Opera Garnier, Paris: an electrical facelift with ADB EURODIM TwinTech!

Opera Garnier has renovated its dimmer cabinets with ADB EURODIM TwinTech. Garnier’s previous dimmers were also ADB and functioned with perfect reliability for 20 years!
The refurbishment work was carried out by Masselin company who adapted the existing wiring system based on a design by the ADB project design team. The result is a tremendous achievement!

Under the Garnier roof, in the middle the Chief Lighting, Jacques Giovanangeli, with his deputy Michel Susini (left) and ADB’s sales manager, Joel Brieuc

Under the Garnier roof, in the middle the Chief Lighting, Jacques Giovanangeli, with his deputy Michel Susini (left) and ADB’s sales manager, Joel Brieuc

Strolling backstage in this prestigious and unique opera house, accompanied by Joel Brieuc, ADB sales manager, we interviewed Jacques Giovanangeli, Head of Lighting at Opera Garnier, and his deputy Michel Susini, to talk about this impressive renovation project

After an 8-month design period followed by tough tender proceedings, the on-site work was carried out this summer over 3 and a half weeks (plus an additional week for testing), and the dimmer cabinets with TwinTech technology were installed in the Opera technical bays.
The 884 circuits can be used direct (relay) or as a dimmer with no minimum load. By using specially designed software, patch, dimmer laws or other parameters and operations can be monitored and any eventual malfunction can be diagnosed all from the control room and all in real time.

The new EURODIM TwinTech dimmer cabinets installed substage, stage right

The new EURODIM TwinTech dimmer cabinets installed substage, stage right

So out with the old and in with the new for Palais Garnier, with a rectangular modular main fly tower grid, including mobile lighting bridges for visiting lighting directors as well as an impressive stock of luminaires which are constantly updated.
For Jacques Giovanangeli and Michel Susini the keyword is modernity so the complete optical fiber data network has been updated with LUMINEX nodes Ethernet-DMX8 MKII and RDM hub/boosters.
With RDM, ArtNet, automated luminaires, intelligent lights and, coming soon, LED sources, it’s clear that Paris’ big theaters are very eager to embrace new technologies ?

SLU : What was Masselin’s mission ?

Joël Brieuc : was responsible for dismantling all the old dimmer cabinets, identifying the circuits, and installing the new power distribution system and dimmer cabinets. The challenge was to leave the existing wiring system in place. To do this we had to build cabinets which fitted exactly into the space left by the old ones which had been removed.
In addition, since there are more circuits per new dimmer cabinet, we had to slightly reposition the dimmer cabinets to avoid shortening the cable lengths. In the end, very few existing cable lengths needed to be changed, thanks to Henri Maréchal – , head of ADB’s project design office – who designed this concept. In any case, replacement of the existing cabling was NOT an option.

Jacques Giovanangeli : That would have closed the Opera for several months! Luckily, the existing cabling, which dates from 1995, didn’t need replacing.

The dimmer room stage right with the 1250A distribution cabinet

The dimmer room stage right with the 1250A distribution cabinet

The new breakers

The new breakers

SLU : What power capacity arrives in each dimmer room ?

Jacques Giovanangeli : « We have two distribution cabinets of 1250A each under the stage and 2 distribution cabinets of 800A each under the roof. Another distribution cabinet of 320A feeds the direct circuits and 63A tri-phase circuits in the stage tower.
There are 4 distributed dimmer rooms to optimize the cable lengths installed.
We made this choice back in 1995 to save on the cabling so we re-used the same installation, replacing only the dimmer cabinets stage left and stage right, located on two different levels. In this way the cable lengths are short as the dimmer cabinets are positioned just one level below and all the wiring for the stage tower is situated 40m above the stage under the roof and as close to the dimmer cabinets as possible.

SLU : And before 1995 ?

Jacques Giovanangeli : the previous dimmer cabinets were all situated in the understage left and right. These were also ADB – Clemençon !

SLU : How much time did you need to define the project ?

Jacques Giovanangeli : We started the project in October 2014 and finalized in July 2015. Everything was done within 8 months, tendering for the project, visiting the different suppliers, evaluating and choosing the manufacturer, finalizing the budget, etc. And because our previous dimmers were ADB and had been extremely reliable, this motivated us to choose the EURODIM TwinTech.

The cable ways under the stage to the dimmer room stayed in place

The cable ways under the stage to the dimmer room stayed in place

SLU : Since the previous dimmers had functioned so well for 20 years, didn’t you envisage simply replacing components of the same model.

Joël Brieuc : No, because some components are no longer available, and this would have meant no back-up after-sales service.

Jacques Giovanangeli : That’s the reason we were allocated a budget for total replacement. If we weren’t able to get hold of replacement components we would have risked losing circuits.

SLU : So, all in all, how many lighting circuits are available in Opera Garnier ?

Joël Brieuc : There are 13 cabinets in 4 dimmer rooms. Altogether we have 249 circuits of 3kW, 482 circuits of 5kW, 101 circuits of 10kW and 52 circuits ‘fluo’ of 2.5kW: in total 884 lighting circuits.

SLU : And what was the total cost of renovation ?

Jacques Giovanangeli : 650,000 euros including VAT. This covered installation of the system, the dimmers, transport and handling, and the replacement of a few cables.

Michel Susini : We also renovated the ArtNet data network.

The dimmer room substage, stage left

The dimmer room substage, stage left

Jacques Giovanangeli : The data network which dates from 2007 uses the Luminex nodes from that time. But as we had sufficient budget we wanted to install the latest generation of nodes, the MKII DMX8 with RDM. This was important since our new ADB dimmers are compatible with RDM. So we took this opportunity to change our old Luminex nodes which were ageing anyway. We also plan to change the control desks, probably within a year.

SLU : Which control desks do you have at the moment ?

Jacques Giovanangeli : ADB PHOENIX 10 desks which are rapidly becoming outdated. New ones will be chosen in consultation with the Opera’s in-house board operators. We won’t be consulting with visiting lighting directors as they all use their own board operator and have different individual preferences. The new desks need to be adapted to our requirements here at the Opera – basically lighting effects with cues and times, even with automated luminaires.

Stage right, under the stage sits the Luminex Network rack next to the dimmer cabinets

Stage right, under the stage sits the Luminex Network rack next to the dimmer cabinets

SLU : Coming back to the Luminex data Network, is there a back-up ?

Jacques Giovanangeli : No, we have one single fibre ring without back-up which has worked fine for several years.»

SLU : How many access points to the Network do you have ?

Michel Susini, Jacques Giovanangeli : One in each dimmer room, giving 4 Ethernet outputs plus one in the control room. Little by little we add network output lines closer to the luminaires. Nodes are positioned on all our lighting bridges. We have programmed I node per bridge. What we’re doing is preparing for the future.
This is a very large space so we need to anticipate and add more Network output lines from the “ring” to the places where there is limited access. So, in total, we have 22 nodes MKII DMX 4 and DMX8, of which 8 are in the dimmer rooms and we will add another 2 in the lighting bridges. We are very pleased with the LUMINEX products.

SLU : What about your current monitoring systems. Can they monitor with Artnet ?

Joël Brieuc : Yes, at ADB we took this decision in 1999 and now all our desks are RDM, ArtNet and sACN.

5 Gigabit switches support the ArtNet ring

5 Gigabit switches support the ArtNet ring

Below is Luminex node Ethernet-DMX8 MKII and above are the bidirectional splitter/boosters Luminex DMX512-A 2;10 Hub

Below is Luminex node Ethernet-DMX8 MKII and above are the bidirectional splitter/boosters Luminex DMX512-A 2;10 Hub


SLU : Let’s talk about the light sources. It’s amazing to see so many automated luminaires in these technical zones where silence is essential. Which luminaires did you choose ?

Michel Susini : « Clay Paky Alpha1200, as well as 1500 and 800. These motorized yokes are extremely reliable. We have had the 1200’s since 2007, serviced every year of course, but honestly, they run all the time, their robustness is amazing. And since these units are only repositioned once a year, they don’t suffer from being moved around. We also have motorized 2kW ADB Fresnel spotlights in a Nova motorized yoke, 4 kW motorized ARRI fresnels, and so on.

SLU : Does the noise and movement disturb the performers ?

On the highest floor, stage left sits the Network rack with the older boosters AIES, non RDM (black). They only serve the rear stage lighting areas and are rarely used

On the highest floor, stage left sits the Network rack with the older boosters AIES, non RDM (black). They only serve the rear stage lighting areas and are rarely used

Jacques Giovanangeli : Not really. Near the front of stage, the noise might disturb the conductor, but the dancers and singers hear nothing as the luminaires are fixed quite high up, more than 12m, and we have never had any problems. We didn’t need to make any changes on the automated luminaires, either. They are all in a standard setting. Nowadays manufacturers are developing products which make less and less noise and generate hardly more than 35 dB at 1 m.

SLU : So we should stop saying that automated luminaires are not suitable for theatres ?

Jacques Giovanangeli : Absolutely. They certainly are suitable, particularly for big stages like here. Like many large theatres we have opted for a fixed lighting plot with automated units positioned in the fly tower, coupled-up with generic ones (4 halogen units and 4 HMI units), but, and this is where we do things differently, we have kept open spaces where lighting directors can choose to add other automated spotlights and choose specific angles.
In this way, the lighting bridges are not saturated with spotlights. They are organized like a chess board, with occupied and vacant areas. We are one of the rare opera houses to operate in this way. In all other venues, the mobile lighting bridges are saturated. I decided to do it this way with my predecessor and Michel. We really wanted to give lighting directors the freedom to design their own lightin.

Of course, we have to be highly organized and coordinated when we have performances which alternate every other night and this requires a lot of advance preparation work so that they can run together. In certain places like the fly tower, we try and avoid sending an engineer 12m up to manually adjust a luminaire because it’s dangerous and time-consuming. That’s the main reason for opting for automated luminaires. The advantage of having the DimSwitch circuits is that we can position a halogen or automated spotlight anywhere on a lighting bridge and just plug it in on request, as all arriving circuits can be direct (switch) or dimmed.

Michel Susini : It’s great, and as well as this, there are no inverter dip switches or modules to change. Every circuit commutes with the software over the Network from the control room.

