Durham initially began work in January, having been brought in by John Teeman, executive producer for LCR, who had seen his work on The Queen's Golden Jubilee and the recent Winter Olympics in Turin. "My brief," continues Durham, "was for a theatrical reveal of the station. The main challenge was that it's been beautifully restored and architecturally is already very well lit. Having decided that an orchestral an
The Capitol Visitor Center has been conceived as an extension of the Capitol building to welcome visitors to the seat of American government. At nearly 580,000sq.ft, the CVC is the largest project in the Capitol's 212-year history and is approximately three quarters the size of the Capitol building itself. When it opens, the Capital Visitor Center will provide a variety of amenities, including an exhibition gallery, orientation theatres, a 550-seat cafeteria, and gift shops all within a secure public environment.
SV Lighting's Savi LED Flood Strips and low voltage power supplies are being used to light over 600ft of cove and step lighting in the main exhibition gallery where significant C
The stand was the result of a collaboration with three other international companies - UK-based Stage One, specialists in automation systems, stage machinery and set creations; Anglo-French draping and material specialists Blackout and lighting, LED screen and sound rental house, Lumière et Son Paris.
The stand and the live show presentation on it were designed by Fabien Martineau of Scenographism, who was also integrally involved in the R&D of the new OnlyView 3D product launched by ETC at the show.
The show centrepiece was a revolving cube, projected onto with video controlled by OnlyView 3D. This was Martineau's brainchild for demonstrating the versatility and scope of the system, on which he collaborated with ETC France'
The launch of the division was timed to coincide with the10th anniversary of trading for STS, and is a natural progression to complete the full hire package that STS can now offer clients. PA, lighting, backline and staging equipment are all available in-house from STS.
The STS inventory includes Robe moving lights, the new Jands FPX dimming system, ETC and Avolites control, as well as Litec trussing and Manfrotto Grip equipment supplied by A.C.'s new dedicated Rigging division.
A.C. Lighting's Cable Express manufacturing department also played a key role in pulling the order together, producing all the made up cable, internally wired lighting bars and customised dimming system
Marc Morosini, general director for MPM, commented on the new possibilities the LC Series offers, "The image is an inescapable element in the conception of any set design today, naturally in television but also for a tour, festival or any show. It is obvious that the use of multimedia systems is largely facilitated by the strong development of digital and LED technology by our profession. Martin's LC 2140 video screens allow us to propose to our customers the integration of image as well as sound and light.
"Besides
The events company taking care of the show was LTM Productions, one of the lighting and sound industry's most experienced operators, known for their expertise in setting up large-format PA systems for major events.
Sound engineer Justin Tan specified some of LTM's new Nexo Geo D10 arrayable loudspeakers, purchased a few months ago from Show Company. For the m
The Braid, a modern light feature soaring 32ft into the air, forms the centrepiece of the Sudell Cross and was unveiled in April of 2007. The feature was designed by renowned UK artist Simon Watkinson and built by the specialist bespoke metal fabrication and stainless steel architecture company, M-TEC of Darwen, part of the WEC Group.
This bold feature is now lit throughout the day and night in a changing array of colours. The lights used were 3M Martin Architectural Light Pipe with Color Kinetics ColorBurst 6 LED source fittings. The lighting w
On the back of the success of PLASA07, many companies have increased their stand size and several have doubled their space, setting PLASA08 on course to be the major industry event of next year. The success of the 2007 show has also been a catalyst for drawing back former exhibitors and generating strong levels of interest from new exhibitors, impressed with the professionalism and energy of the event.
The show management team has identified a range of new initiatives to develop and strengthen visitor attendance and is also focusing on a number of key areas for further development.
"One of the key messages that came across very powerfully from
Each square is programmed via a computer to produce water jet sequences of different heights at set times. The concept that Fountains Direct designed consisted of a number of lighting fixtures which run parallel to the jet arrays, allowing unlimited colour mixing. As there were no systems available which could achieve this whilst submerged in water, a new scheme had to be purposely designed to their specific
"As solid-state lighting expands its penetration into white light illumination, submersible applications such as fountains, pools and architectural water features are being transformed by digital technology. In order for these new high brightness LED arrays to achieve their promoted 30,000 to 50,000 hour rated life, we are developing new thermal management techniques to provide proper heat sinking," stated Mike Bauer, president and CEO.
(Jim Evans)
A compact version of Elation's popular Opti RGB, the Opti 30 LED is billed as an ideal colour-changing stage light for smaller spaces and also fits easily into 12" box truss for truss toning. Its 1W LEDs produce more vibrant colours than the typical truss toner, casting "a dazzlingly brilliant glow on stage productions" the company says.
(Jim Evans)
Continuing its commitment to quality used equipment sold through usedlighting.co.uk, the Avolites collaboration will see consoles serviced and refurbished at Lighting Partners South London base by Avolites trained technicians. This will ensure the exacting standards customers have come to expect from Avolites will be upheld as the consoles enter their second life, says the company.
David Morgan of Lighting Partners commented: "We are thrilled to be able to work with such an esteemed manufacturer as Avolites. The optional addition of a cost effective Avolites- backed one year factory warranty and other upgrades, pushes further the quality of used equipment from usedlighting.co.uk".
Avolites' Phil Blue added: "Our new collaboration with Light
Equipment included a Yamaha M7CL 48 channel digital mixing console with Ethersound based networking hardware, a Meyer Sound line array system and a full range of Shure and AKG microphones along with various other items.
