After the generous flow of new products unveiled by Claypaky in the spring, this fall sees the Italian brand muster new energy and keep good track of its lighting fixtures, in particular the Xtylos whose laser source continues to amaze.
The Xtylos, on top of the Claypaky « Black Box » booth at JTSE ehibition in Paris, attracting all attention indeed.
After a slight refurbishing of the download part of their website _you will now find all the technical documents on the Claypaky technical support site here, the Italians also took advantage of this year-end to release two complementary products to their range, a waterproof version of the Sharpy Plus and a motorized mirror.
Claypaky Sales Director, Emilio Cornelli, tells us more, all in fluent French per piecere ! But we added subtitles in English for you, dear international readers.
Sharpy Plus Aqua
Also giving in to the fashion of waterproof lyres, Claypaky boxed its famous Spot-Beam Sharpy Plus within an IP65 waterproof shell. The cooling system has been revised to allow the Osram Sirius HRI® 330 W X8 lamp to keep its full lighting potential, without changing its color temperature.
Very sleek, the Sharpy Plus Aqua is adorned with a multitude of barbs to help heat dissipation.
During this operation, the Sharpy Plus Aqua gained weight, 15 kg and 10 cm more, but without losing its line or its features. We therefore find the two identical projection modes, Beam and Spot, the zoom range from 3 ° to 36 °, the famous CMY color mixing, plus 15 fixed colors on three wheels inherited from the Mythos and all the effects . Thus, we recover the 2 CTO filters, 18 fixed gobos (including 6 beam reducers), 8 rotary gobos, two 4 and 8 facet prisms, an animation wheel and the Soft Edge frost.
The Sharpy Plus Aqua, the very same one that was launched at LDI a few days before the JTSE and which arrived in Paris just in time.
This way, Claypaky hopes to meet again the success of the Sharpy Plus with a waterproof version, with the same DMX chart, for outdoor equipment or permanent installations.
ReflectXion
The ReflectXion, unveiled at LDI and not present at JTSE, will soon be available.
Many years ago, an Italian manufacturer launched the Light Deflector, a small motorized mirror for innovating light designers, who used its numerous reflections to give the illusion to provide an incredible number of light sources. With the Xtylos now available with its infinite beam, it was the perfect opportunity for Claypaky to release a remix of this device, the ReflectXion. This unit offers a large double-sided mirror, 390 by 280 mm, with 16-bit control Pan and Tilt. The coated surface allows a reflection rate of 99% without any chromatic aberration, with infinite rotation of the Tilt as a bonus. This beautiful 13.5 kg baby will perfectly complement the Xtylos, of course, but also all types of narrow light sources or lasers, according to the designers’ imagination.
As L-ISA technology continues to be adopted by live events like the recent Bon Iver and Mark Knopfler tours, and in permanent installations such as Sydney Coliseum, L-Acoustics is pleased to announce the expansion of console partners, adding Yamaha Professional Audio, who has co-developed an L-ISA DeskLink for their flagship Rivage PM7 and PM10 mixing systems.
“Collaborating with the creative team of experts at Yamaha has resulted in an exceptionally sleek integration of the L-ISA object controls into Rivage mixing workflow. The new DeskLink is a great example of collaborative design,” explains Sherif El Barbari, director of L-ISA Labs.
Sherif El Barbari posing inside the legendary L-ISA auditoria in Marcoussis.
Within the Rivage consoles, for every mono or stereo input channel, a direct control of L-ISA Objects or Groups will be available on the console control surface and touch screens. The five main L-ISA parameters Pan, Width, Distance, Elevation, Aux send will also be stored for each object in the console Scenes, with dedicated recall scope.
The L-ISA DeskLink provides a seamless workflow on two of the industry’s leading consoles, allowing for immersive hyperreal mixing in a familiar environment, making adoption of L-ISA technology even easier. “It has been a real pleasure to collaborate with the team at L-Acoustics to create a dedicated, deeply integrated and flexible user interface.
As the reputation of Yamaha Rivage PM mixing systems for outstanding sound quality and traditional Yamaha reliability continues to grow, this project will benefit our many joint customers throughout the world.” comments Chris Angell, Yamaha Pro Audio R&D.
The Yamaha Rivage with L-ISA DeskLink will be available this next Spring and on display for hands-on discovery at PL & S in L-Acoustics room Symmetrie 2+3.
We discovered at JTSE 2019 exhibition in Paris two new moving heads as a complement to the Rogue and Maverick ranges. Let’s sum up saying we met a small hybrid and swift moving head, as well as a powerful IP65 waterproof Spot. Both were introduced by Jérôme Garnier, Product Manager and Technical Manager at Chauvet France.
Like other competing brands, Chauvet decided to release a small moving head equipped with LEDs that can both generate a concentrated beam with very narrow angle, as well as a wash light with a well spread out light output.
The small, yet mean Rogue R1 BeamWash.
The Rogue R1 BeamWash comprises a module of 7 mobile lenses acting as 5 and 58.2 ° zoom, each associated with an RGBW 40 W LED. Its compact size (36 cm maximum wingspan) and its limited weight (5.35 kg) ensures high speed. It has an integrated management of its color temperature, variable between 2,800 K and 10,000 K, and is controlled by RDM DMX.
The Maverick Storm 1 Spot is a much larger device, with a well-worked and robust design to confront bad weather. Under its integral IP65 shell, this spot incorporates a white LED source of 480 W (at 6,600 K).
The Maverick Storm 1 Spot, designed predicted to brave the most unfavorable weather conditions!
