iHeartMedia, the USA’s largest radio station owner, called on Verge Aero’s industry-leading drone show technology on August 15th to add some high-flying, high-impact visuals to local station Q102’s broadcast announcement of its 102 Grand in the Sand competition.

©Verge Aero

Amid 2020’s pandemic restrictions, 102 Grand in the Sand switched from a physical treasure hunt to a virtual one, with lucky listeners winning prizes worth $102,000 dollars.
To ensure maximum engagement for Q102’s announcement of the competition, local drone show innovator Verge Aero delivered the attention-grabbing aerial imagery. Although the show was flown in central Philadelphia, it was not preannounced to limit social gathering.

The Q102 logo. ©Verge_Aero

Flying high above the Philadelphia Museum of Art, the steps of which are known to movie lovers everywhere from Sylvester Stallone’s 1976 film Rocky, the 11-minute drone show was perfectly synchronized with the music soundtrack and live announcements broadcast on Q102.

Verge Aero’s fleet of 130 drones created a colorful, choreographed performance, featuring the logos of iHeartMedia, Q102 and the competition sponsors, plus support for the Philadelphia Flyers ice hockey team, the Flyers’ crazy-eyed mascot Gritty, and of course, Rocky himself, gloves raised in celebration, accompanied by Eye of the Tiger on Q102.

This was the latest in a string of projects in which Verge Aero’s drone technology, custom-developed for the requirements of entertainment production, has proved a perfect tool for reinforcing branding and sponsorship around live events.

All you need for your marketing is…Verge Aero.

Emily Pearce, VP of Marketing, iHeartMedia Philadelphia Region, commented, “At iHeartMedia, we are constantly looking for opportunities to engage our listeners and advertisers in innovative ways. With the current pandemic, we had to get creative with Q102’s 102 Grand in the Sand.
Nothing like this has ever been done in our industry, and Nils and Tony at Verge Aero were the perfect partners. Thanks to them, the drone show was a massive success and generated a huge buzz for our promotion!”

“Creating a show as part of a live simulcast was a first for us, and it was awesome to have such a great mix to work with,” said Nils Thorjussen, CEO of Verge Aero. “Events are all about engaging audiences, and it was fun to interact with the audience in a new way. Thanks to DJ N9NE, Buster Satterfield, Emily Pearce, and iHeartMedia for a great event.”

Peace Sign over Philadelphia by Verge Aero.

For further information, please check the Verge Aero website

Over 160 Anolis ( a Robe branch) LED luminaires have been used to illuminate public and connecting areas of Les Bassins de Lumières, an imposing former World War II U-Boat bunker in Bordeaux, France.
Originally known as ‘Betasom’, four of the 11 vast submarine basin areas have been reimagined by private organisation Culturespaces for use as a stunning and provocative sanctuary for immersive digital arts and mixed media installations.

©4eleven

Nicolas Valette from lighting design company 4eleven was asked to create a lighting scheme that highlighted the internal architecture of these impressive 115 metre long water-filled bays which have a draft of between 9 and 11.40 metres – with a tidal allowance of 1.5 meters. Each of these is separated by a 6-metre-thick concrete wall. In their former incarnation, each of the four giant basins could accommodate two submarines.

©4eleven

Nicolas found a stark and raw beauty in the functional, brutalist concrete structures, and set out to create a dialogue and interaction between light, shadows, and illuminative texturing.
The walls, ceilings and the water are often used for giant projections of artists’ work, so the internal lighting had to compliment these and also function in a standalone context for visitors to see and appreciate this incredible space with its amazing story when there are no large-format projection exhibitions.

“My starting point was first to visit and feel the ambience and emotion inside, taking into account that while lighting was not the major element, it had to be highly effective,” he explained.
Nicolas and his team do a lot of work in the live events sector, and he was able to merge the two different worlds of architectural and events lighting in this dynamic environment which had so many stories to tell.

He needed IP rated fixtures as they are close to the water, a dank, damp atmosphere permeates the space and the humidity levels are always around 80%.
The fixtures had to be expedient in size and unobtrusive to visitors as they walk around, so he needed light sources that were efficient, looked great, had a high-quality output and were not over-complicated.

©4eleven

A few months before starting the project he visited the Robe France HQ in Paris and looked extensively through all the Anolis products and options on which he comments, “It’s a very clever range with many possibilities”.
Already familiar with Robe’s entertainment ranges, he was naturally interested in the architectural ‘sister’ brand which is well known for its robust build quality and refined output. He then visited Betasom for the first time, assessed everything and thought that Anolis would be a perfect solution for the design he had in mind.

©4eleven

The Bassins de Lumières exhibition area is separated into four sections, so he arranged thorough on-site tests with all the Anolis fixtures he had chosen to show to the client how the final design would look and work. Dealing with areas of 13,000 square metres plus, lighting plots, photos and renders are simply not enough to give a realistic impression! You must be there and see it for real!

Anolis ArcSource Outdoor 24MC.

Twenty Anolis ArcSource Outdoor 24MC RGBW fixtures are dedicated to lighting walls and 24 x ArcSource Outdoor 16MC RGBWs with different lenses are deployed to graze up the concrete columns and highlight arches in the walking areas.
These IP67 units are from a family of tough, compact multichip fixtures, offering excellent output with a wide range of available lenses / optics.

Seventy-four ArcSource Outdoor 4MC RGBWs are utilised for precision lighting of the various building features including the distinctive columns and arches, with 15 x Divine 160 RGBW long throw floods fitted with 40-degree lenses used for lighting selected walls and to create background effects.

Anolis ArcPar

Then there are 30 x Anolis ArcPar 150 RGBWs with barn doors for precise shutting, which offer both CMY and RGBW colour mixing, and are further augmenting the walking areas as well as lighting a stage area.

