The main building's new visage is comprised of three main elements:
First, a beautiful west side centrepiece consists of a 90ft diameter fountain stocked with 192 colour-changing LED fixtures provided by Solid State Lighting. The control signal is distributed by a CRMX Outdoor Flex unit configured as a t
Designed for a wide variety of small and medium scale performance applications, TechnoArc is a compact soft-edge luminaire with exceptional value and performance. A natural companion to the hard-edged Technospot, this full featured fixture is designed for club, stage, and studio applications where environmental durability and high quality output are required.
TechnoArc features smooth CMY colour mixing and a fixed color wheel. Following the professional lighting, large-exiting aperture trend, TechnoArc features a prominent 6.5" lens, 8° to 32° zoom, and over 14,000 lumen
Gruszeckyj has worked in the live video production since he was 16 and has a passion and zeal for his work that is an ideal fit with CPL's philosophy, the company says. His industry experience includes freelancing for a number of leading companies and brands for the last six years, dealing with video and IMAG systems - both engineering and directing - and also projection, through which he has built up a broad technical and creative k
Kunttu commented, "The main themes were firstly the history of World Championships and the history of Finnish ice hockey. The world of ice hockey has a lot of respect for its past and its many legends, so I wanted to underline this in the piece. I also wanted to add a fantasy-factor, which is where the skaters come in. Then the last part was a full-on fire and lightning-style scene with a certain gladiator thread to kick off the games - kind of what you would expect in this type of a show.
"Generally speaking the title Resonice tries
A stellar line up included a rare stand-up appearance by maverick alt comedian Ben Elton, who co-hosted the evening with pub landlord Al Murray, plus a host of other high profile acts including Doc Brown, Hal Cruttenden, Richard Herring, Robin Ince, Milton Jones, Francesca Martinez, Sally Phillips and Paul Tomkinson.
Entec was approached by event organiser Susan Dorrington of Scope, who was looking for a full technical solution for the show. Entec's Noreen O'Riordan project managed, and asked Phil White on-board to design the lighting. Entec's own Ryan Brown and Ed Hammond took care of video and sound respectively.
There was already a basic lighting plot in place when White be
The ship - the largest afloat at the time - was built at the Harland & Wolf shipyard in Belfast from 1909 - 1911. She sank four days into her maiden voyage from Southampton to New York on 15 April 1912, after hitting an iceberg off the coast of Newfoundland with the loss of 1, 514 lives.
PSI's Belfast and Dublin operations supplied lighting, rigging and crew to three major events to mark this seminal moment in maritime history.
The first was a series of gala concerts for the Titanic 100 civic commemoration and tribute programme presented by The Port of Cork at Cobh, County Cork - the last port of call for the ill-fated ship. The second was Titanic Sounds for MTV
Noting the extreme brightness of the Palco 5+, Betalite's Murray Bridges placed some immediately onto a theatre production he was lighting at the Rose Theatre, Kidderminster, while four of the fixtures joined the GB Theatre Company production for outdoor use on their European Shakespeare tour. Bridges commented, "These fixtures are both dynamic and aesthetically superb - and we are delighted to be the first UK customers for them."
Betalite already have wide experience of using the similar Palco 3's - as have Gradav, who run between 50 and 60 (as well as SGM Giottos) in their hire fleet. "We t
Since the launch of the last White Light website in 2006, the company has grown dramatically. The company is now the UK, European or exclusive distributor for 20 of the world's finest lighting manufacturers, and offer products from many other manufacturers besides, says the company.
"Our last website served us well," notes Bryan Raven, White Light's managing director, "but as White Light has evolved and the web has evolved it was clearly time for something new. Given that lighting is a visual medium, our key aim was to make the website more visual as a showcase for some of the great projects we have been involved with; we think we've achieved that pretty w
HSL was again working for the event's overall technical production suppliers The Design Group from Tel Aviv and Jerusalem, in an operation co-ordinated by event technical director Eyal Lavee and technical production manager Elad Mainz from Stage Design, and project managed for HSL by Mike Oates.
Lighting for the stunning looking 'bare-stage' production was designed by Avi Yona Bueno (Bambi), Israel's best known performing arts lighting designer. The set was created by William Orlandi and the show directed by Giancarlo del Monaco both from Italy.
HSL's crew of Ian Stevens and Matt Brown worked on site with Israe
Speirs' career as an architectural lighting designer spanned almost 30 years and included projects across the world including Madrid's Barajas Airport, Gateshead's Millennium Bridge, Dubai's Burj Al Arab Tower, the Sheikh Zayed Mosque in Abu Dhabi, The Copenhagen Opera House, the interior of St Paul's Cathedral, London and the Beijing Capital International Airport.
Mark Major, Speirs' long-time business partner and friend, paid tribute to him on the Speirs + Major website. He said: "Whether you were a client, a fe
Blown Away - Sir Elton John had to cut short his concert at a new seafront arena in Blackpool because of the threat of strong winds. Almost two hours into his set at the Blackpool Tower Headland arena, he told the 11,000 crowd they had to leave.
"Fly Piggy Fly is a young, vibrant production company based in Port Elizabeth," commented Dave Whitehouse from DWR Distribution. "This is their first lighting purchase. They always rented in gear and with P.E. not being very central, they would have to hire from outside areas." DWR Distribution supplied the order.
"We've been using the LED panels on a film for a client from Ethiopia," said Scott Kelly, partner and art director at Fly Piggy Fly. "The client wrote the script and provided the necessary funding, while we did the entire production side. It has been really great using the panels on loc
"I chose the RevEAL LED Profile for the keylighting of the judges since the light provided me with a beautiful, flat field and for the fact that I could choose any colour temperature that I wanted-and maintain that balance," explains Healy.