The light generated can be transformed and shaped by a multitude of modules: CMY color mixing system complemented by a progressive CTO filter, 8-position color wheel, two gobo wheels, one of which with rotating and indexable gobos, an animation wheel, two Frost filters, an iris, a 3-facet prism and a 6.5 : 1 zoom variable between 7 and 45 degrees of angle aperture.
This projector can be controlled in RDM, Wireless DMX, Art-Net and sACN. It spreads out to a maximum height of 72 cm (head pointing up) for 38.8 kg (this is what you get if you want IP65 specs!). It therefore completes the range planned for outdoor use already boarding the Storm 1 Wash.
Created only seven years ago and first associated with the DJ-oriented device market, the Cameo brand now unveils new products belonging to a resolutely professional category. Fabrice Dayan, Product Specialist Light Technology for the south-eastern area, introduces them to us.
First contact with the Evos W7, new Wash light with matrixable LEDs.
The Evos W7 is a wash / beam type moving head, capable of generating a light beam over an opening range with angle specs between 4.5 and 34 °. This device is equipped with 19 LED 40W RGBW sources, and claims a light output of 10,500 lumens.
One of its other particularities is the use of a low color temperature for white, with a Color Rendering Index greater than 90. It can be controlled by many protocols: DMX (RDM), Art- Net, sACN, Kling-Net. Its 19 LED sources can be independently controlled and animated thanks to a seemingly well-stocked macro bank. The Evos W3 is a variation of the W7, with 7 LED sources of 40 W.
Here’s another machine that is entering the Cameo Pro range, the Opus X Profile (pronounced “Opus ten”), it is a beautiful moving head comprising a 700 W dimmable LED module, announcing a 33,000 lumens luminous flux. This very complete moving head integrates a CMY color mixing system, a linear CTC corrector variable between 2,600 K and 6,500 K, a 6 °- 46 ° extended zoom, a framing system module with 4 blades motorized both in positioning and rotation, as well as all the focusing and classic effects that can be found nowadays inside projectors of this type (prisms, rotating gobos, effect wheel, progressive frost …).
The only Opus X Profile item being hung up quite high, we just could wave at it from a distance!
Some Deep Throat advisor whispered in our ear that special care was taken during the development of the framing module to obtain a very correct focus edge on all 4 blades at the same time. Cameo also points out that the maintenance / disassembly aspect has been optimized on this device with a system of cassettes and connectors, quick to handle.
Small « nomad » and wireless projector still in the final development phase, the B4 will have a very wide range of colors.
Let’s end this up with the B4, a small autonomous LED projector equipped with 4 RGB + W + A + UV LED chips of 15 W. It is provided with a battery (manufactured by LG) providing 12 hours of work time at full power. The B4 is obviously equipped with wireless DMX, it is supplied with a kit of several lenses to give a beam choice 22, 32 or 40 °. Its little brother, the B1 will integrate only one LED, but will be equipped with a brand new magnetic fixing system.
All these products will be available during 2020, Q1.
DWR, which had been announced as distributor in 2019 for South Africa, followed the last years of ‘Astera LED’ becoming famous in South Africa. In fact, they started making sales to people interested in the brand innovative range of battery powered LED products immediatly. One of the first sale in the country was to freelance gaffer Andre Beumer from Just Light It in Pretoria, who collaborate extensively with several leading DoPs and other clients in the film, TV, commercials and video industry.
Andre was in need to get his hands on a set of Titan Tubes because a lot of his work is done on location in dynamic environments around Johannesburg so there’s no studio lighting and every space is different. Everything has to be outsourced for the shoot, and this is an exciting way to work as it requires knowledge, quick thinking and the right tools when it comes to lighting.
Andre encountered Astera Tubes few times before in his career but these had been available only through other individuals like himself, who used to purchase them elsewhere to bring them back to SA. It was a good news that DWR and Astera struck the distribution deal. And following it Andre acquire the 8-way Titan Tube kit. “They are totally amazing tools,” confirms Andre who appreciates the versatility of the fixtures.
With the onboard batteries they can be transported easily anywhere to bring the right light to a shoot, whether it’s popping a Tube in the corner for some atmosphere, back lighting a subject or key lighting people’s faces for interviews and getting perfect skin tones thanks to the high CRI. He adds that he’s impressed with the way Astera has thought of every possible permutation that someone might use to mount and rig the tubes – including hand-holding with the ‘light sabre’ handle. A selection of the most popular accessories is included in a neat flight case with the 8 Tube kit.
“You can really work fast on any site with these, utilising a number of smart features like telling the source how long to operate and other extremely helpful things.” Andre loves the colour mixing, the quality of the light and the fact that the daylight to tungsten scales are “spot on”. He states that the App control is a plus. Flexible, straightforward and great for on-set work where you need to make tweaks quickly.
Andre’s future Astera investment should concern some the DoP Choice accessories “which make things even more adaptable,” he declared.
Martin Audio started 2020 with the announcement of the X218 subwoofer, answering numerous requests and extending yet further the company’s best ever selling portable series, BlacklineX. BlacklineX, announced in 2016, was the first new series developed under the management of Dom Harter and was an instant hit, delivering performance and value for a range of applications including portable sound reinforcement and stage monitoring for live bands, DJ’s and corporate events, to installations in nightclubs, bars, commercial spaces and Houses of Worship.
Soon to be shipped, the X218
The original line-up comprised just a 15” and single 18” subwoofer and so as Harter says : “the success of the BlacklineX series led to numerous calls to extend the range with a double 18” subwoofer, and we’re delighted to kick off the new year with this punchy sub at an equally punchy price point.”