The magnificent auditorium of the Opera Garnier decorated in the style of Italian theatres including an imposing bronze and crystal chandelier, weighting 8 tons and equipped with 340 lamps. The ceiling is painted by Marc Chagall

The magnificent auditorium of the Opera Garnier decorated in the style of Italian theatres including an imposing bronze and crystal chandelier, weighting 8 tons and equipped with 340 lamps. The ceiling is painted by Marc Chagall

SLU : So could you expand a little more on the technology of the EURODIM TwinTech dimmers ?

Joël Brieuc : Each circuit is controlled over the Network in Direct or Dimmed mode, to all kind of loads: resistive, inductive or capacitive, dimmable or not. The advantage of a static relay to “switch”, means that we can avoid any distortion towards the automated spotlights when commuting.
Every dimmer circuit contains 2 sets of thyristors, one set for the dimming, completed with a choke and one set to do the “relay” direct switching. On all the circuits, like the ones installed here in Opéra Garnier, in Opéra Bastille, in Odéon theatre and others, when in direct mode there is no choke in the line, when in dimmer mode there is a 400 µsec filtering.

Detail of the display of the ADB Eurodim TwinTech dimmer cabinets shows a clear and comprehensive user interface

Detail of the display of the ADB Eurodim TwinTech dimmer cabinets shows a clear and comprehensive user interface

Furthermore, there is the diagnostics PCB which measures and monitors a lot of parameters in real time. This allows the lighting engineers from their PC’s or laptops, via the software and network, to know whether a circuit’s MCB has tripped or not, if so where it’s located, in which module, in which dimmer cabinet and so on, thanks to RDM.
Each power board uses 4 independent heat sinks. All circuits in one module are physically separated so that there is no distortion between circuits. And to avoid EMC distortion, the module is completely encased in a metal enclosure which functions as a Faraday cage. And it’s extremely heavy! A module can weigh up to 13kg, but it’s never physically handled !

SLU : How do you manage temperature differences of cold and heat under the roof ?

Michel Susini : It’s true that it can be very hot under the zinc roof during summer when the circuits are functioning. This summer the temperature was 38°C so we installed air conditioning. If the dimmer room temperature rises, the new dimmers have a security function which allows them to reach 20% above 35°C. On the other hand, they are not affected by low temperatures, so there’s no heating in the winter.

Distribution cabinet 800A on the top floor stage right

Distribution cabinet 800A on the top floor stage right

SLU : What are the key functions of the software ?

Joël Brieuc : « The real benefit is that we can make a patch and switch a circuit from dimmer to direct mode without leaving the control room. Here in Opera Garnier we have a lot of alternating performances and the software memorizes the circuit status for each performance and can rerun it in an instant when needed. On top of that, the software has extended diagnostic functions: via the Dimmer Manager software we get information about errors, over-temperature, circuit status, DMX signal status … sent all through the Network with RDM.

Michel Susini : And above all, as all the circuits are either dimmer or switch, the number of luminaires can be expanded and updated. Currently we use about 30% of the circuits as direct but with the arrival of more LED spotlights and more automated luminaires, this percentage will increase rapidly. That’s the reason why we have chosen this mix of dimmer channels as it’s the perfect solution to our needs.

SLU : Are all ADB dimmers today on DimSwitch ?

Joël Brieuc : We have developed a technology with static relay using no electro- mechanical relays and thus no mechanical friction. Yes, all our dimmers have been DimSwitch starting with the ones we installed in Opera Bastille in 2010. Whether we install 3kW, 5kW or 10kW, whether they have with low or high grade filtering, whether they’re modular or wall rack dimmers installed in cultural centers, they are all DimSwitch and, I hope, the portable units will soon be too.

ADB Eurodim TwinTech dimmer cabinets, in the top floor stage right dimmer room, distributing circuits to the fly tower grid in Opera Garnier

ADB Eurodim TwinTech dimmer cabinets, in the top floor stage right dimmer room, distributing circuits to the fly tower grid in Opera Garnier

SLU : Opera Bastille is also equipped with ADB dimmers. Was that the reason you turned to ADB again this year ?

Michel Susini : Yes, although it was not the decisive reason even though Bastille is very satisfied with their dimmers.

Jacques Giovanangeli : We did not have any say concerning the budget allocation. We submitted technical proposals and it was the financial controllers of the Opera who made the final decision. It was clear that a good relationship with ADB had grown over the years so they were selected for the project as they could garantee the installation work and deliver within the time schedule. In addition, we tend to favour purchasing and supporting French technology.

Michel Susini : But above all, we had the assurance of the DimSwitch. Other manufacturers didn’t offer this. There were a number of 10 kW dimmers that we needed to keep, and ADB had them. ADB replied on time, on spec to our requirements.

And there were additional requirements and constraints as well! The whole project has been a boon for the EURODIM TwinTech dimmers – an ideal opportunity to showcase their technology with DimSwitch capability. And a huge success for ADB who designed and implemented a perfect replacement system.

The lighting team benefits from an intelligent control software through a human interface, which enables them to access the system status, to see eventual errors and above all to allow for remote control and switch-over.
It’s a dream situation also for Luminex products to excel (yet again). Equally at ease in a grand theatre or on a concert stage they ensure a ring Network that is totally reliable, perfectly secure and easy to access.

It’s certainly clear that Jacques Giovanangeli and Michel Susini love their job and carry out their mission with conviction and passion – keen to provide their lighting teams, the technical areas, and the performers with state of the art technologies, determined to reduce technical restraints and vigorously stimulating more creativity. And fostering confidence in their relationships as with ADB. We certainly hope it lasts !

Plus d’infos : site ADB Lighting

 

Clay Paky on stage at the theatre with Dirty Dancing

Dirty Dancing is a worldwide success that shows no sign of losing its charm. On the contrary, it continues to thrill and entertain new and old generations thanks – among other things – to its faithful theatrical adaptation, which allows you to relive all the excitement and magic of the film in a live show.
Since 2004 (the year of its world début) Dirty Dancing – The Classic Story On Stage has recorded months and months of sell-outs in its various international versions.

Clay Paky sur scène Dirty Dancing

Photo : © Vito Renò

In conjunction with La Contrada – Teatro Stabile di Trieste, Wizard Productions srl acquired the exclusive performing rights of the original version for Italy from the author of the film herself, Eleanor Bergstein. The American author supported the Italian team during the casting, as she always does to make sure her show has the same characteristics as the original in every part of the world where it is performed.

Photo : © Vito Renò

Photo : © Vito Renò

An eight piece orchestra plays the famous film music live, with its overwhelming infectious rhythms that excite the entire theatre and get people dancing. In the Italian adaptation, only the dialogues are translated, whereas the songs are sung in original language.

Lighting designer Valerio Tiberi took us behind the scenes of the new show, which is an even richer and more spectacular version with choreographies by Gillian Bruce and impressive scenery by Roberto Comotti, Emeritus Professor of the Brera Academy : “ Federico Bellone was appointed as show director and I can assure you that, for what we have done so far, the adaptation is quite faithful to the film as concerns the visual aspect, i.e. the set that has been built and the realistic film lighting.

I asked the producers almost exclusively for Clay Paky moving lights, which I use along with the conventional theatre lighting: 26 Alpha Profile 1500s, 6 Alpha Wash 1500s and 14 Alpha Wash Halo 1200s. ”

Clay Paky sur scène Dirty Dancing

Photo : © Vito Renò

Valerio, how did you put together your lighting design for Dirty Dancing on Stage ?
“ I built it up starting from the stage design and the constraints stemming from the spaces that needed lighting, and followed the suggestions in the script and the director’s instructions.

Photo : © Vito Renò

Photo : © Vito Renò

The main goal of the design was to try to ‘show the film, as far as possible, to the audience’, starting from scenic realism: the resort, the trees, the forest, the round terrace on the lake and the gazebo, all stylistically real : not surreal or modern or peculiar.

The choice of lights depended mainly on the quality of their light and their power. I needed a lot of light and to work a lot on the contrasts. I even needed to make some of the scenes look overexposed. In the musical scenes, like in the resort dance hall for example, I had to create a 1980s show light quality and alternate saturated colours.


Photo : © Vito Renò

Photo : © Vito Renò

I chose the lights for their features, especially the Profile 1500s and Wash 1500s.
I used the Wash 1500s mainly as back lighting to re-create the atmospheres a bit, as if their light were sunlight. They are very powerful, produce a beautiful light and you can play with the colour temperature.

The halogens, on the other hand, which I especially love (unfortunately there are increasingly fewer Clay Paky halogens available), produce all the pastel shades that make up the atmosphere of the various scenes and mostly follow the characters. The clearer the director’s plans and theatrical constraints were, the clearer the lighting design became on paper, together with the tasks I needed to assign to the various lights, their movement and the sequences needed. This included representing the passage of time (from noon to evening and on to sunset) and the story time settings.

Clay Paky sur scène Dirty Dancing

Photo : © Vito Renò

I have to say that this stock of Clay Paky lights gave us a big helping hand in transforming the initial project into a final design on the stage during the rehearsals with all the scenery and the stage overrun with actors.

More informations : www.claypaky.it

 

Tribute to the victims of terrorism

One more star in the sky… Nath

It is with profound dismay, mingled with anger, disgust, sadness, and an almost unreal feeling of horror that we are living through the events of November the 13th.This particularly affects those of us in show business, and even a little more those who know the team at the Bataclan well.

That day, even before we could conceive the profound changes these attacks were going to cause in the lives of each of us in this society, we trembled for our families, for the victims, for our colleagues, our friends.
At the same time we were reassured to know that some had escaped the worst, there were also long hours during which we sought to hear from those who were missing and who had not yet responded to our concerned messages. And, unfortunately, our worst fears turned out to be true…

Nathalie Jardin

Nathalie Jardin

Among the chaos and all the confusion that left room only for the urgency of the living, was Nathalie Jardin, shot by fanatical terrorists inside the Bataclan. This lovely young woman of 31, from near Lille, had been the resident lighting designer and tech at the Bataclan since 2011.

She was known to all of us who have been wonderfully welcomed during our stops at this legendary venue.
Not satisfied with being only a remarkably dynamic and effective professional, she was also sparkling, friendly, kind, helpful, sincere, attentive and close to her colleagues.