David Reeve, technical manager of Royal & Derngate remarked: "In the tendering process, A.C. Lighting very quickly proved themselves to be competitive and efficient. They managed to arrange gear demonstrations at very short notice and ensured all the kit was on site quickly with the minimum of fuss."
A.C. Lighting's audio sales manager, Peter Butler, commented: "We we
The project was undertaken at the request of The Royal Household, in an effort to reduce energy consumption and maintenance costs.
The centre room chandelier was nominated and all 32 25 watt tungsten lamps were removed, and a low voltage system controlling 2.8 watt light emitting diode lamps (Queens Chandelier STL610-48-XIW-024M) were installed, initiating an energy saving in excess of 80%. The next re-lamping will not be needed to be scheduled until 2020.
(Jim Evans)
The new units were an integral element of Tim Dunn's lighting design for the event, which was broadcast live by the South African Broadcast Corporation (SABC) to over 200 territories worldwide. A hundred of these relayed it live, creating a new FIFA Draw record.
The new 2500s were supplied to Gearhouse by Robe's South African distributor DWR Distribution. Gearhouse first bought Robe moving lights - 48 of the 700 Series - in January 2007, followed by another 48 700 Series fixtures in October, quickly followed by the 2500s this month - just in time for the FIFA event.
Dunn worked closely with set designer Dewett Meyer and Richard Baker from LEDVision (supplier
The programme was realized in the cinema and television production centre - Cinecittà Studios in Papigno (Terni) in the post-modern scenario of an old disused factory. Director of photography Fausto Carboni reports: "It was necessary to combine the typical demands of a 'one-hand-show' with the need to interpret the Dante theme with a light show. It was also necessary to illuminate a theatrical show, bearing in mind the television requirements. We came to an agreement with the programme director Stefano Vicario, and decided to use a white light on the protagonist and full colour
"The evolution of ApolloGel has been interesting to watch," states Monty McWilliams, VP marketing at Apollo. "The selection of new colours used to be based on Apollo staff opinions. The process is now driven strictly from end user recommendations. Without widespread use of our colour filters, this wouldn't be happening."
(Jim Evans)
In spite of their once anarchic image, the band's lighting requirements were relatively conservative this time around, although they did have some very definite ideas about the aesthetics. They wanted an 'old skool' look, everything lit in red, white or blue (i.e. Union Jack colours) and nothing too 'flashy'. They also wanted to be able to see the audience at appropriate moments.
Entec was asked to quote on the lighting supply and won the account via production manager Chris Griffiths. Entec's Noreen O'Riordan comments: "How splendid to be working with a band of our generation that changed the music industry so radically - God Save The Pistols."
Back in 1977, when the band so rudely kick-started the art-house punk movement and shoo
The lightshow is designed to work flexibly and easily for both acts. This time around, Bowers opted for a fully generic lighting rig featuring lots of PAR cans, ACLs and some punchy and precise followspotting.
"I'm absolutely meticulous about the rig focus," he says as he explains his philosophy of creating a 'depth of perception' in the rig using a very tight focus that bounces the light beams around the rig and the stage. This gives an illusion of lights moving even though it's a static system.
Th
Lighting technician and operator Keith Clark has been with the centre for four years and was instrumental in the refurbishment and comments: "Originally we had fluorescent down lights and the atmosphere was cold and stark. We wanted to make the foyer more colourful and to represent the shows that were going on inside, so that the whole 'theatre experience' begins the moment you enter the lobby."
Steering the whole lighting system is the new Lighting Playback Controller from Pharos Architectural Controls. This compac
The visit was part of a joint day out organised by the Society of Television Lighting Directors (STLD). This saw the LDs visit the busy working studio of The Bill in the morning, to look at the techniques and technology used to light a realistic drama on the hectic schedule demanded by a show that is broadcast twice weekly, year round in a tour organised and hosted by The Bill's John O'Brien. After touring the various set inside and outside the studio - offices, cel
Unlike the UK show, which features 22 contestants opening the sealed boxes, the South African production has 26 boxes opened by hostesses. Lighting designer Angus Clarke uses approximately 60 moving lights of various types plus 26 ETC Source Four 19º luminaires as profile spots for the hostesses on stage, as well as some Source Four 10º around the perimeter of the stage to create a 'light curtain' in conjunction with some haze machines.
Clarke also uses ETC systems to handle the lighting control, including the compact SmartFade desk for supplemental control, such as
Available now through the FocusTrack website at www.focustrack.co.uk/forums, the forums are designed to give FocusTrack users a place to find information, ask questions or offer comments about using the FocusTrack software.
Since its launch in 2005, FocusTrack has been used to document a number of high-profile theatrical productions around the world, including Billy Elliot in London and now in Australia, Mary Poppins, Les Misérables, Miss Saigon, Never Forget, Rock 'n' Roll, Guys and Dolls and Young Frankenstein.
FocusTrack is also in use in a number of theatres that have to document shows that tour or play in rep, includ
Hosted by Julian McMahon, the 19th edition of the World Music Awards featured performances by some of the world's top recording artists; Celine Dion, Avril Lavigne, Rihanna and Akon among them.
Ninety-two Martin LC 2140 LED panels were used for set decoration, graphics/text projection and colour accompaniment around a large main stage and side stages. An additional 12 LC panels were located in the audience. According to AED Rent, supplier of the panels, the Martin LC Series was chosen for its light weight and transparency not to mention the fact that there was a large amount available.
Video designer for the show was Dean Price who used five Martin Maxedia HD media servers to pro