The X218 is a dual-driver, high performance subwoofer with an operating range of 42 Hz to 200 Hz ± 3dB and passes 33 Hz at -10dB. It produces high output levels—141dB peak SPL (half space)—with low distortion and can be used singly or stacked horizontally. It features dual 18”/4” voice coil, long-excursion ferrite magnet drivers in a reflex enclosure with eight large ports that reduce air turbulence at high output levels. The weight is 88kg.
For added versatility in deployment, the X218 is fitted with a 35mm pole-mount socket for mounting BlacklineX full-range enclosures, and integral M10 inserts provide for eyebolt suspension of a single enclosure. When used with BlacklineX Series full-range systems, crossover and EQ functions can be performed by the DX0.5 or DX4.0 system controllers or by a Martin Audio amplifier with onboard DSP.
Dominic Harter
Summing up, Harter said : “Our double-digit growth for the last three years has been largely born out of a new product drive and this latest addition to the best-selling BlacklineX series starts the year off nicely. It will further drive our pedigree and success in value-led portable and installation applications.”
Shipping is scheduled worldwide from early May 2020.
After taking over the Martin distribution in France almost 3 years ago, Algam Entreprises company was pleased to unveil as an European premiere a brand new series of projectors, the Era series, with no less than 6 models, including a 800 LED moving head and a lamp-fitted waterproof hybrid IP65 moving head.
The Martin demo booth at JTSE 2019 Paris exhibition.
In between the Rush family and the reference Mac, this new line is developed by Martin for Harman Professional Solution. Designed in Denmark by the Martin R&D department, these projectors are manufactured by third party factories following precise technical specs, and a reduced cost to relieve the portfolio of loyal customers to the Danish brand.
Era 500 Hybrid IP
Hybrid and waterproof projector, the Era 500 is ready to face the elements piece of cake. Equipped with a Philips Platinum 18R 350 Watt discharge lamp, this IP65 projector promises an almost unreal flow of 22,000 lumens with a color temperature of 7800 K and a lifespan of 6000 hours.
The Era 500 is the first IP65 projector designed by Martin.
The set of optics allows a zoom ratio of 1:20, from the sharp beam of a 2 ° beam to the wide coverage of a 40 ° spot, augmented by a special Wash filter. As a complete machine, its CMY color mixing system is complemented by a 9-color wheel including a variation of CTO filters in Full, ½ and ¼. A wheel of 15 static gobos sits next to another 9 rotating gobos one, helped by two sets of circular and linear prisms capable of operating simultaneously, for even more effects.
While the Era 500 emphasizes its resistance to humidity and dust, it also has resistance to correction C3-M and impact protection IK07, essential to withstand all the harsh constraints of outdoor installations. Its menu and all of its DMX and EtherCon sockets are of course waterproof, covered with certified Outdoor caps.
Like all waterproof projectors, the Era 500 has a rugged body, ridged in many places to help cool it down. Its substantial weight of 46 kg is balanced by the now usual presence of a pair of additional handles at the top of its head. The Era 500 IP should be available April 2020.
Era Performance
At the start of 2019 we had discovered (at ISE Amsterdam) the small Era 300 Profile spot moving head, without knowing that it would precede a wide range of LED projectors. A big surprise awaited us at JTSE with three other models, much more achieved, using the codes of Mac Encore in a power scale as complete as it is consistent.
The full Era performance range with (Left-Right), the Era 600, the Era 800 and the Era 400.
If some people wondered a little while ago about the future of the Danish brand, including the author of these lines, they can now be reassured. Martin is still in the race, both in price slots contained with the Era line, and soon with the release of high-end projectors wearing the Mac flag. The Era 400, 600 and 800 Performance are mowing heads with full insertion blades in the framing system, called Full-Frame, whose LED powers are 300, 550 and 800 watts respectively. Martin thus always retains his strange historic name “Profile” for spots without blades.
Era 400 Performance
The Era 400 Performance is available in two LED sources, cold and warm.
The Era 400 is available in two types, cold white calibrated at 6500K (the 400 CLD model) and warm white calibrated at 3200K (Era 400 WRM). The daylight version is the more powerful of these two units, with a forecast of 10,000 lumens against 6,000 lumens for the ‘tungsten’ version. Apart from that, these two compact 22.5 kg machines offer a pleasant working base with a new CMY color mixing system in half-moon shape, a module of 4 blades with 120 ° rotation and a 10 °- 30 ° zoom. A wheel of 9 colors, 9 static gobos and 7 rotating gobos from the Martin catalog, an iris, a frost and a 3-facet prism complete the Era 400, whose wiser look contrasts with the latest Martin achievements.
Era 600 Performance
The Era 600 is the most versatile projector of this range.
The Era 600 incorporates the technical specs of the Era 400 CLD, but benefits from a LED source of 550 Watts at 6.500K, for a theoretical flux of 19,000 lumens. Larger, more powerful, the Era 600 also takes full advantage from a zoom lens that stretches from 6 ° to 45 ° without compromising the homogeneity of its beam. In addition to the CMY color mixing system, the 9-color wheel is completed with a linear CTO.
The 8 static gobos and the 7 rotating ones match with an animation wheel and 2 prisms, circular 4 facets and linear, as well as an iris and a frost. As with the Era 400, the framing system is particularly neat, with possible crossings between blades.
Era 800 Performance
As an Era range flagship, the 800 stands just underneath the 40 kg tag despite its 800 Watts LED source.
If the Era 800 is indeed the most powerful LED moving head designed by Martin, its economical manufacturing allows it to stick to a reasonable price. Around its cool white 6500K module of 34,000 lumens is organized a complete set of effects.
CMY color mixing system, progressive CTO and 6-color wheel all combine with 7 static and 6 rotary gobos, with linear and circular prisms, with 2 frosts, with iris, with animation wheel and with “Full Frame“ framing module. Its 160 mm lens and its 7 °- 56 ° zoom make it suitable for large spaces where it will ideally express its full potential.
