionally, individual control of each quadrant allows for some really dynamic effects and strobing,” adds the lighting designer.

An ETC Eos Ti console was used by Grant to program the lighting for the shows together with Source Four LED Series 2 fixtures which were also used at Leith Theatre. The ETC lighting control desk combines the latest technology with powerful hardware, software, and award-winning color controls.
New and upcoming products will continue to be added to the ETC Rent platform which is available through ETC rental hubs: Black Light, SLX, TSL and White Light.

For more information, you can check the ETC website and the High End System website

Robert Juliat Arthur Followspot. The Spot of Kings

Posted on 3 May 2021 by admin

The brilliant spotlight manufacturer Robert Juliat presents Arthur, an 800 watt LED followspot, which performs neck and neck with its 2500 W HMI-lamp counterpart, Aramis. Yes, ladies and gentlemen, I did say the equivalent light output of a 2500 HMI… Very few people would have believed this 10 years ago. Well, here we are…

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In keeping with its established tradition, the French manufacturer couldn’t help but design an extremely attractive and impressive spotlight, the exterior of which just exudes quality…
You can recognize it as a Robert Juliat followspot, like a cannon ready to fire, 1.66 m long, equipped with controls and a bar that serves as a “handrail” for the operator to control the 69 kg unit. We are talking about a spot that consumes 800 watts and therefore less than 5 amps on a 230 V single-phase line (no more P17 32 A and the big dedicated cables!), and which only draws power when it is being used!

This beauty features a smart flight case

One of the small sides of the flight case is equipped with a hatch that allows you to slide out the GT 4000 stand. You can take it out before the spotlight, and put it away after having put the spot back in the case. No more of those maneuvers that involved putting the spotlight on the ground before grabbing the stand and deploying it… It’s just very practical. The spot is stored flat in its flight case, with the right arm of the yoke perfectly accessible.

Arthur in its flight case.

Also, this flight case is 60 cm wide, very practical when loading a truck. It is equipped with runners on one of the small sides that allow you to tip it without fear of damage, and handles on the bottom to get a hold on it from any position, even when it is stuck at the bottom of a stack of cases.
A small internal compartment also allows you to store some accessories (but obviously not the once-obligatory spare lamp!) and other power cables. In short, we really appreciate it! This flight case is really cool all around.

The hatch for the GT4000 stand in the flight case.

Arthur comes with the famous GT4000 stand, made by Robert Juliat. It was improved a short time ago, in particular the extension stops, which now offer a more secure and direct locking in relation to the hinge.
It is also possible to order it with an optional ball-bearing gimbal (especially useful for very heavy lights like Lancelot), for ultra-smooth movement.

The rear panel with the connectors.

On the back of the spotlight is the connection panel, with the True 1 socket for the internal power supply and an output to feed power to other units (up to two more) or accessories on the same line.

There are also XLR5 input/output connections for DMX, two RJ45 ports for networking (there is an internal switch), and two USB ports for software updates. An LED marked “Wireless” also suggests a future possibility to integrate a wireless data module.

Also on the rear, we find the forked bracket that holds the handrail, with two large holes to serve as lugs for large safety cables. One can easily install one or two large shackles or other rigging.

Under the rear of the unit, two hanging straps are used to secure the power and data cables so that they do not dangle in the air behind the spotlight.

On the operator’s side, there is the display with the associated keys for navigating through the menu, there are the two lens control handles (zoom and focus), the “roller” that controls the dimmer, the two levers for the auxiliary filters, and the iris control located just behind the yoke.

On the inside

A look at the inside of the rear section.

The top of the housing can be opened by means of a dozen BTR screws, giving us a view of all the elements of the rear section.
Several modules are positioned on vertical rails, like slots, which are plugged directly into large connectors secured by two screws.

At the bottom of the spotlight are three “cassette” modules: the power supply, drivers and control electronics. The LED source is also housed in a cassette that allows us to see its large condenser output lens. Eight fans and a heat sink with a heat pipe provide cooling.

Then comes the 72 mm fully-closing iris module, the same one found on many Robert Juliat classics, including the Korigan. The iris is controlled by the well known rotating handle.

The source module with its ventilation and its output lens.

The light passes through the two classic zoom and focus lenses. The two sliding controls for these, on the side, provide a linear and perfectly smooth motion and they can be locked by tightening the dedicated knobs. You can adjust the beam from 5.5° to 15°.