Nathalie Jardin

All those who have worked with her have taken away with them beautiful memories, if not profound friendship. This is my case.

In addition to her regular presence at the Bataclan, her passion for the profession of show lighting and for music also brought her to handle the lighting for many concerts and festivals in the Northern Region and in Pas-de-Calais, where she was also particularly well known, but also took her on tour with bands like Marcel et son Orchestre and Les Fatals Picards.


Nathalie Jardin

Anger and infinite sadness, injustice…

We at SoundLightUp would like to pay homage to her today, expressing our condolences to her family and loved ones, as well as to all the other victims of the barbarism of that sad Friday, November 13.

Goodbye Nath…
Jocelyn Morel

This topic will remain open to those who wish to leave a tribute : [email protected]

 

SGM : Restructured and Stronger Than Ever

Peter Johansen and Paolo Covre

Peter Johansen and Paolo Covre

To maintain SGM as leader of intelligent LED light, further investments were needed. 
After a period of disagreement between shareholders about the future capital structure, the board of directors had no other option than to apply for a proceeding aiming to restructure the company.

On November 9th at 18:00, SGM was completely re-established with its new shareholder and capital.
The management ascertains that SGM will continue as before without any changes – and stronger than ever.

All business elements remain unchanged :

  • The entire team behind SGM is identical
  • The worldwide distributor network is identical
  • The high service and quality are identical
  • All warranty commitments are identical

What changes substantially in SGM is the financial strength.

The new ownership relates to investment company, Eurofinim, whose CEO, Paolo Covre, wants to carry on SGM in the spirit created by Peter Johansen and ensures so by Peter Johansen’s continued role as CEO of SGM.
Paolo Covre states : “ I have followed SGM from the sidelines for quite some time, and I find the company’s visions both sensational and impressive with regards to its scope, high pace and innovative solutions. This is the kind of company I trust and I am honoured to be a part of, and it just needed a financial injection to continue and enhance its growth. ”

Peter Johansen is very positive towards the new investor’s wishes for SGM’s future. “ Paolo and I share many viewpoints and I am sure he will become a great asset for SGM. I am happy to have him on board. SGM is now stronger and more motivated than ever before. We will continue our growth, developing the innovative products we believe in. We are confident that the misleading rumours we have unfortunately incurred into will be immediately disregarded ”, says Peter Johansen.

 

Clay Paky delivers ‘ brightness beyond belief ’ to Finnish National Opera

Lighting and set designer Mikki Kunttu has used an array of Clay Paky Mythos and A.leda B-EYE K20 fixtures to create a truly stunning lighting design for a production of symphonic poem Kullervo at the Finnish National Opera.

Photos © Mikki Kunttu

Photos © Mikki Kunttu

Composed by Finnish national composer Jean Sibelius and first performed in Helsinki in 1892, the opera is based on the character of Kullervo in the epic poem Kalevala. A dance element choreographed by Tero Saarinen and performed by the Finnish National Ballet was added to this 2015 production, which celebrated 150 years since the birth of Sibelius.

Photos © Mikki Kunttu

Photos © Mikki Kunttu

Kunttu specified 52 x Mythos and 48 x B-EYEs from Bright Finland for key lighting in the piece.

“ The brightness of the Mythos fixtures was undoubtedly the most important quality in the visual picture of the production, ” says Kunttu. “ They delivered the final incredible punch that we saw in the end scene at the moment Kullervo dies – brightness beyond belief ! ”

As the designer’s staging evoked an infinite black box, the Clay Paky fixtures were also employed as organic set pieces that moved in space to signify changes in scene.
“ The B-EYE K20 fixtures were used as moving sidelights. They created various spaces as well as beautifully lighting the performers from the sides of the stage, ” continues Kunttu.
Also used as set pieces were a range of LED screens in varying sizes.

“ The Clay Paky fixtures worked perfectly with the screens. On the one hand, the Mythos cut through them with an even brighter punch than their output and on the other, the B-EYEs complemented them as the colours and intensities were easily matched, ” continues Kunttu.

Photos © Mikki Kunttu

Photos © Mikki Kunttu

Photos © Mikki Kunttu

Photos © Mikki Kunttu

Photos © Mikki Kunttu

Photos © Mikki Kunttu

More informations : http://www.claypaky.it/en/home/

News from LDI

The Robe BMFL and its 1700 W HTI lamp debuts in a Wash version

Robe BMFL Wash

Robe BMFL Wash

With a lovely 200 mm Fresnel output lens, the color system and the 1700 W lamp of the BMFL Spot that make the difference, the new Robe BMFL Wash is admittedly not the the most energy efficient, but certainly the most powerful wash on the market.
Robe also presented the Square, a motorized LED matrix packed with effects.

The BMFL Wash responds to a demand for a simple, powerful fixture for large venues, stadiums and festivals, with a 4.5°–55°zoom, a color system complete with CMY mixing, progressive CTO, and two wheels with six colors each, a 20° (light, medium, heavy) interchangeable frost filter, a dimmer, a shutter, plus an optical stabilizer that effectively compensates for structure-borne vibrations.
In short, the perfect companion for BMFL Spot

If you need more precise beam shaping and more control over its power in any situation, you can install the optional XF (eXtra Features) module. This incorporates a set of four independently controlled shutters which can be rotated ±90°, more precise than an ovalizer, plus a completely new and patented feature called a scrim filter. This is a progressive filter which can be inserted into the beam to attenuate part of it.

A tight beam of 4.5° for long-throw projection

A tight beam of 4.5° for long-throw projection

A maximum wide-angle beam of 55° with one of the six colors from one of the two color wheels that supplement the CMY color mixing system

A maximum wide-angle beam of 55° with one of the six colors from one of the two color wheels that supplement the CMY color mixing system


A typical example of its use would be when you want to illuminate a wall by placing the fixture on the floor. The distance from the fixture to the wall is shorter at the bottom of the field of illumination than it is at the top but, with this filter, you can dim the part of the beam that illuminates the bottom (attenuating it progressively less towards the top) and thus maintain the uniformity of the projected field. This Scrim Filter can also be rotated ±130°.

Robe Square: the 25-LED matrix packed with effects

It’s Robe’s turn to enter the market, pioneered by Ayrton, of motorized panels with 25 RGBW LEDs and continuous pan/tilt rotation, adding power and effects: a zoom module for each line of five optics and a prism behind 9 of 25 pixels that can multiply the beams.

The Square: a motorized 5x5 LED matrix that, in fact, does more, and is also bulkier

The Square: a motorized 5×5 LED matrix that, in fact, does more, and is also bulkier

Video projection, pixel animation, effects of tight beams and wash with continuous rotation – the range of effects that the Square can produce is wide and varied. With a new 28 W multichip RGBW source, each optical group boasts a native angle of 4°, which can pass to 60° using the zoom.
The matrix is ​​then divided into five lines, each of which has independent control of the zoom, so that you can create a single large wash, wave patterns, or a 3D aerial image created by tight beams, which we know well.
Also, as nine of the sources have a x3 optical prism, a rotating split beam effect is added to the collection. Robe declares an illuminance of 40,000 lux at 5 m (at 4°) and a luminous flux of 11,500 lm.

Each pixel has individual control for color, dimming (18 bit internal, 8 or 16 bit in DMX) and strobe, and there are preprogrammed macros with a range of variations for each effect. Finally, Robe does not skimp on the variety of available control protocols: DMX-RDM, ArtNet, MA-Net, MA-Net2, sACN and Kling Net.

More informations on www.robelighting.fr

 

New at LDI 2015 Las Vegas

Martin Atomic™ 3000 LED Strobe with Aura FX

Martin Atomic 3000 LED avec effet Aura

Capitalizing on the original Atomic™ 3000 DMX’s 15 years of success, this new version features identical functionality and behaviour with the added benefits of LED technology.
It offers the same extreme brightness as its iconic predecessor, but with substantially lower peak power consumption.

The Atomic 3000 LED is not only a strobe, but also a creative tool that incorporates backlight illumination with RGB-controlled LEDs pointing into the reflector.

It delivers stunning eye candy looks similar to the MAC Aura™ and the MAC Quantum™ Wash. Internal FX macros and simplified re-use of the original color scroller complete the full-feature package and empower the Atomic 3000 LED to become the ultimate creative lighting tool.

“ The original Atomic has been the unquestionable benchmark for strobe lights ever since launching back in 2000, ” said Markus Klüsener, Product Manager for Stage Lighting, Martin Professional.
“ Our highly skilled R&D team has managed to put together a product that perfectly capitalizes on the latest technology while staying true to the strong legacy of the original Atomic.
Incorporating Martin’s unique Aura backlight, Lighting and Production Designers get an entirely fresh creative tool. The Atomic 3000 LED has all it takes to become the next industry standard. ”

The Atomic™ 3000 LED is expected to ship late November.

Thanks to RGB LED, pointing into the reflector, we get a effect similar to the Aura.

The Atomic 3000 LED with the original color scroller Atomic Colors to strobe in colors

For more information, please visit http://martin.com/en-US/Products/Product-Details/Atomic-3000-LED

For the Fo Fighters Sonic Highways tour

Dave Grohl’s Iron Throne Powered by Ayrton MagicDot™-R

Foo Fighters front man, Dave Grohl, has famously reclaimed the stage for the band’s Sonic Highways tour, mounted on his own ‘Iron Throne’ after breaking his leg in a fall from the stage in Gothenburg in June.
The throne is adorned with a corona of 12 Ayrton MagicDot™-R LED moving lights which are used by lighting designer, Dan Hadley, both as feature lighting and for illumination of the charismatic singer.

Tournée Foo Fighters

shows Ayrton MagicDot-R fixtures encircling Dave Grohl on his Iron Throne ©Todd Kaplan

MagicDot-R is one of Ayrton’s newest fixtures and the first professional LED moving head to feature a single 60W 4.5° RGBW LED source. Its totally round head fits within the diameter of its cylindrical base in all positions, allowing bold new configurations with barely a centimeter of space between two luminaires.
“ When Grohl came up with the napkin drawing of the throne I knew, from seeing Ayrton’s demo video, that the MagicDots were exactly what the throne needed because they pack so many options into such a small space. They had all the colour, quickness, and smooth dimming that I knew from the MagicBlades, all of which would be useful in such a tight space prone to scrutiny, ” says Hadley.
“ I used the MagicDots mostly as eye candy, radiating out from the Throne and exuding the energy of Grohl’s performance. But they do have a couple instances where they will bring it all down to lighting him for a quiet moment. ”

Tournée Foo Fighters

© 2015 Todd Kaplan

The Sonic Highways tour started in December 2014 with Hadley’s original specification of 60 Ayrton MagicBlade™-R fixtures in the rig. VER’s Lighting Division provided global service to the tour with two simultaneous rigs in North America and Europe to service the ongoing tour all across the world.