The French Martin distributor Algam Entreprises has designed here a condensed summary of all Era range models.
The return of the Martin projectors, certainly in more economically reasonable versions, was one of the good news of this Paris JTSE exhibition. 2019 will remain as a very fruitful year indeed, just like our entertainment industry, boosted by an unexpected dynamic on all fronts, both in Live and in Events as in permanent installations.
To assure audiences a consistently listening experience and streamline operating logistics, NCPA installed new permanent Leopard and UPQ Meyer Sound reinforcement systems in its two principal venues, the Tata Theatre and the Jamshed Bhabha Theatre.
The semi circular Tata Theatre.
Widely heralded as one of India’s leading cultural institutions, The National Centre for the Performing Arts (NCPA) in Mumbai recently celebrated 50 years. Established in 1969 by the theatres’ namesakes, J.R.D. Tata and Dr. Jamshed Bhabha, The NCPA inaugurated its current building complex — including the Tata Theatre — in 1980. The Jamshed Bhabha Theatre was added later, in 1999. Although both are mid-sized venues, they are of dramatically different design.
The Jamshed Bhabha Theatre.
The 1,010-seat Tata Theatre was conceived by American Modernist architect Philip Johnson as an intimate, semi-circular space with only 15 meters separating the first and last seating rows; it is the preferred venue for Indian classical concerts, Western chamber music and both Western and Indian dramatic performances.
The Jamshed Bhabha Theatre, with a capacity of 1,109, offers a more typical proscenium venue better suited to opera, ballet, Western orchestral music, and theatre. Prior to the recent renovations, the Tata Theatre offered only a minimal vocal system and the Jamshed Bhabha Theatre had no system at all. This was increasingly problematic as a wider diversity of programming coupled with changing public tastes dictated increasing use of amplification.
From left to right : Sandeep Braganza, Sales Manager SAARC, Meyer Sound; Nainesh Vora, Founder & Owner, Image Engineering; Richard Nowell, Owner, RNSS Ltd.; Nayan Kale, General Manager, Technical, NCPA.
“In years past we were required to hire in systems of various brands from different vendors,” says Nayan Kale, NCPA General Manager, Technical. “This was consuming a lot of set-up time and affecting the quality of sound.” To develop a technical brief for meeting all performance goals, NCPA management engaged London-based consultant Richard Nowell of RNSS Ltd. to fashion permanent solutions based on the latest technologies.
After visiting the venues and consulting with Kale and Chief Audio Engineer Ashwin Jyoti, Nowell responded with a base specification allowing three options from different loudspeaker manufacturers. Based on stated performance specifications, availability of local support and familiarity with similar systems elsewhere, a Meyer Sound solution was chosen for both venues.
The Tata Theatre presented a unique set of challenges. The extreme width and shallow depth, coupled with the unique acoustical features created by legendary acoustician Cyril Harris, rendered the typical line array solution a poor choice.
A part of the Tata PA featuring five clusters of UPS over UPJ-1Ps.
“The Tata was originally — and brilliantly — designed for Indian classical music and dance. The design puts the audience 150 degrees around what is effectively a thrust stage. The historical status of the architecture meant we wished the installation to be as unobtrusive as possible.
This required a complete rethink of how amplified music might be approached in this space. The look of the system was almost as important as the sound. Mr. Kale went to enormous lengths to provide a new rigging system, and Meyer Sound provided colored cabinets to match the room whilst the new UP-4slims allowed a front fill solution that was visually unobtrusive.”
The distributed system comprises five evenly spaced clusters, each with a UPQ Family loudspeaker over a UPJ-1P loudspeaker for even front-to-back coverage. Spaced between these clusters, three 900-LFC low-frequency control elements supply ample bass energy. Front fills are five UP-4slim loudspeakers, with system management supplied by a Galileo® GALAXY™ 816 network platform and comprehensive system monitoring enabled via an RMServer. Systems for both theatres were supplied and installed by Image Engineering of Mumbai under the direction of Nainesh Vora.
10 Leopard flown underneath two 900-LFC, the answer for the Bhabha Theatre, along with 7 UP-4slims laying on the stage.
The greater depth and narrower dimensions of the Jamshed Bhabha Theatre pointed to a line array solution, in this case realized by 10 LEOPARD™ loudspeakers per side, with each array flown underneath two 900-LFC low-frequency control elements. Near fills are seven UP-4slims, with pairs of UPQ Family and UPM-1XP loudspeakers positioned back in the auditorium as delays. Also included were a GALAXY 816 processor, an RMServer for monitoring system performance and a pair of UPJ-1P loudspeakers for confidence monitoring in the mixing booth.
“The new systems have definitely reduced set-up time, and they are much safer because of the permanent cabling,” observes Nayan Kale. “Now we have a good level of sound across the seats and greater consistency across different performance types. The Meyer Sound self-powered systems also help save onstage space, which had otherwise looked cluttered with the equipment racks of the hired systems.”
The response from artists and audiences has been overwhelmingly positive, Kale maintains. “It has satisfied all requirements for performances from jazz to rock and classical. The audiences are appreciating the crystal clear music and speech in every seat.” “In both theatres, the systems have outperformed even my expectations,” adds Richard Nowell, “and have been incredibly well received by engineers from all music genres.”
Caution ! Objects like UP-4slims may appear bigger than they are ;0)
The NCPA recently capped its golden anniversary celebrations with the Add Art Festival from November 29th to December 1st , with featured performances in both theatres by — among many others — Arturo Sandoval, Zakir Hussain and the NCPA’s own resident Symphony Orchestra of India. The performing arts centre will begin 2020 with a new portable system of two ULTRA-X40 loudspeakers and two 900-LFC low-frequency control elements for performances and rehearsals.