He feels that Anolis offers “a perfect fusion of the best elements from both architectural lighting and entertainment lighting fixtures, proper ‘architainment’ products” in terms of extremely efficient fixtures with all the famous Robe expertise and service as back-up.

The biggest challenge of lighting the project was being discreet without revealing a lot of light sources which involved some smart thinking and clever concealments so visitors would not notice they were there and the effect would not hinder any of the digital exhibitions and artwork.

The Anolis fixtures plus other lights in the scheme were installed by integrators Audiopro based in Mérignac together with Cadmos. All were first programmed on a grandMA2 console and the relevant DMX values then transferred to the Modulo Pi media server / show controller which runs lighting and other elements around the building.

Nicolas worked closely with Anolis’ architectural specialist Bruno Francois and his colleague Eric Tabuteau and with Philippe Chassereau project manager from Audiopro plus Augustin de Cointet, executive director of Les Bassins de Lumières, who commissioned him to light this incredibly atmospheric historic industrial workspace.

©4eleven

©4eleven

For more info on Les bassins de Lumières please check their website

And on Robe lighting and on Anolis

Clearwing Systems Integration (systems.clearwing.com) has provided systems design and integration for the LED lighting upgrade at Waterford Union High School’s auditorium and other venues and included Robert Juliat Roxie2 followspots as part of the new improvements. Waterford Union High School is located approximately 25 miles southwest of Clearwing’s Milwaukee office.

Clearwing was charged with modernising the high school’s outdated lighting inventory from house lights to theatrical instruments as they migrate from conventional and tungsten-based fixtures to an all-LED roster.

“Flexibility and performance were the biggest factors in lighting fixture selection, along with the energy and cost savings that went along with moving to LEDs,” says Mitch Van Dyke, Engineering & Estimation at Clearwing Systems Integration. “The school trusted us to get the best lighting we could for their budget.”

Clearwing opted for Robert Juliat Roxie2 followspots to light multiple venues at the school, including the auditorium, the gym for assemblies, and the commons area which hosts comedy club shows.

Roxie2, Robert Juliat’s first LED followspot, was developed with the schools and small venue market in mind. This compact, 300W followspot is the ideal energy-efficient solution for venues that wish to reduce their running costs without compromising quality.
Roxie gives an excellent light output, a perfect beam shaping from 11° to 20° and an output comparable to most 575W discharge followspots on the market.

“The Roxies are portable in contrast to their old spots that were big and clunky,” says Van Dyke. “They operate on a standard 15-amp circuit and still have really good output. The zoom ratio works well for the theatrical throw as well as in the gym and commons.

And they’re easy for student operators, who don’t necessarily have a lot of experience, to use. In addition, the technical director loved having DMX control over the dimmer. The Roxies’ small form factor, energy efficiency and ease of use made us confident they will be a good fit for years to come.”

“We were delighted to help Clearwing select equipment that is a perfect fit for Waterford Union High School,” says Aaron Hubbard, ACT Lighting’s Regional Sales Manager. “The Robert Juliat Roxies are sure to deliver the flexibility and performance the school tasked Clearwing with providing.”
Robert Juliat is exclusively distributed in North America by ACT Lighting, Inc.

For more details on Robert Juliat’s Roxie2 followspot and others in the extensive followspot family, as well as Robert Juliat’s full portfolio of LED, tungsten and discharge lighting fixtures, visit the Robert Juliat website

DAER Nightclub in Fort Lauderdale, Florida, has won a 2020 Mondo (Americas) Award in the nightclub category for its stylish and innovative lighting design by Stephen Lieberman of SJ Lighting. The venue includes a massive 44,000 square foot indoor / outdoor space located at the famous Guitar Hotel at the Seminole Hard Rock Hotel & Casino complex and was opened in the final quarter of 2019.

DAER’s lighting rig includes over 100 x Robe LEDBeam 150 moving lights

Robe North America sales director Craig Burross was delighted, commenting “Steve’s friendship and his ongoing confidence with using Robe products in such an iconic location makes us extremely proud! Another amazing SJ nightclub design in DAER!”

For Steve, the lighting presented many installation challenges! He and his team created a unique custom system comprising five large-format chandelier style elements with each section controlled by automated hoists to produce multiple dynamic looks and change the architecture of the space. These set pieces include LED ‘neon’ style edge detailing for additional structural impact which is pixel mapped and controlled in tandem with the rest of the lighting system.

The Robe LEDBeam 150s are installed on the custom chandeliers to create broad color washes over the dancefloor. A DJ booth is located between the pool area and the dancefloor so the club setup can support both night and daytime performances.
High-resolution video screens are prominent behind the DJ booth and on both interior walls and the exterior peripheries to augment 24-hour operation and activity if desired.

Additional LEDBeam 150s are deployed around the entire club perimeter to add dimension and drama to the views from the second and third tier seating areas. With careful positioning, these fixtures elevate and enhance the already eye-catching aesthetics of this incredible space, helping ensure that “DAER will be a vibrant entertainment destination attracting celebrities and guests from throughout the nation and around the globe,” says Hard Rock’s Vice President of Nightlife / Daylife, Matt Minichino.

The Hard Rock Hotel project quickly became an iconic feature at its Hollywood, Florida location, with its spectacular guitar-shaped tower and a nightly laser light show that can be seen for miles; it has certainly raised the bar for hotel resorts in the US.
Stephen has used Robe products on several previous projects; however, he thinks and specifies independently based on the best and most appropriate choices for each design and setting. In this case, Robe’s small and exceptionally powerful LEDBeam 150 was the perfect product – small, punchy, and reliable.