MagicBlade-R is a unique fixture which aligns seven 15W RGBW LED 4.5° sources in a row to produce a smooth curtain of light with some incredible manoeuvres, including a continuous pan and tilt feature. Hadley rigged his MagicBlade-R units upstage on custom frames, built by SGPS, alongside a series of video panels.

“ The MagicBlades are used at first as mostly hidden sources, ” he explains. “ As the show progresses, the video screen splits apart and the MagicBlades shoot from behind it, lighting the band in profile. Once the screen strips turn around to unveil the MagicBlades we really let them loose to do all the lovely eye-candy stuff they’re so great at. ”
Despite the frequent changes in the Foo Fighters’ set list Hadley has created a series of looks which can be adapted easily to keep pace with the changes. “ One of my favourite looks is used most often during ‘These Days’, ” he says. “  I have the MagicBlades doing a slowly curving movement along with a colour fade that allows the individual sheets to blend together into gently sweeping curved shapes. ”

Hadley programmed the MagicBlade-R and MagicDot-R units using a GrandMA 2 but chose not to use any of the fixtures’ on-board macros. “ I chose the MagicBlades primarily for the unique sheet of light that they provide. It is different from the typical beam that you get from most fixtures. I also chose them for their versatility and unique features such as the infinite pan and tilt, which is also present in the MagicDot.

“ I’ve been able to create different architectural looks that aren’t achievable with conventional single-source fixtures. It’s nice to get away from the conical or triangular shape that we are most familiar with. What other LED fixture is going to give you that lovely sheet look AND be able to do all the crazy eye-popping stuff ? There are no substitutes for such unique fixtures. ”

Tournée Foo Fighters

© 2015 Todd Kaplan

The MagicBlade-R and MagicDot-R have proved very robust on tour – almost as much as the lead singer himself! “ The MagicBlades have been great with very few issues – if any! ” says Hadley. “ And the MagicDots got completely soaked in a show-stopping storm in Quebec City; since they are hung in a circle, they got nailed from all angles and we didn’t lose a single fixture. ”

So, having experienced Ayrton MagicBlade-R and MagicDot-R fixtures for the first time, would Hadley use them again ? “ Hell, yes ! ” he says. “ They’re great! ”
The Foo Fighters Sonic Highways tour, which recommenced with the band’s 20th Anniversary Blowout at RFK Stadium, Washington DC on 4 July 2015, will continue until November. The Throne, with its Ayrton MagicDot-R halo in attendance, will be used as long as Grohl needs it: “…or as long as he can manage to listen to the doctors. ” says Hadley.
With 32 locations around the world, VER features a large and growing inventory of the latest Ayrton products.
Ayrton products are handled in the US by exclusive distributor, Morpheus Lights.

More information on Ayrton MagicBlade™-R, MagicDot™-R and the full Radical™ Series of fixtures can be found at www.ayrton.eu

About Ayrton :
AYRTON is specialized in developing intelligent LED light products for Entertainment and Architectural applications.
Based south of Paris, France, the AYRTON Headquarters and Research & Development centre combine and organize the highest competence in engineering, software, electronics and optics, with the aim to create highly innovative fixtures.
AYRTON fixtures are created to answer any demanding installation and criteria, and are distributed through devoted and exclusive worldwide teams. AYRTON uses reliable, flexible and avant-garde technologies linked to innovative design, to provide AYRTON customers with a wide range of pioneer lighting solutions for installation in Stages, TV Studios, Show-venues and Architectural schemes.

CORE Lighting Off The Wall

A gauche, la robe signée, Adnan Bayyat, faite de trombones. Au plafond, alignés sur une règle métallique par leur base aimantée, les PinPoint s'intègrent parfaitement dans l'environnement. © Anna-Marie Randall

© Anna-Marie Randall

UK battery powered LED lighting manufacturer CORE Lighting recently supplied fashion and art exhibition “Off The Wall” with a fully wireless LED lighting solution.

Eleven of CORE’s tiny PinPoints were used to spotlight the individual artefacts including paintings, sculptures, head pieces and gowns.

Presented at the Art Couture Painswick (ACP) Gallery in Painswick, a historic town in the picturesque Cotswolds, UK, the six week installation included creations from fashion icons Philip Treacy, Alexander McQueen, Selina Blow and many more, plus high profile works from sculptors, leather designer Mary Wing To and Peter Pullion (creator of the original Orville the Duck puppet) and a miscellany of other artefacts and exhibits.

© Anna-Marie Randall

© Anna-Marie Randall

La source led des PinPoint, (300 lm et 5°) montée sur flexible, est orientable dans toutes les directions. © Anna-Marie Randall

© Anna-Marie Randall

When it came to lighting the space, the existing lighting wasn’t suitable and a completely different approach was needed that was good looking, contemporary and portable, so organisers ACP approached CORE’s Phil Ion with the challenge.

Phil, who also lives locally, jumped at the chance, “ It was also an ideal opportunity to showcase our products and illustrate how the excellent colour temperatures and colour rendering can bring exhibitions to life, as well as providing an exceptionally cost effective and green solution ”.
Eleven of CORE’s tiny PinPoints were used to spotlight the individual artefacts including paintings, sculptures, head pieces and gowns.
A near life-size wire pony was illuminated completely in colour with a CORE StripPoint 1 metre LED batten, with the head highlighted by a single PinPoint unit.

Les ColourPoint autour de la tête de cheval sont eux aussi complètement autonomes : batterie au lithium et DMX sans fil. © Anna-Marie Randall

© Anna-Marie Randall

Following the equestrian theme, CORE ColourPoints were used to illuminate a leather horse’s head, the neutral white LEDs crisply highlighting the texture and making the jet black colouring of the material zing out!

The original Orville (the duck) was illuminated with a PinPoint spotlight. More ColourPoint units were used to texture selected paintings with additional colour tone. Another great benefit of using these lights is that the high quality source is completely homogenised and not hot or harmful to the materials.
A dress designed by Adnan Bayyat made from thousands of paperclips was lit with PinPoints heightening its complex, layered metallic structure; the dress also featured at the recent London Fashion Week SS16.

The original – and somewhat prosaic – Gallery track lighting was removed prior to the exhibition and replaced with metal strips – in the same place. The PinPoints were clamped to this via their magnetic bases, which was extremely neat and tidy, and also meant they could be moved effortlessly, and easily removed for recharging.

Up in the roof, the PinPoints looked very aesthetically pleasing and blended in seamlessly with the whole environment. At a casual glance, they also resembled a fully powered spot-light system!
The whole lighting display was powered for six weeks using the products’ internal battery power supplies and wireless control, with the units being recharged overnight. As well as showing the performance of the fixtures over an extended exhibition period, “Off The Wall’ also significantly tested the basic usability of the CORE charging regime, taking under 10 minutes each morning to set up the whole lighting scheme.

The exhibition – also a fundraiser for another local charity event in the Cotswolds, the www.canvasforcreativity.com Wearable Art Festival – was very successful and well-received, yielding plenty of positive comments about the lighting itself which was noticed and greatly appreciated by visitors.

More informations : Core Lighting http://www.corelighting.co.uk

LED beam projector with continuous rotation

The Ayrton MAGICDOT™-R is faster than its shadow

Ayrton MagicDot-R

Despite its minimalist appearance, the Ayrton MAGICDOT™-R luminaire is a powerhouse of light and technology. Equipped with next-generation LED emitter, optics, and cooling system, this moving head projector is ready to break all records.

Ayrton put 144 of them into its fabulous online video demo. Bruno Mars’ lighting designer, Cory FitzGerald, premiered 184 MAGICDOT™-R luminaires live for the performer’s festival-closing concert appearance at Rock in Rio – Las Vegas.

What’s most striking when you first power up one of these single-optic fixtures is the quality of the intense, narrow shaft of light. [I confess, I can’t help but associate its compact cylindrical form with those cute, yellow, characters in the animated « Minion » films.]

Development of this fixture began more than two years ago – and it is the first to use the latest, state of the art, emitter technology from OSRAM – a 60W Ostar Compact LED package, which can be driven at four times as much power as previous Ostar chipsets. Each emitter has four 2mm² RGBW diodes, which makes the total luminous surface 8mm² (nearly double the previous 4.41mm2).

Ayrton’s first challenge was to develop a new collimator able to concentrate the four larger diodes into a 4.8º beam while still maintaining optimum colour mix. Given the LED’s new surface/power ratio and increase in temperature, the French development team also had the daunting task of developing an effective cooling system that took advantage of the power while minimizing output derating due to heat. Ayrton certainly didn’t make it any easier for themselves by designing such a compact head.

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Mechanics

The compact, cylindrical form of MagicDot-R may remind you of an animated “Minion” character. Just paint it banana-yellow and dress it in overalls.

The compact, cylindrical form of MagicDot-R may remind you of an animated “Minion” character. Just paint it banana-yellow and dress it in overalls.

Here’s a general overview of the fixture before we take a look inside. MAGICDOT™-R is divided into three parts : The stationary part of the luminaire is the circular, minimalist base, with the curved transport handles, power and data connectors.
Two attachment points for quarter-turn fasteners on the bottom the base will mount a single Omega bracket, which is provided as standard equipment along with a safety cable.

From a side view, we see the curved handles are designed to fit within the circular footprint of the base.

From a side view, we see the curved handles are designed to fit within the circular footprint of the base.

In addition, there are four threaded inserts that allow the fixture to be directly attached to a mounting plate or to scenery, without the need for pipe clamps. This option could be useful in fixed installations or touring equipment, where every centimetre counts.