ISE 2020, the world’s largest tradeshow for the professional AV and electronic systems industry, will take place from 11-14 February 2020 and is expected to draw over 1,300 exhibitors and more than 80,000 registered attendees to its Amsterdam RAI location. The event is a joint venture of the Audiovisual and Integrated Experience Association (AVIXA) and the Custom Electronic Design and Installation Association (CEDIA).
Think Different!
Integrated Systems Europe 2020’s schedule will feature over 200 specialists from a wide range of disciplines and subject areas across five days of keynotes, conferences, masterclasses, workshops and presentations.
Introduced under the umbrella title, the program has been arranged by Integrated Systems Events working in close co-operation with AV industry organizations including its co-owning associations AVIXA and CEDIA, media partners and other independent structures.
The program includes an Opening Address; a record number of 13 conferences across five days in the Hotel Okura and RAI Amsterdam, organized by ISE, AVIXA, CEDIA and media partners; a four-day training program from CEDIA; AVIXA FlashTracks (on Stand 13-N110) and CEDIA Talks (on Stand 1-E20), and a full program of free thought leadership sessions on the Main Stage in Hall 14 (supported by Shure).
Special guests
The Opening Address on Monday 10 February will be pronounced by Duncan Wardle, a consultant to Disney who was previously Head of Innovation and Creativity at the entertainment giant. His presentation, ‘Think Different’, will look at how companies can re-awaken traits in their employees such as imagination, intuition and curiosity to create an environment that fosters creativity and innovation. Integrated Systems Events is pleased to welcome the Hon. Mrs Àngels Chacón to ISE 2020. Mrs Chacón is Minister of Enterprise and Knowledge in the Catalan Government. She will be addressing the AVIXA Women’s Council on Wednesday 12 February on the Main Stage. She will also take part in the Hola Barcelona! Event in the Forum on Friday 14 February.
Specialists from AVIXA and CEDIA
On Monday 10 February, CEDIA’s Cybersecurity Workshop will be led by Jeff Sonnleitner, a professional network and security trainer with over 35 years’ experience. He is a Network Specialist and Information Security Instructor at Moraine Park Technical College, Wisconsin. The workshop will cover all facets of network security and privacy for professionals working in either the residential or the commercial space.
Business advisor, President of North of 10 Advisors and Chairman of the AVIXA Board of Directors, Jeff Day will be speaking on Tuesday 11 February at an AVIXA FlashTrack session (on Stand 13-N110) entitled ‘AV Wellness Trends – Must Know Applications and their Impacts create Real World Opportunity for Integrators and End Users’. The next day he will chair an AVIXA panel discussion, ‘The Experience Revolution – How Content and Experience Change Everything in a Brand Activated World!’ on the Main Stage.
Conference speakers
On Monday 10 February, the award-winning architect Aryanour Djalali, founder and CEO of DNA Barcelona Architects, will deliver a keynote at the Smart Building Conference. His keynote will be entitled ‘Smart Nature, Smarter Buildings’.
Speaking at the opening of the Control Rooms Summit ISE on Tuesday 11 February will be Rossano Giachino, Control Centre Manager at CERN since 2008. Giachino was in charge of control centre operations for the LHC during its operation, as well as for two other particle accelerators, the SPS and the LEP.
Providing the keynote address at the XR Summit ISE on Tuesday 11 February will be Hilary McVicker, VP of Business Development at The Elumenati – a leader in the field of immersive projection design in education, enterprise and entertainment. Her keynote will be entitled ‘Immersive XR and Pushing Creative Boundaries’.
Main Stage
Alexandra Hussenot is the founder and CEO of Immersionn, the world’s first VR Discovery Engine. She is also the UK lead for Women in Immersive Technologies, a community of 1,000 members that aims to empower European women working in XR. She will give a Main Stage talk, presented by ISE, on Wednesday 12 February, entitled ‘Surrounded! How Immersive Technology Dominates the Experiential Market’
Glenn Kelly is Head of Production at The Imaginarium Studios, the UK’s leading performance capture studio – created by actor and director Andy Serkis, where he is exploring how motion capture developments will affect various media. In a Main Stage session on Thursday 13 February presented by AV Magazine, he will be talking about ‘Mixed Reality in Theatre Productions’.
New show features
Two more show features have recently been added to the ISE 2020 content program. In Hall 14, the VR at ISE feature will comprise two very different interactive virtual reality exhibits. Two Digital Projection Multiview VR systems will be demonstrated, each of which allows up to three people to view and interact with a stereoscopic 3D virtual model. Each person sees the object from their own viewpoint.
The other part of the VR at ISE feature will be an immersive VR theme park ride. Designed and run by Lightspeed Design, this DepthQ VR attraction will take attendees on an interactive fantasy ride through aquatic environments.
A spectacular projection mapping on the RAI’s Elicium building will delight ISE 2020 attendees and Amsterdam locals each evening of the show. The upper floors of the futuristic nine-storey building at the front of the exhibition centre will be transformed by the projection, specially created for this location. The projection will be produced by ISE and the RAI, supported by seven technology partners.
Mike Blackman, Managing Director of Integrated Systems Events, said: “I’m very pleased to acknowledge the role of AVIXA, CEDIA and our many content partners in producing such a compelling line-up for ISE 2020. Added to this, the Elicium projection mapping and the VR at ISE feature are two more opportunities for our attendees to ‘Learn. Discover. Be Inspired’.” “‘Learn. Discover. Be Inspired’ is more than a tag line. For an AV professional, it must be at least a career plan, if not a life commitment,” said AVIXA Chief Executive Officer Dave Labuskes, CTS, CAE, RCDD. “We are proud to have been part of the organising team that brings these brilliant leaders to the ISE stages and implore you to experience as much of them as you can while you’re there.”