Between these two sets of lenses are the slot for the gobo holder, and two auxiliary filters: a frost and a 1/2-CTO in dichroic glass. The latter of these is optional and made by Rosco.

The auxiliary dichroic filters: frost and 1/2-CTO.

The two lenses and the gobo holder.

The “boomerang” color magazine.

To obtain a soft edge, it is better to use the frost than to defocus, which can cause a slight warping of the edges, spoiling its round shape.
The two auxiliary filters are controlled on the side of the spotlight using two dedicated and labeled handles.

For color changes, Arthur is equipped with a standard “boomerang” gel magazine for six gelatin filters, which can be swung up and in from under the housing.
As an option, there is a color changer with lateral handles that allows the overlapping of filters, whereas the standard “boomerang” system ejects a filter as soon as another one is inserted.

On the menu this evening…

While it can be used in the traditional way, like any other followspot, Arthur offers advanced options for a more precise and future-oriented operation than most models on the market. The menu provides complete diagnostics of the unit: the status of the source, temperature, operating time, but also the general status of the fixture, ventilation speed, electrical and electronic parameters, because this spot is equipped with sensors for complete monitoring and maintenance.

The menu display and control keys.

In addition to the conventional DMX address settings, there are RDM and network parameters. Robert Juliat has put a lot of work into the control of its fixtures, particularly the RDM, which provides reliable and practical functionality.
Arthur (like all of the latest generation of Robert Juliat lights) can be controlled and parameterized remotely thanks to the RDM via the DMX cable. The quality of your libraries and your consoles will do the rest.

In the settings, you have access to the configuration of your followspot as a “local tool” so that it meets the needs of the operator: you can set the brightness of the display, whether the screen is automatically turned off after a few seconds, you can set the default condition of the spotlight in the case of DMX signal loss or upon startup (you can choose to keep the last settings, go to blackout, or revert to another programming).

You can, of course, configure the response of the dimmer control (the direction of rotation of the roller control to raise and lower the intensity), you can calibrate it, you can select the dimming curve (linear or square) as well as its response time.

A plot of the dimming curve in Square mode from 0 to 10%.

A plot of the dimming curve in Square mode from 0 to 100%.

Arthur’s output can also be limited by selecting a maximum intensity level. Imagine, for example, a room smaller than the one in which your show is usually staged. Simply set the maximum output level to 50% or 75%, and the spot will proportionally adapt the power to this new maximum value. This is interesting because the operator or console settings do not need to be changed. The frequency of the power supply to the LEDs can be adjusted to avoid flickering in video shots.

This spotlight is already very quiet in normal mode, but it offers two additional DMX-controlled cooling modes, one of which is “silent” (35 dB). This may not sound very important for a rock or pop concert, but it is really appreciated in an opera house or a theater. Obviously, you will have to accept some compromise in terms of luminous output, even if it is quite minimal.

Ignition!

When the unit is powered on (via the switch), the spotlight is ready to go after a “reset” of about ten seconds. The light that it emits is a cold white that we measured at 5425 K, with a CRI of 90 enough to satisfy even the most demanding requirements. It’s neat, sharp, precise. There’s no centering to do, no fiddling around, it is ultra-clean.

A plot of the derating curve.

We start by plotting the derating curve. This means that, at full power, we measure the attenuation of the fixture’s illuminance as a function of the warm-up time. Arthur’s light stabilizes in five minutes with a slight attenuation of 8%. Now we can begin the photometric measurements, this time at a distance of 10 m from our calibrated target, which is possible in the vast showroom at Impact Evénement.

Tightest sharp-focus beam

At a distance of 10 m from the target, the beam has a diameter of 1.02 m, which gives us a divergence angle of 5.85°. The illuminance at the center before derating is 28,300 lux (30,800 lx before derating) and from that we calculate a flux of 17,800 lumens (19,500 lm cold).
Reduced to 5 m, the distance we usually use for our tests, the illuminance values become 113,200 lux (123,200 lx cold). The flux values remain constant.

Widest sharp-focus beam

Here we measure a diameter of 2.4 m, which corresponds to an angle of 13.7°. The illuminance at the center is 5760 lux after derating (6270 lx when cold) and the flux reaches 25,170 lm (27,400 when cold). These measurements confirm the exceptional power of this spotlight, and the exemplary uniformity of its beam.

We can perfectly understand how nice and refreshing it will be to get rid of the endless problems of aging lamps, lamps with varying color values… in short, there are only advantages. A little bonus is that it can provide a strobe effect that can be controlled via DMX or the network.