5-pin XLR connectors with pass-through for RDM-compatible DMX input / output are provided. Next to the data ports, PowerCON TRUE1 connectors supply power to the fixture, and permit pass-through to other units in a “daisy chain”.
Above this round base is the cylindrical body, which is also the yoke of the fixture, with a six-button user interface and the display. Pushing any buttons deactivates the pan motor and permits easy access to the control menu.


Nothing projects outside the circular footprint, so MAGICDOT™-R luminaires can be closely packed with no risk of collision.

Nothing projects outside the circular footprint, so MAGICDOT™-R luminaires can be closely packed with no risk of collision.

The two yoke arms support the spherical head. Since no moving parts protrude beyond the footprint of the base, you can pack these luminaires incredibly close to each another. The head contains the huge 94mm diameter collimator that was specially designed, in collaboration with Gaggione, to couple with the 60-Watt LED emitters.

Following this introduction, we had a look inside with the help of Ayrton’s chief software development engineer, Cyril Union.

The new projector was easy to disassemble. Because of the fixtures compact design, special-sized fasteners are used, but all we needed was a screwdriver and an Allen wrench. Once we removed the matching head covers, we could see the new cooling system, the electronics that supports the LED emitter, and the collimator.

Under the cover: a collimator, the LED circuit board, and a heat pipe – simple and effective.

Under the cover: a collimator, the LED circuit board, and a heat pipe – simple and effective.

The new cooling system developed for the LED emitter.

The new cooling system developed for the LED emitter.


Couldn’t be simpler! To cool the LED emitter, Ayrton uses the same tried-and-true recipe it has for years: a heat pipe system. Space has been left at the centre of the heat sink to accommodate the fan. The three advantages to this solution are: quicker cooling, better thermal conductivity across the heat sink, and a considerable amount of space saved.

The single circuit board in the head with the 60W RGBW LED in the centre

The single circuit board in the head with the 60W RGBW LED in the centre

Mounted to the aluminium alloy block, the single circuit board in the head has the LED and control electronics. The imposing 94mm-diameter collimator is mounted in front of the LED package, ready to create a beautiful light shaft. Carefully designed diffusion patterns on the surface improve colour mixing in the beam.
Three mechanical systems align and centre the collimator in relation to the LED emitter: four locking pins on the base, an indexing pin, and a flange on the flared part. These ensure that the optics are positioned correctly with respect to the four LED diodes. The flange ensures alignment with the head via a metal retaining ring attached by six threadlocked screws.

The retaining ring for the collimator

The retaining ring for the collimator

The 94mm collimator.

The 94mm collimator


The User Interface and display circuit board in one of the fixture body covers

The User Interface and display circuit board in one of the fixture body covers

The cover that protects the head is also attached to this metal ring.
Perhaps, a diffusion filter could be mounted in front of the collimator to convert the beam into a wash light with more or less spread depending on the diffuser used, but this option is not available from the manufacturer.
It might conceivably be added to the catalogue.

We then removed the two covers from the fixture body and yoke.
One of them contains the User Interface electronics and colour LCD display.


The tilt system, which uses a three-phase hybrid stepper motor, is behind the lower pulley

The tilt system, which uses a three-phase hybrid stepper motor, is behind the lower pulley

The pan side with one of the two slip ring assemblies

The pan side with one of the two slip ring assemblies

One yoke arm houses the tilt drive, consisting of two pulleys and a drive belt. A three-phase hybrid stepper motor drives the lower pulley.

The pan drive is in the horizontal part of the head box and the motor is in the second yoke arm.

This also holds one of two slip ring assemblies that provide power and data connections between the elements in the base and the head and permit continuous, unlimited, rotation on pan and tilt.

Going for a spin…

Under Cyril’s watchful eye, I felt confident that once it was fully reassembled (with no parts left on the workbench), the fixture would be ready for a show. No need to comment on the control menu, which is similar on all Ayrton products.
DMX addressing is straightforward. There are two modes : Basic, uses 14 channels, and Standard, which provides 16-bit control of DMX position, uses 16 channels. Note: If you use an MA2, be aware that a slight glitch in the library system blocks the Reset function: all you have to do is to edit channel 17 in the library by adding percentages in the “from” and “to” fields. Addressing, Reset, black, and off you go.

…Full speed ahead!

When I brought the dimmer and the four-colour LED to full, I was amazed by the light output. The beam was sharp, clean, and effective. With smoke, I could make out a slight halo close to the emitting lens but this didn’t affect the visual impact. No issues with the dimmer – Ayrton perfected this long ago. The strobe function was highly effective in regular or random mode. Ayrton has included a pulse effect. The three primary colours were deep and the white was striking.

Whether instantaneous or continuous, colour transitions were impeccable. The colour mix of the projected field of MAGICDOT™-R, was less than ideal, but that is to be expected. Obtaining good field colour mixing with a single tight beam is not the objective. This fixture is all about the coloured beam traveling though space. A lot of time and patience went into developing this new collimator, and colour mixing within the aerial beam is highly satisfactory, as witnessed in the product videos.

AYRTON – MagicDot-R – Hundred and Forty-four Unit Demo from Ayrton on Vimeo.

A large range of colours

Ayrton MagicDot-R

Ayrton MagicDot-R

Ayrton MagicDot-R

Ayrton MagicDot-R

Ayrton MagicDot-R

Ayrton MagicDot-R

Ayrton MagicDot-R

Ayrton MagicDot-R

Ayrton MagicDot-R


Ayrton MAGICDOT™-R

The colour Macro parameter allows fading between the defined colours at an increasing rate in continuous sequence. Another parameter called “ColorPresets” replaces a colour wheel. The first six settings are white, ranging from 2700K to 8000K, followed by 15 attractive hues. This function’s level is controlled by the “ColorPresetDimmer”, which lets you combine the “ColorPresets” with three-colour mixing.

Test pan and tilt movement

We fully expected the fixture to be quick considering its size, but the results were even more astonishing. It is amazingly fast! A 180° pan move took 0.16 seconds and the tilt took 0.12 seconds. is the quickest unit I have ever tested. What’s more, the high-speed feature does not prevent slow moves. As shown in the video, the luminaire passed the diagonal test with the greatest of ease.
The final results were spectacular: movements were linear (without slowing down or accelerating) and deceleration crisp. Ayrton MAGICDOT™-R allows continuous pan and tilt movement, ideal for creating innovative effects. Finally, there is the reset, the last parameter in the DMX mode. Once again, the system is fast: a complete reset only took just under 20 seconds. In the video, however, you can see that the dimmer comes back on before the head returns to its initial position. Ayrton says that this will be corrected in the next software release.

The figures

Derating

We start our photometric measurements with derating. Although it seems irrelevant when testing a special-effects luminaire like the Ayrton MAGICDOT™-R, the curve proves how much care Ayrton took in designing the cooling system for the LED package contained in this compact head. With all RGBW diodes at full power, illumination at the centre in “Auto” mode was stable with 6% attenuation after 10 minutes of heating. The head of the projector stayed cool.

Derating curve for red and blue, at maximum

Derating curve for red and blue, at maximum

Derating curve, RGBW at maximum in “Auto” cooling mode

Derating curve, RGBW at maximum in “Auto” cooling mode


Ayrton MagicDot-R Derating All Stage

Ayrton MagicDot-R Derating All Stage

Stage derating: Derating curve, RGBW at maximum in “Stage” cooling mode.

In Stage mode, attenuation was slower but we obtained the same 6% value. Finally, in magenta, with just two colours at full power, the output merely dropped by 2% – further proof of Ayrton’s expertise.


Noise

Noise measured at 1m in “Auto” cooling mode is 33 dBA, which was 1 dBA higher than the ambient noise in the showroom and 1 dBA less than in “Stage” cooling mode, where we measured 34 dBA.

Photometric measurements

Ayrton MAGICDOT™-R Flux

Illumination at start-up obtained 6460 lux at the centre, and this is a record for a 60W LED emitter. The flux reached 1378 lumens and we measured an angle of 4.8° at I/2, where the maximum amount of energy is produced creating a light shaft, and 11° at I/10 (where I = illumination at centre).

Ayrton MAGICDOT™-R Luminous intensity curve

Ayrton MAGICDOT™-R Dimmer

The uniform luminous intensity curve attests to the quality of the new collimator.

Finally, we measured the dimmer. The curve is rather “slow” from 0 to 60%, then perfectly linear up to 100%.

The dimmer curve follows the square law.

Off to a good start

Innovative and unique in the marketplace, the Ayrton MAGICDOT™-R is a concentration of new technology that heralds a next-generation of LED units. The luminaire’s slow moves were well controlled, and the quick moves very impressive. I’ve never seen a moving head unit this fast.

Small size, light weight, low energy consumption, quickness, and especially the intensity of its light shafts all make for an excellent special-effects luminaire that will meet the needs of lighting designers who are always anxious to create new designs using spectacular effects for stage and TV studio. The future of the Ayrton MAGICDOT™-R is looking bright !

Ayrton MAGICDOT™-R General

Ayrton MAGICDOT™-R DMX

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Avolites Ai servers pump up the party for Arcadia at Glastonbury

The incredible Arcadia Spectacular stage pumped out some serious visuals at Glastonbury this year created and controlled by blinkinLAB’s Tom Wall using an Avolites Sapphire Media and Ai server.
The Spider stage is Arcadia’s most monumental environment. Built from recycled military hardware, it is a 360-degree, interactive environment with a fully programmable DJ booth and integrated video mapping, amongst many other pyrotechnics!

Avolites Arcadia a Glastonbury  

Photo © Ben Daure

2015 is the third year running that Tom Wall has masterminded the Arcadia visuals. This year’s performance was called the ‘Metamorphosis’ show, and the returning spider was accompanied by some amazing new Ai powered costumes and zorbing balls, created by Light Initiative.
” We created mapped animations for the projection on each face of the three legs, the LED screens installed inside and around the DJ booth, and this year for Light Initiative’s alien eggs and alien jellyfish costumes! ” explains Wall.

Avolites Arcadia a Glastonbury  

Photo © Ben Daure

Avolites Arcadia a Glastonbury  

Photo © Ben Daure


Dave Whiteoak from Video Illusions originally conceived adding projection mapping and LED screens to The Spider, and approached Wall to create the content for the project. ” We debated using different media servers but went with Ai as it has some features out of the box that we would need, such as 7 outputs to cover all the different surfaces, as well as timecode control, ” says Wall.
” Having the media server built into an ergonomically designed lighting desk is actually really useful, especially during the live DJ sections where nothing is rehearsed. Using the touch screen to select media and having sturdy faders and buttons available in one system to be able to control different layers of video is really useful.