“DAER’s ownership and management made a tremendous effort to bring together an extraordinarily strong team of experienced consultants and designers,” commented Stephen … who has clearly enjoyed the experience of working on this flagship project.

The results present a world-class venue designed to captivate, engage, and enthrall audiences to create lasting memories for many years to come!

For more info on Robe lighting website

As part of a major renovation project, Adler Planetarium in Chicago recently replaced the original audio system in its Definiti Theater with an all-new system featuring a complement of eight full-range Meyer Sound cinema series loudspeakers and two 900-LFC low frequency control elements.

Opened to the public in 1999 and currently seating 181, the Definiti is the smaller of two domed theatres at the Adler Planetarium. The venerable 195-seat Grainger Sky Theater, operating since 1930, received its own upgrade to a Meyer Sound self-powered system when it was last renewed in 2011.
“We definitely had a positive experience with Meyer Sound in the Grainger,” says Mike Smail, director of theaters and digital experience for the Adler Planetarium. “So when it came time to upgrade the Definiti we wanted a system that would be equally robust, and that also would use the same kind of control infrastructure. Naturally, this made Meyer Sound our first go-to solution.”

The HMS-12 shown before integration, in fact surround speakers in the Meyer catalog, but so good that they can be used as the main system.

Two years prior to the Definiti Theater project, the Adler Planetarium had contracted Chicago-based Audio Integration Services (AIS) to expand I/O capacity for the existing Meyer Sound system in the Grainger Sky Theater.
Based on the ensuing positive relationship, AIS President Mathew Edgar along with Director of Sales and Installation Javier Briseno were brought on board to develop an all-Meyer Sound loudspeaker solution for the Definiti Theater.
Michael Barret, head of design at AIS, worked with Meyer Sound Design Services to craft a smart solution. “We needed a design based on loudspeakers that could provide significantly better performance while still fitting in some very tight spaces,” recalls Edgar.

The Definiti Theater.

The installation would entail challenges. The 55 ft. diameter dome is mounted at a 14° tilt inside the supporting structure, resulting in very tight spaces between the dome screen and surrounding flat walls.
Removing portions of the screen was not an option, so the old speakers had to be removed and new ones installed while working in close quarters with significant weight restrictions.

“Frankly, I’m not sure the Meyer Sound self-powered solution would have been feasible without the IntelligentDC™ technology,” admits Javier Briseno. “It was hard enough getting the old passive speakers out and putting in the new Meyer boxes, but running electrical power to all locations would have been extremely difficult and expensive. Fortunately, in this case, it was all done with a single lightweight cable and no conduit was required.”

The MPS-488HP DC power supplies…and much more.

An exclusive Meyer Sound technology, IntelligentDC combines the performance advantages of self-powered, bi-amplified systems with the installation ease of constant voltage systems. Balanced audio and 48V DC power are carried to the loudspeakers from a rack-mount power supply over a single 5-conductor cable. The new 5.1 system for the Definiti Theater is anchored by a front LCR system of four HMS-12 cinema loudspeakers, with one each assigned to upper and lower center channels and one each for left and right channels.

The HMS-12 with a shape designed for use as a surround. The amp is located on the very top.

The surround system comprises four HMS-12 cinema loudspeakers, with two 900-LFC low-frequency control elements handling deep bass effects. Two MPS-488HP units distributed power and signal while also enabling system-wide computer status monitoring via the RMS network. System drive and optimization is provided by a GALAXY 816 Network Platform.

The new system made its debut in November of last year, with two programs running in rotation: Skywatch Live and Planet Nine. Audio for Skywatch Live is primarily focused on the live presenter, while Planet Nine features more of a film-style surround mix of narration, music and effects.

“The improvements in quality have been very noticeable and appreciated,” notes Adler’s Mike Smail. “It’s so much better than before. We always want to ensure that each visitor has the best possible experience, and the new system takes a giant step forward in making sure it is an exceptional audio experience for everybody at every seat, and not just those in an acoustic sweet spot.”

The 12” helped by a pair of 900-LFC.

As part of the complete audio upgrade project, AIS also installed a new Midas M32R mixing console and a Focusrite Rednet D16R network interface for connecting to the Meyer Sound GALAXY via AES3.

The 2011 upgrade at the Grainger Sky Theater deployed a Meyer Sound system comprising 12 UPJ-1P loudspeakers plus three Acheron cinema loudspeakers along with four cinema series subwoofers. Flexible signal routing and control is implemented via a D-Mitri digital audio platform.

Renowned as America’s first planetarium, the Adler Planetarium draws over a half million visitors annually. All theatres were closed in March 2020 due to the COVID-19 pandemic, but reopening is anticipated as soon as circumstances and applicable regulations permit.

More on the Meyer Sound website and on the Adler Planetarium website

Ayrton is delighted to welcome LSystemsPro LLC as its new exclusive distributor for Armenia. The new appointment takes place with immediate effect. Based in the Armenian capital of Yerevan, LSystemsPro is the country’s leading company for sales, design and installation of many major brands of professional lighting and audio equipment.

“We work with many big event companies and large-scale venues, where we both sell and install the products we represent,” explains LSystemsPro founder and CEO, George Hakobyan. “We have been following the development of Ayrton closely and see there is great potential in the brand. We love the design and functionality of Ayrton products and believe there is great scope for the full range of their fixtures in this market.”

LSystems sales team.

LSystemsPro’s views were compounded by feedback received from other sales and rental companies and designers who have experience of using Ayrton products, including their Russian partners:
“Ayrton fixtures have an in-built flexibility which makes them ideal for the variety of uses that our small market demands.
We are using this time of quarantine during the coronavirus pandemic to prepare our showrooms for when we can open up again and start to demonstrate the new Ayrton equipment directly to our customers. We are expecting busy times ahead!”