As for the handling of the fixture, we asked Julien Tremblay – a followspot operator who is accustomed to working with these powerful spotlights on large national tours and events of all sizes – to give us his impressions of Arthur.

Julien Tremblay : “I regularly use 2.5 kW spots of different generations on tour. The size of Arthur reminds me of the Aramis and all the controls are very similar to the ones we are familiar with on the other models of this brand. For the operator, using it is therefore completely straightforward, comparable to a classic lamp-based model, and even simpler, since there is no ballast to manage.

“Of course there is the interface and its many functions, but it doesn’t interfere in any way with normal operation. You plug it in, turn up the dimmer and it shines! The advanced management functions will probably be a big plus for more advanced uses and will provide benefits in many situations. Arthur offers significant incentives for replacing aging lamp-based models.”

Julien Tremblay using Arthur.

Usage, DMX and network

Arthur can be controlled using six different modes (using 1, 2, 5, 6, 6, and 8 channels), from the simplest (dimmer) to the most advanced (dimmer / dimmer fine / master / master fine / strobe / strobe rate / dimmer response time / control mode).
The parameters received from a lighting console can be integrated into the programming of a show, offering the possibility of a more or less shared control between the spot operator and the lighting console. The first obvious example: perfectly controlled blackouts and fade-outs on the entire lighting kit, including followspots…

This can also be used for instant control of the intensity by the director of photography without having to give instructions over the intercom and without disturbing the operator who is busy with following the talent. These priorities are guaranteed by the separate management of the “Master” and “Dimmer” channels.
It can be a joint effort, where the console operator and the spot operator share control in perfect coordination, to the point where the console operator has total control over the light, leaving only the work of moving the spotlight and the optical adjustments to the spot operator. It is also possible in the fixture’s menu to disable the operation of the manual dimmer control, to avoid any unfortunate initiatives…

In case of a console crash or an unforeseen problem, the operator can take control by selecting a function in the menu or, in an emergency, by simply disconnecting the DMX plug. The fixture will then signal that it is no longer receiving DMX, and the operator can immediately take control simply by pressing ENTER.
For dimming control, the spotlight responds mainly on two channels: a master, and a dimmer. The master is an absolute control of the maximum light output of the fixture. It is independent of the input from the operator, as long as it is lower than the maximum value defined by the master channel. It should be noted that the response of the dimmer is then proportional over its entire travel, within the range of 0 to 100% of the value set by the master.

It is also possible to program from the console the response modes of the dimmer controlled by the operator, with fade times tailored to very fine and very gradual dimming (up to four seconds of fade). We can then create very slow fade-outs and fade-ins without the stress of making smooth finger movements, or even simply match the fade of the Arthur to the inertia of the halogen spotlights. On the other hand, it allows for more rapid effects for immediate blackouts.

Obviously, Arthur can also integrate with the Spot-Me tracking system (voir l’article de SoundLightUp sur le Spot-me).

Viewfinder!

The Telrad viewfinder and its magnetic support and base.

Robert Juliat offers a nice Telrad viewfinder with a magnetic mount and two articulations to adapt to any model of followspot, even rounded ones.
It also has aluminum clips for Merlin, and a riser with a small sling, in short, the whole package!

Conclusion

Once again, Robert Juliat demonstrates their unparalleled expertise in followspots, with a high-powered LED unit. If we add the numerous advantages of this modern technology, in terms of operational efficiency, capabilities, versatility of use and ease of maintenance of this modular design, we can already predict that Arthur will quickly take its place in the inventories of most lighting vendors and in theaters.
And, to make things even sweeter, its favorable price positioning (a little less expensive than the lamp-based equivalent!) will make it possible to contemplate this investment rationally. It’s a real gem!

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Hearts it in Red for Livestream Event

Posted on 30 April 2021 by admin

Dan Ridd, Steven Haynes and a team from Clearsound Productions in Shipston on Stour, UK, marked the culmination of a week of #LightItInRed ‘heart’ actions around the country with a spectacular livestream broadcast featuring mixmaster DJ Benji surrounded by a cool heart-shaped lighting rig designed by Steven and featuring Robe moving lights!