Avolites Arcadia a Glastonbury  

Photo © Charlie Raven

I worked with Ciaran Abrams from Avolites to create some customised elements such as routing buttons to be able to switch between different fixtures, or apply different effects.
” A lot of my work creating content revolves around 3D modelling and animation. Ai uses the same system of applying a 2D texture to a 3D surface as is found in all major 3D software. So when creating the 3D assets needed for mapping in Ai, I was happy to use this industry standard. ”

The stunning media content was projected onto the body of the spider. Avolites’ Selvin Cooper mapped and supported the video projection for Arcadia, using six projectors he used provided by CPL.
” The projection mapping is a combination of 3D animation of metallic reptilian scales and machines that ripple and pulse along the legs, mixed with more graphical content inspired by retro-futuristic sci-fi computers and circuit diagrams, ” Wall continues. ” The material has to work with the constraints of the structure which has quite a narrow space on which to actually project.

Avolites Arcadia a Glastonbury  

Photo © Ben Daure

” The LED screen content is also quite constrained to the thin design of the screens. One of the screens represents the mouth, so on this we have a visualisation of the Spider speaking. We have also created a lot of graphical VJ content that fits with the overall aesthetic.
” For the jellyfish costume and alien eggs built by Light Initiative, we created pixel mapped animations that flash and pulse, highlighting different parts of the musical score. ”

Avolites Arcadia a Glastonbury  

Tim Smith of Smash Productions once again oversaw the visual proceedings, evolving the lighting for the spider in conjunction with Colour Sound Experiment.

Rachel Moule took control as lighting designer for the spectacular stage with support from Dave Cohen of MIRRAD, both operating from Avolites flagship Sapphire Touch consoles

More informations :
 http://www.avolites.com/products/video/media-control/sapphire-media

GLP sets up new Nordic base in Sweden with Daniel Rüdén as Sales Manager

Daniel Ruden

Daniel Ruden

In order to work more closely with customers in one of their key markets, and to better understand their needs, GLP (German Light Products) has announced a new GLP Nordic office, based in Sweden.
Running the operation, as Sales Manager, Sweden, is Daniel Rüdén.

Although originally a sound engineer, Daniel Rüdén brings widespread experience working with rental companies and as a full-time production manager, specialising mostly in EDM artists and festivals. During this time he co-designed many of the lighting sets with fellow LDs.
Based in Västerås, around 100km from Stockholm, he says that once established, the plan is to grow the operation into Norway and Finland.

Speaking of the move, he commented, “ I like to step out of my comfort zone and take on new challenges — therefore I was really excited when [GLP International Business Development Manager, Kasper Gissel] offered me this opportunity.
“ Sweden is a small country but has a big entertainment culture. There is a lot of potential, and so far there has been considerable interest in GLP from the Swedish LD’s in sectors ranging from TV shows to festivals, theatres and touring productions. ”
Daniel will also initiate a vigorous sales and marketing drive — taking the products around the country, roadshow style. “During the summer and autumn we will travel out to meet up with LD´s, rental companies and theatres, and show them the amazing possibilities the impression X4 series has to offer, as well as attending trade fairs.”

Full technical support will be provided from head office in Karlsbad, where Kasper Gissel confirms the rationale behind this development. “ In particular it will give us a chance to listen to LDs and production companies about their requirements and provide local support. We see Scandinavia as a key market and Sweden as a good base from which to service it. With Daniel’s background in production and event management he is the ideal candidate to implement this, as he knows all the key players. ”

“ I´m really excited to be a part of the GLP team,” states Daniel Rüdén in conclusion. “ The products are simply fantastic and it will be a pleasure to get them out into the marketplace. With the new X4 range of products, GLP will plug the gap in the market for new high quality technology which has been needed for quite a while. ”

More informations : www.glpnordic.se
Daniel can be contacted at : [email protected]

logo GLP

About GLP (German Light Products) :
Founded by Udo Künzler in 1994 and headquartered in Karlsbad in Southern Germany, GLP (German Light Products GmbH) this year celebrates its 20th anniversary. GLP is a leading manufacturer of cutting edge lighting technology equipment and in recent years has been at the forefront of LED technology in the use of entertainment lighting.
The company’s award winning X4 S series has become a standard around the world, specified by top LDs for its versatile and packed feature set. Constantly expanding its product range, GLP is committed to bringing environmentally friendly lighting technology to designers without expecting them to compromise in their artistic expectations. In 2009, GLP purchased the German video company G-LEC and increased its global presence by establishing a subsidiary in Los Angeles, USA, and in Hong Kong the following year.

 

At The Olympia

Michaël Gregorio in concert(s) and in light(s) with Jocelyn Morel

Capping off a long and popular European tour that started in 2012 at the Bataclan, Michaël Gregorio returns to Paris to play his show at the Olympia for 16 dates, rich with color and music! It is no less than 40 concerts for the price of one, as the impersonator takes us, with his group of musicians, on a tour from Shakira, to Jacques Brel, to Dépêche Mode to U2, before an enchanted audience.
Michal Gregorio A l'Olympia

Accomplice to this grand, festive illusion is the passionate and enthusiastic Jocelyn Morel. He also becomes an impersonator and offers, together with the videos projected onto a white screen, as many different atmospheres and lighting scenes as there are artists and periods evoked during the show, from the Stade de France with Johnny Hallyday, to intimate postwar cabarets.
The show is like a musical journey, generous and humorous, skillfully conducted by a trio of young pranksters – Michael, Jocelyn and Arnaud Lemort, director of the show – who stroll us through time and space to rediscover the greatest artists of this century and the previous…

It is an outright lighting design that is reproduced here – Depeche Mode done by Gregorio…

…with the help of Jocelyn Morel and a very graphic scene.


Behind the scenes at the Olympia, just hours before the Parisian show of the young prodigy, we meet his enthusiastic lighting designer, Jocelyn Morel, who, with his little Dushow rig and some rarities from his collection, has some nice surprises in store for us…
And, even if he has to share the stage with Dimitri Vassiliu’s lighting rig for another artist, the kit chosen by Jocelyn shows its distinction, through intelligently negotiated compromise on both sides, with the highest mutual respect between them.

Back row, from left to right: Maxime Lethellier (video creator), Francois Gouin (stage manager), Riko Leroy (monitor engineer), Romain Dronne (lighting technician), Jean Louis Dapoigny (stage manager) Front row, from left to right: Thierry “Baron” Senecal (backliner), Ludwig Leroy (FoH sound engineer), Clement Dantan (sound technician), and Jocelyn Morel (lighting designer)

A tightly-packed stage.

SLU : How did you adapt to this shared stage,were you able to hang your whole rig?

Jocelyn Morel

Jocelyn Morel

Jocelyn Morel (Concepteur lumière) : Yes, of course. We have mixed front lights – some Dimitri’s, others mine. I only had to offset one boom so that it could pass but, in the end, my layout is very similar to my usual lighting plot.

For example, I wanted to do a lot more side lighting – which Michaël really requires – but we have a lot of material, five musicians on stage with their backline, positions that change with each number, a drumset on wheels…
The stage is very crowded. Then the installation of the totems was meticulous, in order not to obstruct the backline or the monitors.

Michal Gregorio A l'Olympia

SLU : So, in the end, how many totems do you have?

Jocelyn Morel : We have six totems : four for the side lighting of the musicians and two (at stage right and stage left) for Michaël’s plot.
As I have a white screen upstage as my main constraint, I have to carefully dose the illumination.
If I throw a fixture at 20% on Michaël’s set, the screen grabs all the light and lights up. It’s complicated to obtain intimate atmospheres.

And as the show moves from the Stones to Brel, by way of U2, I have to do both the brilliant lighting and intimate lighting and, unfortunately, it is impossible to have only the artist illuminated in darkness, because the screen reacts to everything.

SLU : Then why have you not chosen to hide the screen, depending on the scene?

Jocelyn Morel : We could have, but it was a choice that we didn’t take into consideration because there are a lot of rooms where hanging it would not be possible (in sports arenas, for example), and it is absolutely necessary to be able to adapt to all the scenes. Also, there is often video that plays at the same time, so you can not hide it.

SLU : And the budget doesn’t permit the use of an LED screen?

Jocelyn Morel : Not this year. The investment in this production is already enormous, with a team of 17 people in full-production, and it’s substantial enough for a show that can be seen as a one man show. Nevertheless, we have a semi-trailer in tour!
We are also always very surprised (and happy!) to do full houses, even with moderate media exposure. I’ve been working with Michael for eight years and I have never seen a sparsely filled room. And it’s going well, we all get along wonderfully, it’s like a family.

The JB Lighting A7 Zooms in action with perfectly calibrated colors !

An eclectic lighting rig

At the upstage backdrop and ahead of the backlit panels, a nice spot/wash combination of Martin Mac Viper Profiles and JB Lighting A7 Zooms

SLU : Tell us about your rig in detail, what is rented and what comes from your personal collection?

Jocelyn Morel : Dushow furnishes the lights. Historically we work with Caméléon, and we’ve remained faithful to that vendor.

Flown over the stage, more or less for backlighting, is a truss of Clay Paky Alpha Beam 300s.

The rig is relatively small but it allows me to do everything I need.

I have 10 Mac Vipers (four on the floor and six flown), which I really wanted, for spots, six Studio Colors and eighteen A7 Zooms (four on the floor and fourteen flown) for washes. There are also eight Alpha Beam 300s, which are usually more for back lighting but, here at the Olympia, find themselves more as down lights than in my original plot.

For sides, we have six Mac III Profiles and, on the floor, twelve Arcalines that illuminate the scenography from the back, and a set of nineteen FL-1300s, which are the only conventional lights in the rig.

SLU : Is it the reliability of the Viper that convinced you?

Jocelyn Morel : Yes, these spots are really good, solid machines that we can count on. On tour, we need the ruggedness. I don’t have a kit of 200 fixtures plus lots of spares and technicians. I have to be able to rely on my six flown fixtures. Here it’s true that the lamps are a little tired (they have been there since the beginning of the tour) but, even with this much time on them they remain uniform, and I especially love the beams of the Vipers. Everything they do, they do well.