“Parallel to our existing distributor network and direct customer contacts, the new collaboration with LSystemsPro represents a great opportunity for Ayrton to enter emergent markets such as the CIS territories,” says Ayrton’s Kseniia Igoshkina.
“LSystemsPro’s expertise and sustainable solutions open up new opportunities for both existing and new customers to understand the full potential of the technology Ayrton offers. We are looking forward and very excited to be working with Georgi and his professional team.”

JLE’s Johannes Jonsson (left) and Gittan Jonsson.

Since 2003 when it purchased its first ARCS constant curvature system, Swedish rental company JLE Audio has grown its inventory with a range of L-Acoustics products that count Kiva and Kara II line arrays, followed by the recent addition of the new A Series.

JLE provides quality equipment and service to live events and installations across Sweden, and its appointment as an official L-Acoustics Certified Provider Rental (CPr) and Certified Provider Install (CPi) allows them to offer extended service and expertise to its client base.

Over the years, JLE has fulfilled a growing number of projects, and as a result, their rental stock of L-Acoustics cabinets has grown correspondingly to almost 200 cabinets.
“It makes perfect sense for us to solidify our relationship with L-Acoustics by becoming a member of the partner network,” explains JLE’s Johannes Jonsson. “It gives us increased expertise and ready access to support from the global family of L-Acoustics partners, which means that we can assure an elevated level of service and expertise to our clients.”

Jönköping Pentacostal Church.

Most recently, JLE has increased its presence in the strategic installation market, completing projects including Gnosjö Missionskyrka and Pentecostal churches in Mullsjö and Jönköping and Performing Arts Centres such as the Skövde Stadsteater.

Han Dohmen, Regional Sales Manager at L-Acoustics.

“Johannes and his team have identified key areas of growth in Sweden, and have helped us nurture strong relationships with end-users,” says Han Dohmen, Regional Sales Manager at L-Acoustics.
“We’re excited to welcome them into the partner network and look forward to working together to help them create engaging experiences for audiences across a wide variety of events and venues in Sweden.”

“We’ve always had a positive experience working with the L-Acoustics team,” concludes Jonsson. “They understand the Swedish market, and their ability to help us create sound solutions that are perfectly tailored to our clients’ needs is a strong advantage for us. We look forward to building the future of sound in Sweden together.”

More with the JLE website and 
Email: [email protected] / Web: www.l-acoustics.com

More commonly known by her stage name, Izïa, Izïa Higelin is the rock star daughter of 70s pop legend Jacques Higelin. The Senegal-born actress and musician recently completed a 24-date French tour on the back of her new album, Citadelle.

Inspirational backdrop from Jordan Magnée and S Group’s bespoke grid

It took an inspired deployment of GLP’s mighty X4 atom, with its tiny form factor, by the artist’s LD, Jordan Magnée, to provide an imaginative backdrop. The result was a tiltable matrix of 96 atoms (from a total complement of 124 pieces), each with a 30W full-colour LED source, to bring the scenography to life.
These were mounted on a structure fabricated by S Group, which also supplied the fixtures, having purchased them specifically for the tour. The versatility of the atom was demonstrated in the 9:1 zoom ratio from a wide 34° wash down to a tight 3.5° beam that enabled a constant variation of narrowing or expanding mid-air beams.

The tour was unusual in that it took place with the spectre of Covid-19 hovering above it and ‘gatherings’ capped at a maximum of 1,000 people in France. While this caused the 2,000 capacity Paris Olympia concert to be cancelled, Izïa took the decision to play two back-to-back concerts on the same evening at the 1200-capacity La Vapeur in Dijon, allowing 500 in for the first concert and after a quick change around admitting a further 700-plus for a repeat show that started at 9pm.

An experienced stage LD who draws on a strong background in architectural studies to give him an original approach to creating different shapes Magnée was working with Izïa for the first time. “Very much in the spirit of the new album, she wanted to rebuild her team from scratch for this tour, including most of her musicians,” he said. “The production management also changed, and since they already knew me, the connection was made with this tour.”
He adopted the X4 atoms on the recommendation of another LD. ”I was looking for a projector sufficiently compact to be integrated into a framing matrix, with a solid luminous flux so it could compete with and cut through the rest of the lighting. I tested them at S Group’s ‘Le Studio’ and the quality of the beam and zoom ratio instantly appealed to me.”

“I was really looking to achieve a very straightforward ‘back to the roots’ rock’n’roll look, with the audience not actually able to see any movement of lights, which is the opposite of what’s so trendy nowadays. Here, we either had a perfectly blended wash from the top, or a forest of almost vertical beams like old fashioned PAR cans. We even emphasise this by using only warm white during the first three numbers, and bringing colour to the set only after that, as a nice surprise.”

The stage set was designed to be scalable, Magnée said. “On the biggest gigs the matrix could be extended, and on venues where the stage ceiling was not high enough, it could be spread horizontally; the rectangular frames of eight atoms were then installed 60cm from the ground up. Of course, this version is more ‘in your face’ from an audience perspective, but at least we could still use the pixel effects and have the benefit of the impressive zoom ratio of the X4 atom fixture.”

Jordan Magnée (at left) and Etienne Gennatas.

Magnée was supported by accomplished board operator, Etienne Gennatas (on an MA Lighting grandMA3), who has been the LD’s long-time collaborator. Each of the X4 atoms was programmed in 9-channel full mode, RGBW colour mixing control, plus zoom and dimmer/strobe.