Tabatha O’Connor, CEDIA Global President and CEO, said: “With the technology market continually evolving, it’s important for professional development to reflect this and stay ahead of change. We’re thrilled to be able to contribute to ISE’s comprehensive professional development program at ISE 2020, which provides attendees with full, varied and high-quality training across a range of industry topics taught by experts. Whatever the level or role of attendees within the industry, there’s something for everyone at ISE.”
Details of ISE 2020’s professional development program can be found on the ISE website at www.iseurope.org. Further details will be available later this month in RISE, the official magazine of ISE 2020; and the ISE 2020 Professional Development Guide.
About AVIXA: AVIXA™ is the Audiovisual and Integrated Experience Association, producer of InfoComm trade shows around the world, co-owner of Integrated Systems Europe, and the international trade association representing the audiovisual industry. Established in 1939, AVIXA has more than 11,400 enterprise and individual members, including manufacturers, systems integrators, dealers and distributors, consultants, programmers, live events companies, technology managers, content producers, and multimedia professionals from more than 80 countries. AVIXA members create integrated AV experiences that deliver outcomes for end users. AVIXA is a hub for professional collaboration, information, and community, and is the leading resource for AV standards, certification, training, market intelligence, and thought leadership. Visit avixa.org.
About CEDIA™: CEDIA is the international trade association and central touch point for 3,700 member companies who design, manufacture, and install technology for the home. CEDIA is committed to helping members at every level set a pathway to prosperity by offering industry-leading education, training, and certification; delivering market intelligence through proprietary research; providing opportunities to foster community within the channel, and cultivating awareness with industry partners and consumers. CEDIA founded the largest annual residential technology show, now in its 30th year, and co-owns Integrated Systems Europe, the world’s largest AV and systems integration exhibition. CEDIA members deliver technology solutions that allow people to have their best moments in life from the comfort of their own home. Life Lived Best at Home. To learn more about CEDIA, visit www.cedia.net
After the successful debut of Martin Audio’s new WPS line array on the Eddie Izzard tour that Capital Sound has extended its inventory, after winning the bid for the Tim Minchin tour since the two UK itineraries overlapped.
The Brighton Dome ready to welcome the Tim Minchin performance.
WPS is the latest model in the Wavefront Precision series, which features scalable resolution for greater flexibility in amplifier management and optimisation of coverage, consistency and control. WPS comprises 2 x 8” LF drivers, 4 x 4” midrange drivers and 4 x 1” exit HF compression drivers loaded by a moulded HF horn which occupies the full width of the enclosure.
The WPS…naked.
In addition to stand-up comedy, WPS this time also needed to reproduce a full band, with the artist’s grand piano supported by brass, keys, bass and guitar, requiring 56 inputs at the sound desk. FOH engineer would be the highly experienced Dave Roden, who has worked through many generations of Martin Audio PA’s over the years with his regular charges, the Stereophonics (and recently with their lead singer Kelly Jones).
Capital Sound’s Operations and Development Director Paul Timmins.
Roden had been asked to seek alternative bids for the tour when Capital Sound’s Paul Timmins intervened. “Dave had possibly been considering another brand solution due to its weight and size when I mentioned the Martin Audio WPS system which I thought would also meet the criteria, when other systems would have been too heavy,” he stated. “I told him about the success of WPS on the Eddie Izzard tour and he seemed happy with the solution. Martin Connolly worked up the quotation and we were successful, after it went out to tender. “The additional WPS inventory now gives us two systems—or one large four-hang system,” notes Timmins.
Martin Audio’s Managing Director, Dom Harter, added, “As with any new touring PA, it requires pioneers to road test. Given that the WPS software configuration within Display optimisation was still Beta, we were grateful to Capital and the production team for having faith and running WPS through its paces.”
The weight factor had been critical as Dave Roden knew he required 14 elements per side to deliver consistent sound to all corners of the theatres where multiple balconies are involved. “We are entering a new era where production teams are increasingly concerned about weight loading and coverage,” considered Paul Timmins. “Five years ago a 49kg box would have been fantastic, but now we are looking at 29kg for the WPS, which is incredible really for a big sounding system with a lot of grunt.”
System tech Nick Boulton.
With Nick Boulton system teching, as he had been with Dave Roden on the Kelly Jones tour, Martin Audio’s Product Support Engineer, Robin Dibble oversaw the set-up of the system, which also incorporates SX218 subwoofers, four per side, with four XD12 for balcony fills and four WPM for front fills.
“The weight of the frames and the cabinets has been a real advantage, as almost all venues we’re touring have extremely limited point weights,” said Boulton. “The physical size of the cabinets means we can put more up without compromising sightlines, which means more ticket sales whilst also achieving the coverage and level we need for what has turned from musical comedy into quite a demanding rock and roll show.
“Even though the software is still in development, the sonic results are excellent. Personally I think the WPS sounds better than MLA straight out of the box. It’s also a lot quicker and easier to fly due to the three-point rigging and the reduced weight.”
The Brighton Dome setup, featuring 28 WPS in 2×14 hangs and 8 SX218 subs on the ground in cardioid mode, plus some WPM for the nearest fans.