The line of Martin Mac Vipers on the floor upstage is very active in the scenes, much to our delight.

SLU : What if you had access to a larger budget, what would you have chosen?

Jocelyn Morel : More Vipers!

SLU : So, for your key lights?

Jocelyn Morel : Oh, the Mac IIIs work very well for me in the front! The only fault with this fixture is that it takes up a lot of visual space when it’s flown, so in some small rooms where the front truss can not be very high, it eats into the scene, especially when seen from a balcony. But, otherwise, it is a very good spot.

For the key lights, there is the front truss of very effective Martin Mac IIIs.

This is not a revolutionary fixture with which you can do a thousand things but the CMY color mixing is beautiful and the zoom is just amazing.
I do not ask much from them, just to provide light, and they do it correctly and reliably.

SLU : The side lighting is an essential element of your design?

Jocelyn Morel : Yes, because the more I use the key lights, the more I pollute my screen, which is also polluted by the back lights and smoke. So the use of the side lights to illuminate the musicians is essential. At first I was tempted by the WildSun 500, but during the first tests together with A7 Zoom, the musicians had eyes as red as a Russian rabbit at the end of the show, since the LED light, which was pretty close to them, was very aggressive.

To provide side lighting for the musicians and the artist, there are High End Studio Colors on totems.

So we forgot the WildSun and I then set out to find more conventional washes for my sides. So I went back to the Studio Color 575.This lumin aire is an absolute marvel, one of the fixtures that I love the most.

SLU : These movers are not very young, did you have any problems with breakdowns?

Jocelyn Morel : No real breakdowns, but some small color wheel shift problems from time to time. These were quickly resolved by changing the belts. That got them back to work for at least 20 more years!

SLU : You don’t have any follow spots?

Jocelyn Morel : No, again because of the screen, and in the different venues we wouldn’t always be able to put them in the same places or even use them at all. So, knowing the artist (at 120 dates a year, you could say that!), I can follow his movements with my MAC IIIs without any problem; everything is fine. Michaël is super-precise and tight in his performance.

SLU : There are some old-school fixtures in your kit, is it a little whim of yours?

Jocelyn Morel : Indeed, it is!Michaël has prepared some numbers just for the Olympia, which required some additional angles. So I brought in two of my Telescans for this show, which have done the job perfectly!

A real array of lights with the latest generation of spots like the Viper, older sources such as A7 Zoom and Color Studio, plus the outright vintage Télescan MK IIIs (in the foreground), that all perfectly fill their roles. Jocelyn has a real passion for beautiful lights.

SLU : What can you tell us about your back lighting?

Jocelyn Morel : I have two back trusses, plus the Alpha Beam 300s and the A7 Zoom LED washes.I love these Beams because here we don’t have an abundance of luminous output. Even if I had had Sharpys, it would not have helped me; everything would have been unbalanced.
With the Alpha Beam 300s, I don’t have this problem, I have pencil beams and a three-color mixing, and that’s really good. It can change from any color to any other instantly, without the problem of rotating a color wheel.

SLU : As for the console, how are you organized? Are you operating the show manually?

Jocelyn Morel : Yes, I like to run the lighting live. I am a musician at heart, and this is also a way to “play“ the show with the rest of the team.It is important to me. Running the concert is fairly difficult because, even though everything is very well in place, everything is played out “live“.This is an actual concert with abrupt atmosphere changes in every sense, and I also have to follow a number of events that are not fixed. This is live (and I love it!). My console is a grandMA2 Light. It has the resources and I can really configure it like I want.

The importance of smoke.

Very attached to his MDGs, Jocelyn Morel tells us about the prime importance that haze takes in his lighting creations, an indispensable ally to any lighting according to this avid collector, who also has some smoke generators in its warehouse.

MDGJocelyn Morel : Haze is a very important element in the show, which must be present to fully materialize the beams of searchlights, but without being too much to interfere with the video either.
There is always a balance to achieve, which is also not always easy depending on a number of parameters dictated by the venues and the halls in which we perform.
Even just a little complicated air conditioning or ventilation to manage in a room and you have to rack your brain a little to find appropriate solutions. Nevertheless, we manage to do it fairly well in most cases.

I use MDG machines, which give me excellent results. As an avid enthusiast for good gear, I personally own five MDG machines. This enables me to achieve optimum results anywhere, even when I have to work in situations with less than choice material (a small service, a poorly equipped hall, a residence with no budget, etc…).

MDGI have tried numerous systems over quite a few years – compressor systems (noisy, fixed flow rate, and leave grease everywhere…), more “classic“ fog machines (that are just sufficient for evening’s entertainment), other machines that use CO2 and, occasionally, other exotic systems – but nothing that has been really satisfactory.
On Michaël Gregorio’s show, I have a MAX-3000 with the classic DMX interface, and on certain dates (like here at the Olympia), I have an Atmosphère and an additional MAX-3000.

They are installed in my personal cages equipped with a “Mandrilloptère” (a large fan). I can set the desired flow rate, and trigger the emission via DMX. The rest is a matter of placement of the machines and spreading the haze at an angle that doesn’t disperse it directly onto stage in order to avoid problems of settling and uniformity.
Since we often work in large rooms, we have room in the wings that we can use, even if the machine is some distance from the stage. “

Treasures from the collection.

The holographic panels that Jocelyn Morel discovered at Sonoss are really effective in front of the Ayrton Arcaline battens and the FL 1300s.

SLU : Are you doing some rear lighting from behind the backdrop?

Jocelyn Morel : This is a rig that I came up with for the scenography of this show, with twelve Ayrton Arcaline battens laid on the floor and seven FL-1300s, in front of which I have placed our raised rear gangway, which has translucent panels underneath with a ridged polycarbonate coating. These panels are actually treated with holographic raised surface in front.

I discovered this coating thanks to Philippe Coudyser, of Sonoss, who used it a few years ago at SIEL for Pixel Line, (he used it vertically by coloring the inside of the material). I asked him if he still had some (Sonoss is 2 km from my home), I did some tests and it was great!So I bought a few pieces from him that we have recut and installed here. The effect is very nice.

The strip of holographic plexiglass at the back of the stage fluoresces with the light of the Ayrton Arcaline battens and is very effective, especially accompanied by a single Viper from the upstage truss.

I didn’t want a flat, frosted effect, but a translucent one, and it works because we see the line of Arcalines as if it were a fluorescent light behind, while with the FL-1300s I get a fun wave effect that is a little blurred.

SLU : The Télescans and holographic panels are not the only curiosities in your rig, there is even a big Moroccan lamp!?

Jocelyn Morel : It was added to the rig during the show at the Châtelet, where Michaël wanted to make a ’70s hippie atmosphere with carpets, a sitar player, etc. We wanted something that leans in this direction, therefore anything but a moving LED wash.Our backliner “Baron” provided this lamp. He had made it for a show at a time when he did lights; it’s a large Moroccan lamp, modified with the motor from a mirror ball and a 1 kilowatt lamp from a PC! It creates a crazy effect. We reveal it above the artists, and it’s like a sort of giant gobo when the beams pass through the wrought iron and rotate.

The whole team looks for the best solutions to meet the needs of the show. And to create a gobo effect on a ’70s scene…

… there is “Baron”, the backliner who provided this lamp that was cobbled together by him during his former life in lighting.


A very dominant screen (maybe too dominant?)

SLU : We can clearly understand the presence – at times inconvenient – of the white screen, but can you tell us about how the videos are projected and how they are an important element of the scenography of the show?

Jocelyn Morel : The videos are varied. Maxime Lethellier manages them and also created the graphics. They are projected by an 18,000 lumen Barco. We project texts, extracts from music videos and movies, and even lip sync on several occasions. This is why I can’t hide that screen, it helps to set the mood for each new impersonated artist and often hosts an important, purely graphic base created by Maxime for the scene. It is used to set the stage.

The visual content created by Maxim Lethellier is very prominent in the show and really helps set the ambiance and the epoch for the concert being recreated – here, it is Jazz under Vipers in monochromatic red.

SLU : You would like to be able to fit an LED screen into the budget, but wouldn’t the power of the diodes interfere with the rest?

Jocelyn Morel : No, especially not now, with the more advanced technology products. And even so, I would prefer to have an old display with gray LEDS than this white screen! It would change the lighting design a lot, in the sense that it would give me more freedom.
The video is a big part of the show and the scenography, so we all managed to come to compromises that make the whole thing work.

A lighting designer impersonator, as well

SLU : How difficult is it to alternate between different atmospheres so often in the scenography of the show?

Jocelyn Morel : It is true that we have lots of very different atmospheres and, with a small lighting rig, I can’t create anything intimate with two fixtures; so there are a lot of moving heads going in almost all the scenes, but of course they’re not always used in the same way. There are scenes, such as Piaf and Brel, in which we will be in the desired atmosphere – a very pure backlight, with whites that I use laterally or against it.
I also love the big diagonals, like on Michel Berger’s “Diego”, where I try to simulate prison bars with beams, and use just a tight diagonal crossing over the head of Michaël, without front lighting. This is what I like best in this kind of atmosphere, clean and very impressive.

Les grandes diagonales de lumière sobre et impressive chères au cœur et aux yeux de l’éclairagiste.

Les grandes diagonales de lumière sobre et impressive chères au cœur et aux yeux de l’éclairagiste.

And if not, when, for example, he does Hallyday, we attempt to simulate a large show with a riot of beams, but we try to make it look classy! Then, on “Allumer le feu”, you can’t be in the dark, but we always make sure to limit the brightness, because of the screen…

We have to be keenly aware of this on the intro of the show with the Black Eyed Peas, which requires a big punchy scene with big sound, a disco show and the video. We have to compromise on the debauchery of lumens because Michaël dances with the characters in the gray image on a black background, which must remain visible. This is the first effect, which kicks off the show, and we must establish a balance…
I am very picky about the quality of the key lights; the audience must see the artist, his face and his expressions perfectly. We are here for Michaël, and it is he and his show that have to wow the audience…“

SLU : Regarding the artists, have you watched concert videos of the artists and groups that Michaël does in order to soak up to the atmosphere of each?