Stated Magnée: “I use Resolume software to send back into the desk the DMX data to make the matrix (with a pitch of 50cm) react directly to the content I created specifically for this show. At any time, Etienne could also merge features stored in the board mainly colours, zoom and brightness as additional layers.”

S Group had been indispensable, he said, when it came to a fast rig and derig of the matrix. “We had to figure out how to install it quickly each time, while retaining the possibility of having have two configurations.”

The company found the use of perpendicular 290mm truss ladders to be a clever and effective way of building it, as the height of the X4 atoms could fit neatly into this kind of frame, as well as allowing the space necessary to integrate the external PSUs.
The fact that the crew used off-the-shelf truss elements enabled this to fit within a tight budget, with a minimum number of specific parts.

For the X4 atom, more usually seen in fixed installation, this was an inspired deployment. To exemplify this, GLP’s head of France, Bruno P. Souchaud, cites 178 X4 atoms, fabricated in a specific RAL white, which were sold for a fixed Pierre Cardin exhibition some years ago.
In Dijon, the last date on the tour before the French government banned public gatherings, and the tour was suspended until October, the matrix was hung low (at 3.80m high) upstage), and 1m more in the front (downstage).

It was composed of 96 X4 atoms, distributed above the stage in two rows of six rectangles assembled in pre-wired vertical truss ladders fixed together by truss pins, making it easy to set up and dismantle. There were a further two poles situated upstage, each with a horizontal bar supporting four atoms. The remaining 12 atoms were located underneath two steps of the drum riser, aimed horizontally towards the audience front rows through adjusted round holes.

In conclusion, Jordan Magnée said he is delighted with the dynamic created by GLP’s X4 atom matrix … and its dependability. “As the main part of the entire stage concept, it’s been incredibly reliable, and by a dozen gigs into the tour we had experienced no problems whatsoever.”

More info on :

– The lighting designer Jordan Magnée
– The rental company S Group
– The GLP Products

Australia’s leading supplier of video technology and production for the live events and entertainment industry, TDC (Technical Direction Company), was approached by production company Exit Films to work together on creating a full Virtual Production for an NRMA Insurance TV commercial.
This was the first time a virtual LED background was used in Australia to replace a traditional green screen on set.

TDC knew that to be able to fully deliver the vision of award-winning director Marc Forster they had to use equipment offering superior performance and reliability, so chose the winning combination of Brompton Technology’s Tessera LED processors driving ROE Visual LED panels.
The commercial, which focused on road safety during the holidays, followed an eight-year-old girl and her magical CGI toy bunny working together to save her dad from distracted driving. The team’s main challenge was to convincingly portray the fast movement of the car, which is generally a difficult environment to film, whilst telling an emotional story that relied heavily on close-up shots.

© TDC – Technical Direction Company

“Knowing how much Forster disliked the fake screen look, we wanted to give as much realism as possible to the production by bringing a cutting-edge LED screen technique for moving picture purposes,” explains Alex Rendell, Technical Project Manager at TDC. “In that way, instead of actors having to imagine the surroundings, they could actually be in them.”

The TDC team collaborated closely with the DP Ginny Loane to build what became Australia’s first 180-degree LED cyclorama, featuring ROE Carbon 3 3.75mm LED panels. The LED wall served both as the moving backdrop and the main lighting source for the car interior and actors, removing the need for extensive on-location shooting and offering realistic ambient lighting effects and controlled, accurate reflections everywhere even in the actors’ eyes.
Working with post-production company Framestore, the team considered aspects including LED pitch, moiré issues and panel diffusion, colour accuracy, as well as frame synchronisation and high-resolution playback. After analysing all planned camera angles, the team shot the 180-degree background plates with a multi-camera rig, as well as a prosumer VR camera. It was then all seamlessly stitched together before the shoot to play properly scaled on the LED screen backdrop.

“Having the footage shot at the chosen time and location ensured that the same scene could easily be re-created over and over again, with moving reflections and light outside the car windows perfectly in sync with the action inside of the car,” continues Rendell. “Additionally, having the video content displayed on an LED screen created a realistic environment for the talent to act in and interact with, resulting in authentic performances.”

Brompton’s Tessera SX40 4K LED processor ensured the LED screen looked flawless and the pre-filmed content was perfectly translated onto it, with accurate scaling and colour. “The main thing that the Brompton processor helped with during the project was the ease of positioning and scaling of both screens within the 4K camera footage,” adds Rendell. “This enabled full flexibility of the car orientation relative to the screen and camera angles during the shoot.”

Forster’s decision to shoot in anamorphic mode for a more cinematic look offered a far shallower depth of field at the same angle of view, meaning that everything outside the focal plane became a lot softer. This not only looked great, but also prevented moiré issues from the LED panels. As all the action had to be filmed from within the car, a Cooke 65mm T2.6 Macro camera was chosen for its excellent close focus distance properties.

Once all the parameters had been worked out, it was easy to execute the planned shots on a soundstage within a day, and in-camera. “The director and the clients were happy as they could see the character in the environment that it was supposed to be in and tell the story in the best possible way,” states Rendell.

Using an LED wall as a digital backdrop replacement for traditional green screen has multiple advantages, according to Adam Fiddler, Technical Operations Manager at TDC: “By re-creating the world on the digital scene, it allows cinematographers and actors to be in touch with the space they are filming in.
By using the technology in this way, filmmakers are able to frame the particular part of the set or background they want to see in the camera and also reproduce lighting looks and reflections in real time. That would take weeks to do in post-production. By using this method of production, film companies are able to save time and money in lengthy post-production work and capture more engaging content on set.