Steven Haynes + DJ Benji

With overall direction by Dan Ridd and camera and humour direction by Andy Cox, the multi-camera broadcast included two drone feeds plus assorted visual highlights from the last year of #LightItInRed campaigns. These have focused on keeping the entertainment, production, and performance industry visible and relevant during the pandemic and consequent shut down, and this content was eloquently wrangled by #LightItInRed’s Sarah Berryman.
Working alongside Steven on lighting were two fellow Rose Bruford College students, Sam Jones, who programmed and operated the grandMA console running the lighting, and technician Daniel Bow, who were joined by George O’Connor of Dragonfly Lighting in Banbury … all dedicated to making this an awesome looking livestream to remember!

Also assisting the Clearsound livestream on the night were drone pilot Danny Gibbs and Matt “Toff” Roff. Seventeen Robe Spiiders were at the heart of the matter, set up in the yard in front of the Clearsound warehouse. It was during the drawing and pre-vis stage that Steven and the lighting crew realised just how complex it is to create a heart shape accurately!
The Spiiders marked the outline of the heart contour, with the intervening spaces filled by LED battens and the DJ console right in the centre. The rig was imagined with all the different camera angles in mind, with specific attention paid to the overheads.
Surrounding the heart was an outfield of powerful and intense beam lights made up of 16 x Robe LEDBeam 150s and 12 x MegaPointes, with some LED PARs used to light along the side of the warehouse.

Steven chose Robe fixtures because they were perfect for the job, he loves using them, he knew they would create excellent results … and they were all available from Clearsound’s stock! Using Robe also followed the trend of Steven’s previous #LightItInRed event designs which have included eye-catching installations at Delapre Abbey in Northampton, Magazine LONDON on the Greenwich Peninsula and The Wing building at Silverstone Racetrack.
He commented, “We are on the cusp of the live event industry being able to re-start and come back big … and it will be BIG! It’s a crucial time for everyone and especially important to keep #LightItInRed out there, together with all the other brilliant campaigns from different industry sectors that have collectively energised people and kept spirits up.”

Steven, also a first year on Rose Bruford’s Creative Lighting Control course, has a special word for students taking industry-related courses. “I understand it’s been incredibly hard for many to get through this year, but there WILL be an industry when people graduate and there will be so many new and exciting opportunities! Meantime students should try and engage as much as possible with the various initiatives and keep their name out and about.

I want to encourage everyone to keep going, keep networking, take advantage of the many additional learning and technical courses available for free right now, etc. In just a short time – in the greater scheme of things – I absolutely believe the industry will bounce back and be busier than ever!”
Staging the event at the Clearsound warehouse both maintained the Covid working guidelines and was also a ‘full circle’ moment for Dan Ridd and Steven … who, although they didn’t realise it at the time, started 2020’s penchant for direct action lighting events with #OurShiningLight, which was in support of frontline workers during the first UK lockdown.

Their very first campaign installation was Robe MegaPointes on the Clearsound warehouse roof – which is in a prominent Shipston location – and this created a local buzz leading on to numerous other things including the genuinely grassroots and highly effective #LightItInRed movement which was founded by Steve and Dan together with Philip and Sarah Berryman of the Backstage Theatre Jobs forum.

Theresa Gibson, head of marketing from Robe UK, commented, “The Light It In Red live stream event was an awesome conclusion to an immersive week of activations and inspirational heart creations that flooded our social media feeds with so much joy, hope and cheer!
“The visual representation and engagement the Light It In Red campaign has generated over the last year has been incredible. Seeing thousands of buildings and landmarks illuminate globally has been testament to the power and unity of our amazing industry at such a challenging time, bringing people together and amplifying awareness captured in the array of wonderful images showcased during the live stream.

“The #LightItInRed heart logo was a perfect representation of the love for the industry and each other, coupled with the heartfelt and tireless efforts the Light It In Red and We Make Events teams have delivered over the last 12 months.”

For more press info about Robe lighting and their range of products, you can check www.robe.cz

Edge Lab VP facility powered by Brompton Technology

Posted on 29 April 2021 by admin

Renowned for its collaborative ‘can-do’ approach to creative problem solving, Cutting Edge has been a leading provider of sound and picture post production for the advertising, features and television industries, both in Australia and internationally, for almost three decades. The company recently announced Edge Lab, its newest venture in Virtual Production (VP) based in Brisbane, Queensland.

The facility is a research and development (R&D) hub for production industry professionals, developed in partnership with Big Picture, part of the NEP Worldwide Network, and motion caption integrator Logemas. Built with the highest quality components, industry standard Brompton Technology processing is used for the main LED screen as well as ambient reflection and lighting walls.