Jocelyn Morel : Yes, inevitably; it’s important. Then again, it is often possible to get closer to the original concerts of the artists he does, sometimes not. From a technical point of view, we can not even approach the big shows played in the largest venues like the Stade de France or Bercy with our rig, but we can “cheat“ in many ways, especially in that of presenting the scene, running it, and I think at times we achieve quite impressive results!”

Conclusion

And even though, of course, Jocelyn is not able to precisely recreate a show from Bercy or the Stade de France at the Olympia, he nonetheless shows off a true talent as an Illusionist. Just like Michaël Gregorio, a brilliant impersonator in love first and foremost with the artists he imitates – at times almost magically – so the illusion is convincing, it’s all in empathy and generosity that the lighting designer nails the atmospheres and takes us away with each scene.

The lighting designer shifts from the lights of the ’80s, that of jazz clubs, passing through old-time rock and roll, the big stages and the disco shows (because Jocelyn Morel is a character), he readjusts at the whim of the artists: Michaël Gregorio, his musicians and the lucky stars they impersonate. There are moments of incredible accuracy and ideas, like the passage in which the crowd at the Stade de France, in a video projected on the upstage screen, responds to the equally supercharged crowd at the Olympia.

A truly stunning scene with the frenzied crowd at the Stade de France projected on the screen …

…answers the equally supercharged audience at the Olympia, when Michaël impersonates Johnny, it’s magic !


The fact is that this show, more than any other, constantly shifts between two spaces: that of the original concert being imitated and that of the actual venue, in this case the Olympia, where Michaël Gregorio and his audience share so much jubilant musical enjoyment. And we must admit that the video has a lot to do with it and that Jocelyn’s lighting accompanies it intelligently.

In setting the scene, the era or even the venue of a concert, videos and lights serve up space-time on a silver platter for the prodigy impersonator-singer-guitarist-drummer (etc, etc), allowing him to let his talent erupt. A timelessness that helps to immerse you in the scene, energetic and often involving the audience, enhanced by the luminaires chosen by Jocelyn Morel. It is as if the lighting designer had concocted an “all-purpose rig”, with moving heads and fixtures both old and new, fast or bright, on the ground or in the air, to be able to sign a painting with every concert, and it works every time !

Very nice monochromatic red with the High End Studio Colors on lateral totems combined with beams from the Clay Paky Alpha Beam 300s, plus a few curiosities thought up by the lighting designer like the Télescans at the sides and the backlit panels under the backdrop.

The lighting designer often has to run his fixtures at the minimum, in order not to illuminate the white screen.


It alternates with formidable efficiency between scenes with punchy beams (thanks to the Vipers, which are definitely the shining stars of the design) and single colors (the beautiful tones of Studio Color are still very much up to the task) for the big names – like Muse, Hallyday, and the Rolling Stones – and white downlights in low light to focus on the body language. It is also amazingly well emulated, like with Jacques Brel’s “Amsterdam”, with which Michaël Gregorio engages in a captivating game of mirrors in front of a video of the actual performer performing on the same stage at the Olympia a few years ago.

Finally, the more electronic moments, from Daft Punk to Black Eyed Peas, let the backdrop designed by Jocelyn shine as it should, with a special mention for the Arcalines and the FL-1300s, ingeniously hidden behind holographic plexiglass, that create a very nice halo effect. Finally, we are delighted to see Michaël’s lovely face, his hands and facial expressions illuminated by Jocelyn’s very well done key lights, always perfectly dosed.

Michal Gregorio A l'Olympia

Talent, passion, five master builders (artist, director, lighting designer, sound engineer, and videographer) that nail it every time, and an unconditional love of music – these are the elements that make this show stand out among current one-man shows, and this certainly explains its success. And the concerts they recreate ? We were right there (mostly) !
As for the concert/show of Michaël Gregorio ? We will be back !

Harman moves its Martin lighting production to Hungary

Harman International announces its intent to relocate its Martin Professional lighting production facility currently in Frederikshavn, Denmark to Hungary.
Lighting headquarter remains in Aarhus and Martin’s smoke machine factory in the UK would not be affected by the relocation.

The Martin factory in Frederikshavn, Denmark

The Martin factory in Frederikshavn, Denmark

“It has been some very tough considerations given Martin’s history in this community and the goodwill we have enjoyed with our outstanding employees. Still, it was a necessary one to improve our leading position in an increasingly competitive marketplace,” says Lars Dige Knudsen, Vice President and General Manager of Martin.
Importantly, the Martin Headquarters will remain in Aarhus and will become Harman’s global Center of Competence within dynamic lighting solutions for the entertainment industry and architectural purposes. ”

The move to Hungary is part of a larger Harman strategy to consolidate its European manufacturing operations across its four divisions. HARMAN has more than 20 years of manufacturing experience in Hungary and has grown there to more than 2,200 employees. The new manufacturing site is expected to reach a staff of approximately 400 employees, once the existing production has been transferred.

Usine Martin Frederikshavn Danemark

Today Martin Professional has initiated the formal negotiations with employee representatives (Workers Council) and furthermore the local Labor Market Committee has been informed as per legal requirement.
The manufacturing process in Frederikshavn is expected to run at full capacity the next approximately six months.

“ In connection with the negotiations on the closure of the production facilities in Frederikshavn, our company will focus on securing our employees a fair retirement benefit plan as well as assistance to find other jobs, ” Lars Dige Knudsen states.
The final decision on the relocation is expected to be taken before end of this month.

More informations on : www.harman.com et www.martin.com

 

Stagelight is the first to experience the magic of Merlin from Robert Juliat

Stagelight AG of Switzerland has been celebrating the receipt of the very first Robert Juliat Merlin followspots to roll off the production line. Merlin is Robert Juliat’s new 2500W HMI sturdy followspot designed specifically for the touring market.

Robert Juliat Merlin followspots light Placebo at Open Air St. Gallen, Switzerland. © Daniela Lemmenmeier - Stagelight

Robert Juliat Merlin followspots light Placebo at Open Air St. Gallen, Switzerland. © Daniela Lemmenmeier – Stagelight

Merlin worked its magic on the Stagelight team at Lucerne’s Light and Sound show in October 2014, where they immediately placed an order for four of the 2500W HMI touring giants from Robert Juliat’s Swiss supplier, Electric Claudio Merlo.
“ It was time to replace our old, big followspots, so we were looking around for a good alternative and found Robert Juliat’s new Merlin, ” says Stagelight’s Managing Director, Peter Lemmenmeier. “ We decided on Merlin because of its excellent new technology: the newly developed integrated PSU with the 2500W HMI arc lamp provide great brightness; the zoom range from 3° to 12°allows an extremely wide spectrum from 30m to 100m; and, finally, the low consumption of electricity with the 16A connector is really good and convenient. There is nothing similar on the market. ”

The brand-new Merlin followspots arrived in time for the busy Swiss Festival season and have been put to full-time use from the day they arrived.
“ Our very first use for the Merlins was Olly Murs’ show in Bern, ” says Lemmenmeier. “We then took them to Open Air St. Gallen, one of the oldest festivals in Switzerland for which Stagelight has been providing lighting for the last 30 years.” The Merlins were rigged front of house and used on a stellar line up of bands which included Placebo, Paolo Nuttini, Royal Blood, The Chemical Brothers and Noel Gallagher’s High Flying Birds.

“ Last weekend our Merlins were at the Open Air Frauenfeld Hip Hop Festival and this weekend they are again booked for the main stage at the Gurtenfestival. Many festivals are to follow, including Heitere Open Air and Summerdays. The Merlins are going to have a very busy summer! ”

Les poursuites Merlin Robert Juliat en action, Cypress Hill, Open Air Frauenfeld Hip Hop Festival. © Daniela Lemmenmeier - Stagelight

Robert Juliat Merlin followspots light Cypress Hill at Open Air Frauenfeld Hip Hop Festival. © Daniela Lemmenmeier – Stagelight

“ Merlin works well for me as a lighting designer and I had good feedback from the spot operators, ” says Stagelight’s LD for Open Air St. Gallen, Michael Hochrainer. “ The handling is smooth and the weight ratio seems good. I like the lamp as it is bright enough to hold its own against LED-walls and the VL3500s across the distances that we used it. The technical details and features are less important to me as a designer as my focus is on the lamp itself. A good lamp is a lamp which is there when I need it and I don’t have to worry about it – Merlin’s reliability certainly fills this criteria!”

The technical and operational features become important to those who install, maintain and operate the fixtures and Robert Juliat pays full attention to this when designing its profiles and followspots. Stagelight’s technician for Open Air St. Gallen, Stefan Rüttimann, was very happy with the new giant: “ Merlin is a device that covers all I need as a lighting technician,” he says.

Robert Juliat Merlin Plasa“ Size is a problem almost everywhere when positioning powerful followspots, but Merlin’s size and built-in power supply require minimal space. Merlin’s good optics mean distances in excess of 100m are no problem. The operation is very simple – it includes all the features you could desire – and the production and processing are very clean. All in all, for me, Merlin belongs at the top of the followspots. ”

Robert Juliat also takes care to ensure operation of its followspots is a pleasure : Stagelight followspot operator, Juri Schmid, is equally excited by Merlin’s easy operating features. “ Merlin takes followspot operating to a new level, ” he says. “First of all the handling is just amazingly good and easy: the levers for adjusting the beam size, the dimmer and even the different colour filters are within arm’s reach. And you don’t need to be strong to move it as Merlin just glides from side to side and up and down ”.
“ The rapid cooling is another advantage: the followspot doesn’t get hot and can be boxed right after the show. This followspot is well thought-out right down to the finest detail: the power supply unit is integrated, the case is practically built and, if you want, you can even charge your smartphone from Merlin! ”

Stagelight has been in the industry since 1989 and we know when it’s time to invest in carefully selected new equipment,” concludes Lemmenmeier. “We are always happy when we get new ‘babies’ and are proud to be the first to take stock of the Merlins. It means we have our finger on the pulse of new innovations and shows we care about investing new technologies and high quality equipment for our clients. ”

More informations on Robert Juliat’s Merlin at : www.robertjuliat.com
On SLU : Robert Juliat ‘s Merlin 2.5 kilowatt HMI followspot for touring