The TDC team have been using Brompton processing since 2015. Their initial purchase was the Tessera M2 processor to support their investment in ROE Black Onyx 3.47mm. The team was so impressed with M2’s reliability that when the demand for large-scale high-resolution and 4K screens increased, the team further invested in Brompton’s Tessera SX40 4K LED processor as well as its XD data distribution solution.

“I was really excited about being able to run fibre to the screens whilst reducing the number of copper connections,” says Fiddler. “OSCA seam correction is the feature we utilise a lot with Brompton. Building huge seamless screens was something that attracted us to Brompton processing in the first place. The colour representation and ability to operate at low brightness without compromising image quality were also great selling points for us to pitch to our clients.”
Another feature of the Tessera SX40 processor that TDC found particularly useful for this project was ChromaTune. “We made use of the ChromaTune feature in the Tessera software to be able to manipulate colour adjustments on set for the best results on camera. To have all these kinds of features on board with the SX40 proves that virtual productions can be made on a smaller scale,” says Fiddler.

According to the TDC team, deploying an LED screen as a replacement for traditional green screens is becoming an increasingly viable option, as it opens up new creative possibilities to teams that are working on tight budgets, or even as an alternative for crews limited by lockdown by constructing a transformative, immersive environment.

“With Brompton’s advances in HDR, Ultra Low Latency and High Frame Rate, we see Brompton as being at the forefront of pushing Virtual Production technology across many industries,” concludes Fiddler.

More on the TDC website

As the name implies, MAPP 3D provides highly accurate, three-dimensional renderings of predicted sound system performance within detailed, wire-frame venue drawings. Equally important, MAPP 3D now offers complete integration with the GALAXY Network Platform and Compass® control software for a seamless workflow from initial design through on-site tuning.

Une vue ISO d’une salle de cinéma.

Comprehensive processing parameters for complex systems can be optimized using MAPP 3D predictions, with the resulting processor settings pushed directly into multiple GALAXY processors with the click of a mouse.
In addition to traditional calibration test signal sources, MAPP 3D supports M Noise™, an emerging industry standard to determine the maximum linear SPL for music. This combination provides the industry’s most accurate prediction of a sound system’s maximum capability when reproducing music.

“The release of MAPP 3D marks a milestone in the development of sound system design software, not only for Meyer Sound, but for the industry as a whole,” says Perrin Meyer, Meyer Sound director of emerging technologies.
“The detail in the renderings is spectacular and the flexibility of the user interface is unprecedented, but what really sets MAPP 3D apart is the extreme accuracy of the predictions. What you measure with MAPP 3D’s virtual microphones is precisely what you will see in measurements from real microphones.”

Une prédiction à 4 kHz de l’ensemble du système d’un stade.

The combination of a streamlined, user-friendly interface and seamless integration with GALAXY processors and easy import of SketchUp (SKP) and AutoCAD (DXF) files will afford significant time and cost savings in both system design and on-site optimization.

With multiple views and fingertip control of a free-rotation tool, audience areas can be quickly defined, even within complex architecture. Line arrays can be quickly configured and automatically splayed for uniform coverage, and multiple system options can be evaluated simultaneously.

Le processing U-Shaping sur GALAXY

In addition, MAPP 3D enables system designers to perform virtual system optimization in the design phase.
MAPP 3D includes virtual GALAXY signal processors, allowing the designer to add and configure processors, view prediction results, and later synchronize these settings directly to the hardware processors on site.

Complete output processing functions of all GALAXY processor models are available, and a copy and paste feature can be used to replicate settings in one or more other processing channels.

L’export de mesures d’un array de LEO.

Because MAPP 3D includes precise sensitivity data for all Meyer Sound loudspeakers, it can display predictions as real-world SPL as well as attenuation.
The inclusion of sensitivity coupled with M-Noise compatibility also provides highly accurate predictions of system headroom.
Accurate headroom predictions alleviate any tendency to overdesign systems, leading to greater cost efficiencies in the final specification.

MAPP 3D loudspeaker performance is based on more than 65,000 three-dimensional measurement points, taken in 1/48th-octave resolution in the Meyer Sound anechoic chamber. Also, MAPP 3D predictions are accurate across the full bandwidth of all loudspeakers, including as low as 12.5 Hz for the VLFC™ very low-frequency control element.

Une prédiction en 3D vue par le côté.

MAPP 3D also leverages the inherent advantages of working with loudspeakers that are self-powered and manufactured to extremely tight tolerances for uniformity of performance.

“When working with predictions in MAPP 3D, you can be confident that your virtual loudspeakers will behave exactly as the physical models tested in the anechoic chamber,” says Todd Meier, Meyer Sound director of product management, “as will the loudspeakers in the final installed system.

Todd Meier

In addition, self-powering eliminates variables associated with external powering, such as amplifier type, amplifier output configuration and loudspeaker cable length, all of which add complexity and introduce a potential for error in other proprietary prediction tools.”

The upgraded, high-resolution graphics and flexible user interface in MAPP 3D provide an array of options for design and performance analysis. System designers can insert simple 3D geometry to reveal array behavior outside the audience area. Layers can be turned on and off to speed workflow.

Prediction planes are quickly created from imported drawings with a “Snapping” tool. In addition, multiple prediction planes in large venues with symmetrical sections can be created quickly using linear and angular extrusion in combination with the “Mirror” and “Align” tools.

MAPP 3D is available as a free download from the Meyer website

Started as an award for shows and everyone who is part of the Zapp television schedule, the first editions were part of the morning show ZappLive and were recorded in the associated studio. In 2018, the Zapp Awards were transformed into an independent award show.

At that time, Jeroen van Geffen got involved as lighting designer on behalf of KRO-NCRV. The first two shows were broadcast live from De Vorstin, a music venue in Hilversum (NL).
“The Zapp Awards should feel like a big award show, but at the same time it should maintain the character of ZappLive. This talkshow-like setting is characterised by its looseness and speed. We tried to translate this into a more structured award show,” says van Geffen.