Nick has run the system in both 1- and 2-box resolutions. “The results have been excellent with both, however in 1-box resolution you do get similar consistency and control to that you experience with MLA. Although the 2-box resolution still sounds great, there are (as expected) greater tonal and level variations. Reviewing WPS in operation, the system tech continued, “For a platform that is still in development both Dave Roden and I are continually impressed with how it sounds every day. It sounds amazing and consistent and has been rock solid with no failures. “
Nothing but the production & tech team and the musicians of the Minchin tour !
Looking to the future Paul Timmins stated, “Buying into WPS is the first stage of investment into the next generation of Martin Audio’s Wavefront Precision series, and we expect to end up with a five-system package over the next two or three years.”
Summarising, Dom Harter said, “As ever, Capital have shown themselves to be a real partner and we are delighted that WPS has made such a positive impression this early in its life. The success of the tours also meant we will be able to make available the public release of Display with WPS.”
Not only 2020 will be a new year, it will also and above all be a decade of deep changes in which innovations will appear, both in the sound, light and video markets, which will allow us to build even more amazing, moving or unexpected performances.
Technically speaking, it will be impossible to fail a show, but it will also be very easy to do too much, it will be forbidden to ban, but this will require to find lots of new artists able to carry those heavy productions on their talent.
We will always go further into networking, wireless communication, processing power, fine resolution, light beam output, predictions accuracy, performances, the beauty of colors and effects, sound fidelity, mobility, speed, the madness of total immersion in limitless performances. You can count on SLU to dig deeper, to better analyze and to inform you. SLU will help you in delivering the latest news, but especially to listen to you, as your ideas, your passions and your projects will always be our main drivers.
SLU is going very well, and your subscription to our free and online-only model launched back in 2012 bring us all such joy. Please take note our adventure with continue with you, and for you. From now on we read you loud and clear (20 out of 20)!
Over thirty Chroma-Q Inspire XT™ LED house lights have been chosen by the Conservatory of Music and Ballet Ljubljana (KGBL), Slovenia to provide high quality of light without noise. As part of an upgrade to KGBL’s main performance auditorium, the project brief was to source a multi-purpose fixture that could be used as light for musicians, a show light for performers, and a house light for the overall room.
In addition, the requirement was for a very powerful solution which could illuminate the large space (16m x 16m) using as few fixtures as possible. However, owing to the room doubling as a recording studio, the chosen product needed to be fanless and virtually silent in operation to meet strict acoustic requirements. Professional equipment provider, KSL Sound and Light Studio specified the Chroma-Q Inspire XT due to its high-quality white (IRC>90) light and colour-mixing abilities. Despite delivering up to 9,500 Lumens, the fixture is convection cooled and has additional protection as standard against electrical and audible noise.
KSL’s CEO, Bostjan Konic commented: “For the prestigious KGBL, we needed a light of really premium quality to meet the high technical specification. With its homogenised RGBW optics, the Inspire XT produces an exceptional quality of light which is clean and pure, with no shadows. Being fanless it’s also extremely quiet, yet very powerful too.”
The Conservatory of Music and Ballet Ljubljana’s Managing Director, Polona Cesarek commented: “We didn’t expect the amazing lighting the fixtures produce, including the very high quality of white light on-stage. It makes the musicians’ sheet music very easy to read, with no reflections that can cause eye strain.” KSL, the exclusive Slovenian distributor for Chroma-Q, sourced the Inspire XT fixtures from master distributor, A.C. Entertainment Technologies Ltd.
Ayrton Perseo-S compact multi-function luminaires, which have been developed for intensive outdoor use, made their US debut at the Public Works musical adaptation of Hercules in the Delacorte Theatre in Central Park. Tony Award-winning lighting designer, Tyler Micoleau, selected the new fixtures, with an IP65 enclosure rating, for the Labor Day weekend production, which traditionally wraps a summer of Shakespeare in the Park outdoor shows.
Hercules is based on the Disney animated film and performed the entire score plus several new songs. The production was from The Public Theater’s Public Works initiative, which invites communities across New York to create ambitious participatory theatre. More than 200 New Yorkers took part in the dynamic production.
The show marked the first time that Tyler Micoleau has used Ayrton fixtures. Micoleau has worked on three other productions at the Delacorte, including two previous Public Works shows. “Historically, we have used a mostly conventional rig but have now migrated to LEDs and movers like a lot of the industry,” he says. “But they are more fragile outdoors, so we were concerned with what was available with an IP65 enclosure rating. We knew that moving from housings that make it very labour-intensive and impractical to swap out lights to a weather-resistant fixture was a big deal.”
According to Alex Brandt, lighting supervisor for The Public Theater, “we swap about one moving light a day in the park that’s non-IP rated. A humid day can be as bad for them as a rainstorm.” After ACT Lighting, Ayrton’s exclusive distributor for North America, showed Micoleau the Perseo-S, he staged a shootout with several other similarly-rated lights in Central Park one evening. “I was excited to see how Perseo would perform against other moving lights. Its LED source was more powerful than an arc source. It had everything going for it: brightness and speed in a very small package.”
Micoleau explains that since Hercules was a full-blown musical with 16 numbers, the lighting rig had to provide “the dynamics we needed; it had to be fast-moving, colour-changing and have visible beams – things not available in a typical Delacorte rig package.” Micoleau’s rig boasted almost 700 conventional fixtures, 30 moving heads and a number of LED PARs.
He obtained two Perseo-S fixtures and placed them in low, downstage vom positions where they provided direct front light. “They gave us the most bang for the buck there,” he says, “and they performed impressively. We had a lot of lights, and the two Perseos had to cut through and contribute to the composition. I often try to do that with three or four lights, but there was no space for that many fixtures from the low angle of the Delacorte.”
