In addition to this, Entec created a bespoke light sculpture - Fish - as the centrepiece of a selection of curated art works on display in the forested areas of the site. Fish was in located in The Pond and featured a three dimensional work made from Chinese metal fish each individually outlined with LED strips and hung off curved trussing sections.
Illuminating these general art display areas so the works can be enjoyed after dark is a major part of the Festival's lighting brief.
In addition to getting arty this year, Entec provided lighting equipment and designers for three main performance areas and kit only for three others
Entec's crew of five were project managed on site by Richard Hutton, and helped create five successful days of performance culture, music and eclectic entertainment in beautiful surroundings with glorious weather.
Tony Austin was brought on-board to look after the creative elements on the Main Stage.
The stage itself was a 15.5 Serious Structures Orbit for which he produced an upstage / downstage finger truss configuration comprising four runs of truss all hung at jaunty angles. The moving lights were a mixture of Martin MAC 700 Profiles and MAC 250 Washes, together with Studio Due CS4 ACL bars and several bars of 6 PARs. Eight Showtec Sunstrips which were used for audience illumination / blinding duties - making a refreshing change from Moles.
Integrated into the Main Stage's overall space was the Garden Stage - an original 1880 wooden singing theatre stage deck, measuring about 25 x 15 ft with a roof and curved back wall which is graced with a large mural. This was architecturally lit with six i-Pix Satellites, plus four outdoor LED PARs for artist key lighting. The line-up included a series of live and DJ sets most of which were scheduled during changeovers on the Main stage .. ensuring the entertainment was truly non-stop! The Garden Stage lights were all hooked into Tony Austin's Main Stage Avolites Pearl console.
Over in the Big Top, Entec's Sudip Shrestha worked his magic, again using an Avo Pearl for control on which he was running eight Martin MAC 300 and ten Clay Paky Alpha Spot 300 moving lights plus Atomic strobes, PixelLines, ETC Source Fours ... and four-lite Moles for the audience participation bits!.
He also looked after a projection system featuring a Barco R10 projector, video scaler and a 12 x 9 ft fast-fold screen, installed to accommodate four out of the five headline acts who used video in their performances.
Entec supplied a Tomcat ground support system in the Big Top to fly the PA, which also provided additional lighting positions.
The Acoustic Roots Arena (ARC) was designed and run by a combination of Doug Flude and Jonathan Cope, who worked shifts to ensure there was always someone fresh at the lighting desk as the venue operated non-stop daily from 10am to 2am.
The rig was made up of four 6-lamp bars and six ETC Source Four profiles, with a deliberately generic lighting design in tune with the acoustic vibe of the space, for which the 11 pm to 2 am slot was filled with a succession of stand-up comedy acts.
The Club, located in a 60 x 40m clear-span marquee embraced a dual role - a film theatre in the day and a full-on EDM club from 11pm.
It was lit with a combination of Martin DC1 effects projectors, fuzz lights and Batmink LED PARs, chosen because they work really well on sound-to-light triggers. Four ETC Source Four PARs were deployed for key lighting on any daytime theatre shows.
Entec provided an identical projection system to that in the Big Top, used for the movie screenings by day and for VJ's video content during the clu