Decoration of Zapp shows should feel tough and industrial. That’s why the CLF Apollo has been part of the lighting design since the first edition in 2018.
Van Geffen comments: “These fixtures match the tough look and feel. Moreover, the warm white centre LED approaches a tungsten light source, which really beefs up the the industrial look. Finally, the RGB sections make it a real eye-catcher.”

This year, the Zapp Awards should be even bigger and better, so Studio 21 was chosen. “This impressive location is very glamorous, however it lacks the tough, industrial look and feel that was created during the previous editions. That’s why we immediately included the so called ‘Zapp fixtures’ as a decorative element around the LED screens.

Also, CLF LEDbar Pros were added to emphasise the shape of the LED screens and to connect the video with lights. Due to its output, the LEDbar Pro is a simple but effective tool for this purpose. In addition, it can also be used with low output levels and the big reflectors resemble conventional lights.”

Over 40 CLF Aorun beams were used to highlight the size of the studio. Van Geffen adds “The house rig of Studio 21 consists of Vipers and Spiiders, so I was looking for a fixture with enough output to match. Besides, the Aorun features a punchy, tight beam, which is exactly what I was looking for. In terms of camera use, we recorded at high colour temperatures. This brought out the colours of the Aorun even better and the beams really stand out on screen.”

Whereas big award shows schedule several days of rehearsal and preparation, the Zapp Awards show was both programmed and technically rehearsed within a few hours. This not only requires a fast, flexible team, but the fixtures also have to keep up.
“We don’t have time to search through many modes or channels for the right effects. This is one of the big advantages of CLF fixtures. No nonsense, but a lot of results! ” concludes van Geffen.

CLF Products:
41x CLF Lighting Aorun
28x CLF Lighting Apollo
28x CLF Lighting LEDBar Pro

CLF-Apollo

CLF-Aorun

CLF-Ledbar-Pro

Venue: Studio 21, Hilversum
Client: KRO-NCRV
Supplier: Chain / Rent-All
Technical Pre-production: Dennis Kok
Project management: Dennis Kok & Koen Fontein
Light Design: Jeroen van Geffen
Programming/Operating: Thijs Brouwers en Jeroen van Geffen

More on the CLF Lighting website

Following the successful launch and positive feedback from the industry on its new Hydra measurement tool for LED panels, Brompton Technology is pleased to announce that the highly anticipated system is now shipping globally.

Among the first wave of systems to arrive with customers, a number have reached Shenzhen, where Brompton has recently opened its new larger China office. These Hydras are already being used for panel calibrations by Brompton’s many panel manufacturer partners, assisted by a team of Calibration Support Engineers.

The Hydra is an advanced measurement system custom-designed for LED panels fitted with a Tessera R2 receiver card.
Panels must be measured with Hydra to benefit from Dynamic Calibration, the ground-breaking technology that unleashes a panel’s full potential so it can achieve brighter whites, higher contrast ratios, more saturated colours, and true-to-life colour accuracy, delivering a previously unattainable level of image quality and realism through Brompton HDR.

Investors in the Hydra system will benefit from the system’s minimal set-up time, comprehensive error checks and its ability to generate reports in multiple languages to give an objective assessment of panel performance. This makes it straightforward to confirm that each new batch of panels meets individual specifications and reduces the potential for user error.

“Our original plan was to support every delivery with in-person training and full setup,” says Thomas Walker, Product Manager for Brompton. “We’ve had to adapt to the current climate but are still offering our renowned 24/7 global tech support by employing all available remote collaboration tools, such as video conference, phone support, and remote desktop control if needed.”

The first production run of Hydra sold out immediately after its launch. Rental companies including Fuse, Creative Technology and Faber AV have been early adopters, taking the opportunity to upgrade the capabilities of their existing LED panel inventory.

Richard Mead, Brompton’s Managing Director.

“We announced Hydra last November and it got a great reception. But our whole industry has been facing tough times since then and our focus has been on supporting our team and our customers worldwide,” says Brompton’s Managing Director, Richard Mead.
“It now gives me enormous pleasure to announce that we’ve delivered the first Hydra measurement systems, which will allow Brompton customers to significantly upgrade their current fleet of LED panels with all the power and flexibility of Dynamic Calibration and Brompton HDR.”

More on the Brompton website

The reopening of the Central Market of Zaragoza with followed a two years and 12 million euros renovation was emphasised with a great multimedia show onto its south façade over two nights in February of this year. For this occasion, three Digital Projection’s M-Vision Laser 18K single-chip DLP projectors were chosen.

Named ‘The Dream of a Creation’, the first part of the show was aimed toward the vision of Félix Navarro Pérez, who was promoted as the building’s chief architect in 1903. The show started with images of the architect at the 1889 Universal Exhibition in Paris where he found out about modernist architecture with iron and glass, followed by images of the design, geometric calculations and close-ups of the Central Market.

The video-mapping then recreated the first construction works of the fish market and how guilds proceeded to erect the building, and concluded with images of the enamels found after the restoration of the market.
This was followed by a fantasy of light and sound with ‘Siglo XXI’, which presented a glimpse into the Central Market’s future; including the introduction of digital technology and even artificial intelligence, as well as digital construction and deconstruction of the building’s façade.