Micoleau especially liked Perseo’s “unusual number of gobos. From their position we could splash texture on the Greek columns on set and tone and texture the whole environment. Hercules had to fight four enormous puppets in the show, and with Perseo we were able to dapple the air space with gobos in very dramatic patterns. The result was very dynamic and often terrifying as the giant puppets floated through textured light.”
The production experienced several occurrences of inclement weather. “We focused the entire show in the pouring rain, and three performances had inclement weather – one of them was held up for an hour because of it. Not every light in the rig survived the adverse conditions, but Perseo performed great with no covers, no hood, no bubbles,” Micoleau reports. Micoleau says he hopes “to see whole systems of Perseos in park settings and outdoor venues,” adding “I can also easily use them indoors.” ACT Lighting plans a wider Ayrton demo at The Public Theater that Micoleau is excited to see. “I’m eager to play around with other Ayrton fixtures,” he says. “It’s a new brand for me, and I want to see more.”
Brandt notes that the Perseos didn’t even come up in post-show discussions, which was a very good sign. “They just worked!” he says. “They made a really encouraging debut with us, and we’ll be looking more in Perseo’s direction in the future.” Jimmy Lawlor was the show’s associate lighting designer. Dane Laffrey was the scenic designer and Andrea Hood was the costume designer.
More information on Ayrton Perseo-S can be found on the Ayrton website and with a Perseo-S Ayrton video presentation.
Robe BMFL Blades and IP rated Robe ColorStrobes are now a main part of a new permanent multimedia light show, From Dusk to Dawn, a spectacular design by Eran Klein & Ben Alon from Cochavi & Klein light architects, which is projected onto the western slope of Masada Mountain near the Dead Sea in Israel.
The area is extremely special and is operated by Israel Nature and Parks, a government organization that manages nature reserves and national parks across the country. This beautiful – although somewhat inhospitable – environment is also a UNESCO designated World Heritage Site. The municipality of Arad, the nearest large town to the site, is also involved in promoting both tourism and conservation. The show supports the new large format (approx. 120 metres wide and 60 metres high) video images which are mapped onto the mountain’s rugged terrain. The lighting supports the moving images and the narrative as it covers this vast canvass with a series of special lighting and effects, complete with a dramatic soundtrack by Shlomo Gronich, telling the gripping story and history of the Mountain.
There had been a light & sound show onto the mountain for over 30 years, but with the march of time and technology plus people’s rising expectations, it was time to update and present something for a new generation! The recent revamp has taken the whole Masada cultural pilgrimage to a new level of experience and interest.
The design and production were delivered by Breeze Creative, directed by Oded Avraham with script and song-writing by Oren Neeman. The new lighting kit has been supplied by Danor Theatre and Studio Systems from Hod Hashron who were involved in the original lighting installation and supported the show since 1986.
Eran is one of Israel’s foremost LDs, well-known for his innovative work on live events and large dance extravaganzas, and both he and Ben Genislaw, Breeze Creative’s project manager, and their CEO Sagi Yehezkel approached Danor’s Erez Hadar to discuss how to approach the whole concept. Eran produced requirements of the kit that he wanted to use, and Robe was an early option seen as a good choice, and between all of them, as a full lighting spec emerged. Once that step was completed, they looked at where gear had to be located around the site to get the optimal effects needed to be combined with the high-powered projections.
The five BMFL Blades are housed inside weather domes and furthermore enclosed in weatherised hides which are closed and sealed when not in use. The eight ColorStrobes are built into two arrays of four, partially protected by a permanent wind shield cover across the back. These 13 fixtures replace more than three times the number of generics in the previous installation and are more powerful, flexible and effective … and draw substantially less power! “All round they are an excellent option,” confirms Erez. They are all painted in RAL 1001 ‘officially beige’ but essentially a sandy desert colour to blend into the environment. Once the spec was approved – also included retaining a few generics from the original installation which were skilfully incorporated by Eran into the new show – they started thinking about distances and control.
All the fixtures are synched to the multimedia playback machine for the show, including the four 25K projectors, and the implantation naturally had to be rock-solid, reliable and built to stay in place and keep working for at least 10 years! The lighting console is a Compulite Vector and the lights are controlled via an Enttec DMX system. The distances between the moving lights and the control are around 1600 ft (500 m). The BMFLs play a key role in surrounding the video images and creating special effects and texturing onto the mountain all around them, while the power and richness of the ColorStrobes illuminate the rough, dark and hugely tricky surface of the mountain.
The 50-minute From Dusk to Dawn shows plays every week of the year after sunset on Tuesdays and Thursdays … and private viewings may be arranged by request.
General view of the compact Alchemy 3, with identical desing and functions than its big brother.
While it is quite common to decline a projector under several models that differentiate themselves through multiple changes in technical specs, DTS decided not to adopt this strategy with the Alchemy 3, a wash moving head comprising a 6-color LED engine coming from the highly praised Alchemy 5. It inherits all of its elder brother’s functions, in terms of effects as well as for its zoom range (14-45 °) or its colors.
The only difference between these two devices, in addition to the overall proportions which are more restricted as a whole, is located at the back of the moving head. The original Alchemy 5 light source of 400 W goes down here to 280 W, let’s say about two thirds of the power. The same goes for the luminous flux, 10,000 lumens for the Alchemy 5 and 6,600 in this case.
Last bulwark that photons have to cross during their optical crusade, the beautiful Fresnel lens that is found more rarely these days on LED fixtures.
The dimensions of the projector are comparable to those of a 250 W discharge lamp wash light moving head, namely 53 x 33 cm, for a weight of 15 kg. Great strategy from DTS to offer a machine with strictly identical functions! It is already available for delivery.
We interviewed on the Paris JTSE exhibition Olivier Torres, in charge of business development at ESL, french distributor for DTS.