Whether it is end-to-end post, 7.1 Dolby Digital mixing, DI or remote operational setups, Cutting Edge is able to facilitate all its clients’ needs across commercial, television and feature film productions. Now, the company can also tap into the latest technical innovations in VP with its Unreal Engine powered virtual production stage with a high resolution 12m by 4m LED wall and moveable LED side panels.

The set up comprises a Uniview Tekken 3mm main LED screen with two Tekken 3m by 2.5m ambient reflection walls and a further two ROE Visual CB5 5mm ambient lighting walls.
The entire system runs on four Brompton Tessera SX40 4K LED processors and four Tessera XD 10G data distribution units.

“Because our LED stage has been built with high quality components and is powered by Brompton processing, we are able to achieve realistic virtual environments that help with experimental shooting and environment creation,” says Cutting Edge CEO Michael Burton.

Josh Moffat, Special Projects and Business Development at Big Picture suggests that the premium LED Volume technology that Edge Lab is offering is the “latest buzz” in virtual production. “The work coming out of these spaces is set to create a new standard in filmmaking,” Moffat says. “We know production companies will want to try out this new technology and take advantage of all it has to offer. We’re looking forward to our partnership with Cutting Edge and being able to showcase this to the local market.”

Currently, Edge Lab’s Head of Virtual Production, Tim Schultz, is holding demonstrations and workshop sessions for creatives and industry experts looking for a full virtual production experience tailored to their specific production needs. “Our team wants to collaborate with creatives in the R&D phase of a project so that, if virtual production is a viable solution, we can help the production team configure a suitably scaled VP studio wherever they need it,” explains Schultz.

On the 19th of March the team was honoured to invite The Visual Effects Society (VES) members to attend a virtual production event workshop at Edge Lab. The event was hosted with partners at Big Picture, Logemas and ARRI, and demonstrated Unreal Engine integration with a large-scale LED stage including real time camera tracking and various lighting techniques.
The key objective was not only to showcase the latest technologies, but also to discuss best practices with VES, the entertainment industry’s only organization representing the full breadth of visual effects practitioners in over 40 countries, in order to find ways for all the relevant departments to work effectively together in the new exciting field of virtual production.

“Queensland is fast becoming the centre of a large film production scene. Edge Lab opening is proof of that,” concludes Moffat. “We are really excited for Big Picture to be one of the main technical companies driving virtual production development here in Australia.
We’re looking forward to working on some amazing projects and with Brompton Technology as our chosen LED processing solution for VP applications, we know we’ll deliver great results.”

More information about Brompton Technology and their range of products can be found at www.bromptontech.com

The registration is open for Virtual Showlight 2021

Posted on 28 April 2021 by admin

Virtual Showlight 21 is delighted to announce that registration for its unique online event is now Open ! Tickets can be obtained from Hubilo by following this link: www.vsl21.hubilo.com

Tickets are free of charge, but delegates are encouraged to make voluntary donations via our Just Giving page when registering as all proceeds will go to support industry charities, Backup and Behind the Scenes.

L’inscription pour Showlight Virtual est OUVERTE ! (NB : lunettes VR non obligatoires !)

The event will be hosted on behalf of Showlight by MaxLive Events and takes place on 25 May 2021 between 15.00 BST and 23.00 BST.

The exciting programme of speakers lined up to entertain and educate the viewers will be interspersed by a number of ‘Video Shorts’, short stand-alone papers and some of which will be forerunners to the full Showlight event that we hope will resume next year.

A discussion panel of international speakers will focus on the issue of diversity in the lighting industry. And in between sessions there will be a number of breakout rooms, hosted by the sponsors, which delegates can enter to view and discuss sponsors’ products and services. There will also be a networking lounge for general mixing and mingling. So come and join the VSL21 for a day of networking and lighting indulgence in celebration of the spirit of Showlight.

The generous sponsors whose donations have enabled Showlight to cover the cost of this virtual event, will allow the maximum of delegate donations to go direct to the charities. Robert Juliat is the headline sponsor, and is joined by Ayrton, ACT Lighting, Altman, ARRI, Claypaky, Copper Candle, ETC, Robe and Vectorworks.

Speaker news

The final details of VSL21 presentation papers and the discussion panel are close to completion and will be released shortly. Sign up to the Showlight Mailing List at www.showlight.org to be the first to hear more.

Website : www.showlight.org
Facebook: @showlightevent
Twitter: @Showlight2021