"I am typically using them with a color temperature around 4,700-4,800K. We have a lot of different arc sources in the lighting design and that just averages it out. It is also easy to match the followspots, because you want all your keylights to match. Invariably the handheld
A timely debut - the ABTT Show followed closely behind the Theatres Trust Conference on Delivering Sustainable Theatres. Graham Eales, general manager for Philips Selecon discusses, "The prototype LED Fresnel is built around the same engine as the popular Selecon PLCyc1 , PL1 and PL3 LED luminaires. Not only does it look and behave like a conventional Fresnel but it also focuses in the same way as any other traditional Fresnel - ie by moving the light source in relation to the lens. The fixture has been specifically designed with small to mid scale theatrical applications in mind so it is neat, easy to rig and easy to focu
---croptn.jpg "Martin Tarpy comes to Northern Light from leading installer TMC")
Martin Tarpy comes to Northern Light from leading installer TMC, where he had worked for more than 20 years. Tarpy will be a project manager for Northern Light and will be involved in the design and installation of lighting, sound, AV, media and stage systems across a range of Northern Light projects - beginning with a raft of schools in the Birmingham area.
Tarpy said, "After 20 years of working with TMC, I'm sure working anywhere else will be a shock to the system! However, I'm very much looking forward to the new challenge and to bringing my skills to Northern Light. This is a company that I've been very much aware of throughout my career and it is with a sense of excitement that I join the much bigger operation that is Northern Light."
James Ho
The world premiere was staged in the Royal Opera House's Linbury Studio, Covent Garden. Set inside a specially built room the audience and performers were arranged on four sides of a centrally located sunken orchestra pit. The room, comprising four high walls each of which feature a built in video screen, are washed throughout with various colours to denote the changing mood and atmosphere of each story.
Carter chose to use sixteen of the newly launched PLCYC1 LED luminaires, supplied by Stage Electrics, to define the mood of each piece as she explains: "I needed a fixture that could give me multiple colour choices, wash the walls and the room but not deman
Lighting equipment was supplied by Knoxville, Tennessee based TERI Productions and co-ordinated for them by Brad White. Blagg has worked with AKUS for around ten years, and his creative starting point for this design was the fact that Krauss likes a very intimate atmosphere onstage which is conducive to her music and style of delivery.
The call was for subtle texturing and colouring of the environment, with different layers of illumination which could be added to or stripped back to the look of the performance space as necessary.
The set consisted of a set of black velvet drapes and white sharkstooth gauze
Six grandMA2 consoles and over 200 Clay Paky moving lights were utilised in programming and lighting this part of the event, which included a stellar line up of UK artists and performers.
Marenghi specified Clay Paky moving lights for the stage, while his associate LD and lead programmer Tim Routledge chose two grandMA2 full-size consoles (live and tracking backup) to control all the stage lighting on the night.
grandMA2 control was picked for its flexibility and stability - it is the preferred control platform of both Marenghi and Routledge - and has proven itself time and again on major events like th
The two companies guarantee the full compatibility of their devices to simplify virtual show creation and reduce programming times.
Thanks to this collaboration between Lightconverse and Coemar, the virtual lighting effects of Coemar products can be simulated at the design stage and important information can be obtained from the light designers even before the product is available on the market.
"This joint venture by two leading companies points to the future," says Fausto Orsatti, Coemar sales and marketing manager. "Combining our strengths and skills to the advantage of our customers is a step in the right direction for those wishing to meet the ever more stimulating requests of th
Martin Kubánka was once again the lighting designer - his fourteenth year of Miss Universe SK! The lighting equipment included a substantial Robe moving light rig - supplied by Q-99, Slovakia's leading technical production and rental operation.
Kubánka was given an open brief as to how to light the show. He used Daniel ichman's raw, stripped back set as the visual starting point, complimenting it's clear linear cuts and shapes with a futuristic styled lighting rig to match.
The set and all the high brightness LED elements also had an impact on how the show was lit. Bright lightsources were need
As well as a new vision switcher, production area and studio floor upgrade, the studio control room now houses a new MA Lighting system comprising of two grandMA2 light consoles, a MA NPU (Network Processing Unit), a MA onPC command wing and a grandMA2 fader wing. The installation was completed in only a few weeks and training was given for those in the lighting department who had n
Paule's prolific design portfolio includes creating lit environments for the highest profile international theatre and opera productions, and her work is renowned worldwide for its experimentation, invention and creativity.
She had not used Color Force products before, but sought a powerful, well sized lightsource that could be utilised as an even spread 'soft light' tool to illuminate the numerous cloths and drapes that give Cameron Mackintosh and Andrew Lloyd Webber's classic musical its period flavour and ambience.
Paule was impressed with the information available about the Chroma-Q Color Force range, so initially contacted Chroma-Q's exclu
Hunt is a founding director of Pharos and his appointment as managing director reflects his current responsibility for the management of the growing international sales team and the day-to-day operation of the company.
Hicks joined the company in 2006 as a software developer, quickly progressing to technical product manager. As technical director, Simon has wider responsibility for steering the development of Pharos products and the management of the technical support team.
The other directors are Richard Mead and Nick Archdale, both founders who remain actively involved in the company.
(Lee Baldock)
The system is based on the successful MTC- BATTEN2 and uses 18x8W quadcolour LEDs combined with a specially coated barn door reflector to give an even wash of light up to 5m plus. It is designed for lighting cycloramas and large flats, making it suitable for use in theatres and corporate presentations.
The CycWash system has already been specified for installations by some of the leading installation and consultancy companies, having seen it in operation at the show.
(Jim Evans)