Inside the building, as a nod to the time when the market first opened, was a performance of one of the acts of the zarzuela Gigantes y Cabezudos by five soloists, a choir of 16 singers and the Corner Orchestra.
The inauguration project, which was completed on 6th February 2020, was undertaken by audiovisual production company Delrío Comunicación Audiovisual, and was centred around projections created by three of Digital Projection’s M-Vision Laser 18K single-chip DLP projectors.
The M-Vision – a powerful single chip DLP projector with an impressive 18,000 lumens output and 10,000:1 contrast ratio – is designed for continuous operation of up to 20,000 hours without maintenance, making It an ideal solution for the rental, exhibition, and retail markets.

Delrío purchased the M-Vision units used for this project from local distributor Estalella Audiovisual. “The M-Vision 18K has near 3-chip performance in a 1-chip price point,” said Estalella’s Xavi Oriola. “Places that compete with ambient light, as well as applications that need a powerful yet budget-conscious large-format imaging solution, will benefit directly from the M-Vision 18K’s extensive light output.”

“I think ‘spectacular’ was one of the most used adjectives in the inauguration of the renovated Central Market,” said Oriola. “The events – one in the morning and one in the afternoon – were reserved for retailers and the authorities, but many Zaragozans wanted to come and try to discover what was going on inside.”

The SUB S Series includes high-power subwoofers suitable where the installation requires an ultra- compact enclosure for 10” and 12” drivers. Extending the frequency response below 40Hz, this highly efficient design is capable of providing output levels normally associated with considerably larger cabinets.
A particularly well-suited matching subwoofer in high-quality multimedia applications and music playback for clubs, bars and cafes, theatres, and corporate applications.

The RCF S 12

Le S 12.

La réponse brute du S 12. Si vous avez besoin de pression entre 40 et 200 Hz, vous serez servis !

S 12 is a high-power, compact sub ideal for installations where the physically small size and impact of a 12” driver are desired.

Extending the frequency response below 40 Hz, this 400W AES sub produces a SPL Max of 125 dB. The low-frequency transducer is a 12” woofer with a 2.5” voice coil.

Le S 12 sans sa grille avant.

Its design is the result of the latest refinements in compact subwoofer production, resulting in a fast and controlled reproduction of the bass frequency range.
The cabinet is made of high quality plywood and the steel front grille is doubled with a protective clothing.
An M20 standard pole mount is present in the top section of the cabinet. In and out is possible thanks to a 4 poles parallel Euroblock connector.

The RCF S 10

The S 10 is the smaller S 12 sibling and retains most of its numbers and all the features in an even smaller cabinet. The lower frequency is 50 Hz and the power handling still 400W AES, offering 124 dB of SPL Max.

Le S 10 avec sa charge bass reflex et son 10”. La bobine est la même que celle qui équipe le modèle supérieur, une 2,5” d’où des performances très proches.

Music helps engagement and will improve the hospitality of your environment.
The RCF Sub S Series is designed for optimal background performance preserving the same quality even in high powered foreground music.
Your audience will enjoy an engaging, immersive musical experience.

More on the RCF website

“Our goal is to prep our inventory and staff so as soon as things are ready to start up again, we can hit the ground running,” states Premier Entertainment Group president and owner Dave Guiler about a recent acquisition of Elation Fuze SFX™ LED moving head luminaires.
“That was the goal behind the purchase, to get things together easily and quickly so when this is over we don’t have to worry about any missing pieces.”

Located in Dothan, Alabama, in the southeast corner of the state, Premier Entertainment Group recently acquired 20 Fuze SFX Spot FX fixtures along with other gear as part of a strategy that will see the event services provider put more focus on the touring market.
In order to be well prepared once the Covid restrictions have passed, Guiler has put together lighting packages designed to quickly fill a touring rider, truck friendly gear that will also work well on festivals and one-off shows.

Guiler founded Premier Entertainment Group in 2007, when he was just 18, and has grown the company since. He bought into Elation gear about five years ago with the Platinum FLX™ and also keeps Fuze Wash 350s™ in his inventory. Currently 85% of his moving heads are Elation brand.
“We had the Platinum FLX, which were phenomenal lights, but for the caliber of shows we were doing, it was a bit much as we don’t always have 50 or 60 foot trims,” Guiler comments. “The Fuze SFX is high quality and versatile like the FLX but with a 300W LED source it has a smaller footprint. For power consumption and output, it’s exactly what we needed and fits in well with the size of events we’re doing.”

Elation Fuze SFX

A unique combination of spot and effects fixture, the Fuze SFX is a compact multi-purpose LED luminaire with CMY color-mixing, 18 carefully designed gobos and a 4.5° to 38° zoom. “Every bit of the feature set was exactly what we needed,” says Guiler.

“We wanted a CMY fixture with a super wide beam angle that could also zoom narrow to get a nice beam when we need it and I love the aerial effects of the gobos. The SFX nailed it on the head.”
Besides a good fit for mid-size festivals and shows that PEG specialize in, Guiler says the SFX is also a good fit for a smaller performance venue near their shop where they do a lot of shows, as well as a new venue in town that’s just getting its feet off the ground.

Guiler worked with Elation manufacturer rep firm Freed Sales, who briefed him on the Fuze SFX and demoed the light for him. “They are probably the best rep we’ve ever dealt with,” he says.
“If we’re curious about a light and how it stacks up against another I can hit [Freed Sales President] Dustin Pesnell up or our regional rep Todd Small and they’ll either send it to us within a week or come down for a demo. They’ve been absolutely phenomenal as far as having a good partner, also with ADJ product.”

The Fuze SFX fixtures have already seen a demand as they have been rented to a recent dance recital filming. Bluewood Productions, based in Huntsville, AL, requested a powerful light to cut through the theatrical wash while still delivering mid-air visuals to be caught on film. The SFX did just that and has already secured future bookings for the fixtures. Both PEG and their production partners couldn’t be happier with the acquisition!

More information about Elation products on the Elation website